PLOT: A filmmaker seeking revenge on a producer takes a surreal and supernatural trip down the rabbit hole after making a deal with a witch.
COMMENTS: Lisa Nova drives to Los Angeles to meet with producer Lou Burke about expanding her short film “Lucy’s Eye” into a feature. Lou loves the film, a check is written, and a contract is signed. But Lou revokes his promise to allow Lisa to direct after she refuses his sexual advances. Lisa vows revenge on the predatory producer. Lisa goes to see Boro, an odd woman she met at a party who told her she could hurt someone for her. Boro is a witch of sorts, and for a price she will put a curse on your enemy.
“Brand New Cherry Flavor” is a Netflix limited series consisting of eight fortyish minute episodes. Motivations are hammered out pretty quick in the first episode; going forward, it is all about the revenge. The plot is primarily supernatural horror. There is a significant amount of violence and gore ranging from eye trauma to decapitation. And there are definitely enough wacky, what-the-hell moments to qualify the series as weird.
The three central characters all give quality performances. Eric Lange is great as the arrogant and lascivious producer. It was very satisfying seeing him get his comeuppance, and by the end of the series I almost felt sorry for him—almost. Rosa Salazar plays Lisa Nova with a quiet confidence. I found myself liking her more with every episode. One of my favorite scenes has her tripping on some magic stew that actually made me feel like I was stoned myself. My favorite character was Boro, played by Catherine Keener. Her army of zombies, affinity for kittens, matter-of-fact commentary and facial expressions made me smile or laugh out loud several times. There are some genuinely creepy moments and a few shocks, but there is a good deal of humor in this horror series.
I am under the impression that when Netflix uses the term “limited series“ that they do not intend a second season. I really enjoyed “Brand New Cherry Flavor,” and there is definitely more story to tell here. I would welcome a season two. The full series is available to watch on Netflix right now.
PLOT: This is part 2 of a three part documentary about cult films, focusing on horror and sci-fi featuring clips and interviews with critics and those associated with the films. (Volume 1 is reviewed here.)
COMMENTS: Joe Dante, John Waters, Kevin Pollack and Illeana Douglas host the documentary. Dante introduces each title, while his co-hosts add commentary between clips and interviews. At a running time of 1:23:22, each film is afforded a decent amount of coverage. Director Danny Wolf and his crew pull out all the stops on assembling a parade of entertaining and relevant interviewees. There are a handful of critics included, but most of the interviews are with the cast and crew of the films.
The always entertaining Bruce Campbell shares some great Evil Dead stories. Ken Foree discusses working on both Dawn of the Dead and The Devil’s Rejects. Mary Woronov chats about Death Race 2000. If there was a competition for Queen of Cult I think Ms. Woronov, would have to be crowned. She also graces Rock ‘n’ Roll High School and Eating Raoul, both of which will be covered in the documentary’s third part; and she appears in Night of the Comet, Terrorvision and Chopping Mall, any of which could easily make a list of cult horror films. Edwin Neal, who plays the hitchhiker in Texas Chainsaw Massacre, takes us on a tour of the old house, which is now the Grand Central Cafe. Director Stuart Gordon talks about Re-Animator (sadly, Gordon passed away in March of this year). Malcolm McDowell tells a funny story about meeting Gene Kelly. And there’s Rob Zombie, Jeff Goldblum, Sid Haig, archival interview footage of George Romero and Tobe Hooper; the list goes on.
After watching this documentary I started a conversation on Twitter about cult film. I realized quickly that people had varying ideas on what exactly gives a film cult status. In my mind a cult film does not have mainstream appeal but, through word of mouth after a reasonable amount of time has passed, grows a small but ferociously dedicated audience. I don’t think that is the case any longer. Cult films have evolved simply due to the fact that everything is so easily accessible. The “reasonable amount of time” that must pass is no longer a factor. Home video wasn’t common until the early 1980s, so films remained in obscurity for years. Even with home video, there were films that were difficult or impossible to get. Social media has changed everything.
I don’t think any two people would create an identical list of their favorite cult films of all time; my own list would look quite different from this one. That said, there are two selections I must quibble over. Texas Chainsaw Massacre is without a doubt one of the greatest horror films ever made. It does buck all the rules of cultdom, though. It was successful on its release, was well-reviewed, and is probably one of the best known and most loved horror flicks of all time. Secondly, Human Centipede is the only film to make the cut that was not made in North America. Of all the amazing and unique horror films to come from other countries, they decided to include Human Centipede as one of the greatest cult horror films of all time! I actually liked the movie, but its inclusion here sincerely boggles my mind.
Still, overall this is a great list of films; I am particularly thrilled they included Liquid Sky. The absolute definition of a cult classic; a genuinely weird and one-of-a-kind flick. There is something to entertain everyone in this documentary, from the seasoned horror and sci-fi fan to the newcomer.
PLOT: Hedorah, a monster created from earth’s excessive pollution, wreaks havoc on Japan.
COMMENTS: “Hedorah is a monster of our own making.” In the intro we see Hedorah rise from some sludgy gloop floating in the ocean. The creature attacks freighters and factories and at the same time inhales the pollution they emit to grow larger and more powerful. A young boy and his marine biologist father are on the case, and soon discover the origins of the creature and why and how it is evolving.
The child is the film’s protagonist. He seems to have a connection with Godzilla. He knows Godzilla is coming before he appears. Like the original 1954 Godzilla, Godzilla vs. Hedorah comes with a strong message about the harm man can do: Godzilla was awoken by hydrogen bomb tests, Hedorah is an alien being made massive and powerful by pollution.
At this point in the Godzilla series, the King of the Monsters has been both an enemy of mankind, and sometimes somewhat of a hero. At the story’s climax walls of electricity are set up in hopes of frying Hedorah. When the generator fails, Godzilla lends man a hand with his breath. As a child, I loved Godzilla as the hero; it’s something I’ve never grown out of.
There is, of course, also a final battle between the two creatures. If you come to Godzilla flicks for the creature fights, you will be rather disappointed here. This Godzilla reminds me a little of one of the Three Stooges putting on goofy moves, shrugging and shuffling about. And Godzilla flying through the air?! What was that? I suppose Hedorah would be a slippery sucker to grab at, being a pollution monster. He starts out looking like a giant sperm, but evolves into a flying saucer shape, and eventually takes an upright form. Hedorah is not one of Toho’s more effective monsters, visually, but he does more damage than most.
Godzilla vs. Hedorah is a unique entry among the Godzilla Showa era films. It is the only film in the series that I am aware of that includes psychedelic imagery and animated sequences. These elements are unusual for Godzilla, but there is nothing particularly weird about them for a film from the late 1960s or early 1970s.
FEATURING: Michelle Bauer (as Pia Snow), Andy Nichols, Paul McGibboney, Marie Sharp, Tantala Ray, Dennis Edwards, Kevin Jay
PLOT: “Able to exist, to sense… to feel everything, but pleasure. In a world destroyed, a mutant universe, survivors break down to those who can and those who can’t. 99% are Sex Negatives. Call them erotic casualties. They want to make love, but the mere touch of another makes them violently ill. The rest, the lucky one percent, are Sex Positives, those whose libidos escaped unscathed. After the Nuclear Kiss, the Positives remain to love, to perform… and the others, well, we Negatives can only watch… can only come…to … Cafe Flesh…”
WHY IT WON’T MAKE THE LIST:Cafe Flesh is a post-apocalyptic adult film about people who become violently ill from human touch. Generally speaking, adult films are pro-sex, so it is definitely a unique entry in the world of adult cinema. Cafe Flesh was not the only post apocalyptic adult film—it was a popular sub-genre in the 1980s—but I do think it might have been the first. The copious cutaways to the gawking, impotent patrons during sex shows were peculiar, but completely relevant to the plot. As odd as they were they fit in the context of the film. The first couple of performance-art sex scenes were definitely wacky. A lonely housewife is seduced by a milkman in a rat mask while three grown men dressed like babies look on from their high chairs. A guy in a huge pencil headpiece bangs one of the broads in the office while the naked receptionist looks on typing and repeatedly asking “Do you want me to type a memo?” Cafe Flesh definitely teeters on the edge of weirdness, but forced at gunpoint to answer “weird or not weird,” I would have to go with “not weird.”
COMMENTS: I was a huge fan of Stephen Sayadian’s Dr. Caligari and couldn’t wait to check out some of his other work. Turned out, his other features were all adult films. My exposure to hardcore films at that time was pretty slim. After checking out Night Dreams and Cafe Flesh, however, I was inspired to check out several other adult titles from the 1970s and 1980s. Sadly, very few were as entertaining or as unusual as Stephen Sayadian’s.
The plot verbiage above is taken directly from the film’s introduction. The primary focus is on two of the club’s regulars, Nicky and Lana, “The Dagwood and Blondie of Cafe Flesh,” so dubbed by the club’s delightfully sarcastic emcee Max Melodramatic. I gathered from the film’s opening statement that the 99% of the population do not only become physically sick by human touch, but are also impotent and couldn’t get the job done anyway— although it really doesn’t go into much detail on the subject. The post-apocalyptic victims gather together at Cafe Flesh to gawk at art noveau hardcore sex shows. The performers are not volunteers, by any means. Enforcers are out there to flush out sex-positives who are not performing. Angel, a doe-eyed virginal lass from Wyoming, is taken away to do her part in entertaining the 99%.
If you were impotent and human touch made you vomit, would you really want to go to a sex club? They mock the torture of the audience numerous times, the majority of the abuse coming from the aforementioned emcee. Andrew Nichols gives a genuinely standout performance. He delivers his wordy dialog with complete ease; I did not question for a second that he was the emcee of a seedy post-apocalyptic sex club. Also stepping up to the plate and knocking it out of the park is beautiful Michelle Bauer (billed here as Pia Snow, the name under which she made a few adult films at the start of her career). Bauer should be a familiar face to those of us who enjoy 1980s horror cinema. She appeared in a ton of horror flicks: The Tomb, Terror Night, Hollywood Chainsaw Hookers, Nightmare Sisters, and Deathrow Diner, to name a few. I found her character here to be so very likable, I really wanted her to have a happy ending, and indeed she does.
Obviously, considering the plot, the sex is limited strictly to the shows the sex negatives watch. Dripping with 1980s flare and fashion, these stage shows are creative and well-costumed. Stephen Sayadian’s films embrace everything that was fabulous and flattering from that decade: sharp angular silhouettes, bold solids, wide black and white stripes. It was all about geometry then—at least, the cool stuff was. I have been suitably impressed with the sets and costumes for all three of the Sayadian films I have seen. The superb synth soundtrack from Mitchell Froom hits every right note; absolutely perfect musical accompaniment. I love this soundtrack so much that I own it. Black and white striped teddies, angular phone booths, sunglass-bespectacled studs, naked ladies in cases—there is just so much to say about the aesthetics here.
Cafe Flesh is a visual treat that oozes the 1980s with good performances and a badass soundtrack. A highly entertaining, tongue-in-cheek, apocalyptic adult adventure.
Fun fact; if you do a Google search for an adult film title, its IMDB listing is usually the first or second hit that will come up. If, however, you are on the IMDB website and search that title, it will not come up at all, unless you use the advanced search feature and toggle the button to “include” adult titles every time.
Included in the set: Horror Rises from the Tomb (1973) Vengeance of the Zombies (1973) Blue Eyes of the Broken Doll (1974) Human Beasts (1980) Night of the Werewolf (1981)
I have been a longtime fan ofPaul Naschyy’s work. One of Spain’s most prolific genre actors, he starred in over 100 films, almost half of which he wrote. Naschy also directed more than 20 movies. He played several monsters, but most often he played the werewolf Waldemar Daninsky.
Only one of the werewolf flicks made it into Shout Factory’s “The Paul Naschy Collection,” but they chose a solid title. 1981’s Night of the Werewolf was written and directed by and starred Naschy in the aforementioned role of Waldemar Daninsky. The film opens with a couple of graverobbers inadvertently awakening the werewolf. Meanwhile, a trio of attractive female college students with intentions to resurrect the evil Elizabeth Bathory end up as Daninsky’s houseguests. Love is in the air, but is alas squashed by dastardly shenanigans inevitably pitting the once enslaved Daninsky against the virgin-blood-drinking Bathory. The werewolf makeup is really excellent in this one. It features an amazing transfer unlike I have seen for a Nacshy werewolf film. Frankly, there are few good prints of Naschy films out there, and the werewolf flicks seem to be the crummiest of the lot. I had never seen a clean print of a Naschy werewolf film, and I wondered if I ever would.
Human Beasts is another 80s era film in the collection that was directed and written by and starred Naschy, who plays Bruno Rivera, a hitman who betrays his charge and is seriously wounded in the process. Fortunately for him he is rescued by a small town doctor with two beautiful daughters, who may have ulterior motives. Human Beasts actually had a respectable BCI DVD release. I did not notice a huge difference in picture quality. The BCI release has an absolutely charming introduction by Naschy; for that reason, I will always hold on to it.
Also in the BCI set, and included in this collection, is Carlos Aured‘s 1974 film Blue Eyes of the Broken Doll. Naschy is ex-convict Gilles, who is hired by three sisters as a caretaker. His arrival coincides with the murders of some local woman, and he naturally becomes a suspect. Despite not much difference noted in picture quality between the BCI version and Scream’s Blu, Blue Eyes of the Broken Doll is an important addition to the set. A Spanish giallo with a triple-twist ending and fabulous support from the talented and lovely Maria Perschy, Diana Lorys and Eva León, it is a favorite of not only Naschy devotees but of genre film fans in general.
Multiple Maniacs opens with Lady Divine’s Calvacade of Perversion: a circus sideshow, of sorts, set up with the purpose of robbing its patrons. We spend the balance of the film watching the complete mental breakdown of central character, Lady Divine. One thing that really stood out for me on this re-watch of this old favorite is the amount of then-current event references in the film. Cookie’s boyfriend Steve is a member of the radical left-wing underground organization the Weathermen; Bonnie compares amyl nitrate to sex; Lady Divine blackmails her lover Mr. David into claiming he participated in the Tate murders; and Mink fantasizes about people she’d like to kill, including Trish Nixon, Barbra Streisand and Shirley Temple Black. Multiple Maniacs is a twisted time capsule that I had long hoped to add to my DVD collection.
I lost my mind when I read Criterion would be releasing Multiple Maniacs. If that wasn’t enough, Janus Films did a limited theatrical run, which I was lucky enough to see last August 2016 at the Bell Lighthouse Theatre in Toronto. I have every available Waters flick on DVD, but Multiple Maniacs would be my first acquisition on Blu-ray. Criterion DVDs and Blu-rays do come with a higher price tag, but in my experience the quality restoration and supplementary
features make it well worth it. I always invest in a Criterion version of a beloved flick if it is available. Waters was queried on the level of
restoration he wanted to see on the film, which was full-bore; clean up as much as possible. The Blu-ray features an uncompressed monaural soundtrack, and George S. Clinton’s restored music is terrific. The supplements include “The Stations of Filth,” an entertaining ten-minute video essay on Multiple Maniacs by film scholar Gary Needham. There are thirty-two minutes of interviews with cast and crew members Pat Moran, Vincent Peranio, Mink Stole, Susan Lowe and George Figgs. As is the case with all of Waters’ older films, the entire cast of Multiple Maniacs were friends of the director. They share some great stories on working with Waters on the film. The trailer included was for the Criterion restoration release.
The real highlight here was the fabulous commentary from John Waters. Waters is hilarious; I always enjoy hearing him speak. The commentary is a funny, informative and sentimental trip through his experience making Multiple Maniacs. Watching the film with the commentary is an absolute must in my opinion. This is the first time Maniacs has been released on DVD/Blu-ray, so no comparisons to note there, but it is certainly a world away from the VHS copy I once owned. Criterion does not disappoint; the picture and soundtrack quality are more than I could ever ask or hope for, and at the end of the day this is ultimately the reason I fork out cash for Criterion. Seeing Multiple Maniacs in 4K is one of my cinematic highlights of this decade!
FEATURING: Lina Romay, Daniel Katz, Carmen Carrion, Albino Graziani, Jose Llamas, Mauro Rivera
PLOT: Irina, a psychic who performs a nightclub act with her lover Fabian, is plagued by nightmares that she believes to be real.
WHY IT WON’T MAKE THE LIST: Some of the visuals are surreal and the film has a trippy feel; this is achieved with music and creative camera work that do not equate to weirdness.
COMMENTS: A few years ago I started a (NSFW) feature on Tumblr called Franco Friday. It was part of an ongoing project to see every film Jess Franco has directed. IMDB lists 203 Franco films; according to Wikipedia ((The number of films directed by Jess Franco according to Wikipedia is “about 160”.)), that number is inaccurate. Apparently there are several films listed under more than one title. I noted in my June 2015 Vampyros Lesbos review that I had viewed some 40-plus Franco films at that time. Night Has a Thousand Desires marks my 70th Franco flick. It is already becoming difficult to find Franco films I have not seen, and I have yet to reach the halfway mark of his library.
Never missing an opportunity to make the most of a budget, Franco would often make two or three films all using the same cast, wardrobe and locations. Night Has a Thousand Desires was obviously filmed just before or after the inferior The Sexual Story of O, which I by chance had watched the week before. I have enjoyed a lot of Franco’s output from the early 1980s, and I think Night Has a Thousand Desires is his best of the period.
The film takes place in the Grand Canary Islands; the scenery is really beautiful. Both the natural shots and the interior locations are well chosen. The building where much of the story takes place has lovely stained glass windows that Franco uses repeatedly; it lends a great deal to both films vibe. The garden setting where one of Irina’s nightmares occur is superb. The copious zoom shots Franco is so fond of effectively relay a feeling of hypnosis. Everything about this film visually is on point. The soundtrack complements it perfectly: a mix of music borrowed from previous Franco films, including Female Vampire and Devil Hunter, combined with all manner of groaning, grunting, echos and plenty of chanting. Irina’s name is repeated over and over throughout. In one scene, the film’s best, Irina shares a joint with a man and two women who had attended her night club act. I felt like I was getting stoned along with the quartet.
It wouldn’t be a Franco film without sex and violence. Rest assured there are healthy helpings of sex and nudity, and most of these scenes have a bloody ending. The story is straightforward and there is certainly no mystery to solve; plotwise, the cat is let out of the bag early. This does not make the film any less captivating to watch. Lina Romay is outstanding! Whether under a trance, screaming and howling, crying, laughing, giving or receiving sexual pleasure, her character is empathetic and very watchable. Night Has a Thousand Desires is an entertaining and visually impressive Franco effort with a fabulous soundtrack and a great performance by Romay that should delight his fans.
Mondo Macabro’s package offers a really nice Blu-ray transfer with concise, easy to read subtitles and crisp and clear sound. I had to turn down the volume several times (I’m pretty sure my neighbors already think I’m a pervert, so I don’t know why I bother). The extras are a bit thin. There is solid Eurotika documentary on Franco that I had actually already seen before (I believe on another Mondo Macabro release) and an interview with Stephen Thrower, author of “Murderous Passions: The Delirious Cinema of Jesus Franco.” The art work on the DVD cover by Justin Coffee is superb! If you are a fan of Jess Franco you need this in your collection.
Celebrating the cinematically surreal, bizarre, cult, oddball, fantastique, strange, psychedelic, and the just plain WEIRD!