Episode 20 - My Bloody Valentine (1981)

 

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Episode 11 - Neon Maniacs (1986)

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Nightbreed: The Cabal Cut (2014)

Guest Review by Travis Indovina

I grew up with make believe. I can relate most of my earliest memories to comic books, movies, gateways to fantasy and imagination. My father, a Peter Pan at heart is responsible for this. His childish enthusiasm for the unreal formed and shaped my mental workspace and to some extent, my perception. As I got older, the more I delved into the fantastic the more I began to learn. This, I believe, has had a significant effect on my moral standing and personality traits. I have no doubt that my hopeless optimism comes from Superman's impenetrable (if not unrealistic) faith in human kind despite their inhumanity to themselves, my racial and feminist empathies can be put into perspective by the films of George Romero and James Cameron and perhaps, because of this, is why I've been so attracted to the horror genre.

A lot of horror films trivialize death into dark fantasies making spectacles of violence, while other horror films are the melding of otherworldly forces unknown to our understanding and how they can be just as dark as some fairy tales can be light. They can also be interpreted as morality tales, scaring its audience with the evils of the world, never glorifying but exploiting them as grim and truly immoral. Horror and escapism can be used as a tool in melding humanism and social awareness for entertainment. And I would eventually stumble upon a movie that I felt would meld all that I love about fairy tale fantasy and social morality. When I was 13, I found Nightbreed.

The movie, about an outsider who joins a club of outsiders (monsters) who are ostracized and oppressed by patriarchy combined the comic book sensibilities of something like the X-Men, full of subtexts that can be correlated to civil rights, sexual orientation and any other social discrimination, the heart of a story like Frankenstein, who wasn't born evil, but misunderstood, the visual
iconicism of a slasher movie, action, fantasy and even romance. I thought it was bad ass! I'd eventually read in horror movie publications such as Fangoria and Toxic that Nightbreed was meant to be a franchise, a series of films expanding the mythology of the characters and that the film itself was intended to be much different than what we actually received. The film's story was re-purposed by the distributor which conflicted with the filmmaker's vision. Though, I loved what already was, I was now influenced by the knowledge that there was more and I could realize that something was missing with each subsequent viewing.

So I read the original novel it was based upon, “Cabal” and any issues of the comic book I could find and always wondered and theorized what Nightbreed could've been. And some things that should not have been forgotten were lost. History became legend. Legend became myth. And for two and a half thousand years, the movie passed out of all knowledge... Well, no, but, some years went by and shortly after sharing the movie with my then girlfriend in 2008/2009 I had read online that a 160 minute workprint had been unearthed and was going to be screened at a horror con in Indianapolis. I had to go! I was waiting for this moment for 10 years! And we went!

Before the screening there was a Q&A with writer and director Clive Barker. He mentioned that all he needed to find was some reels of film and they could begin restoring it for a Director's Cut. Now, when I watched this version my viewing experience could have been enhanced by not only my excitement, but how I mentally pieced the film together due to its technical imperfections. The quality of the Workprint was not only in rough shape, but the score, visual/optical and sound effects as well as audio mixing and re-shoots were all absent! So my pleasure could stem from my fan bias as well as how actively engaged I was at trying to make sense of it all based on my general understanding of how a movie is made. Which only, in my mind, made it a better film because not only could I reflect and see what the finished project was meant to be, but all of the holes that were apparent in the theatrical version were finally fulfilled painting a much more refined picture. The characters felt like they had more purpose and given much more weight in the film and some of the lack of re-shoots aloud the narrative to breath.

For plenty of viewers it was an eye sore because I don't think people realized how formative a stage a workprint is for a film, but I left the screening elated.

Now, when I heard that the CABAL CUT was underway it was like a dream come true. Finally someone would take both versions to make a cohesive and coherent edition of Nightbreed as it was intended. Restructuring the film in the best way possible. And when I finally saw the "Cabal Cut" either my expectations were too high, or I relied too heavily on the version I had made in my head but it was still a work in progress, and I expected it to be closer to a finished product.

The Cabal Cut jarringly cut from DVD footage to the cruddy off color muted video quality of the workprint, using some scenes that flowed and some cuts that didn't. I assumed that the footage had been found and that it would be more complete and not look so much like a glorified fan-edit, but I was wrong... Russell Cherrington, the “expert” responsible for this cut had stated before the screening that if anyone wanted to discuss the film or had any suggestions about it could talk with him afterwards. I approached him after the screening and I asked how they intended to release the film, would it include both versions, would it have deleted scenes and such and he didn't seem all that interested but he was nice enough to patronize me. He said yes to it all and I asked him about one scene that I didn't think fit and he agreed but he said he liked it anyway... I thanked him for his time and I was disappointed.

Afterwards I kept asking myself, where is Clive Barker and where's his involvement in this version? Is he supervising this cut and does he have a say? Or has he kind of removed himself from the material and faithfully relies on the hands of others? I just decided not to get my hopes up too much. Not long after that was it revealed that home video distributor Shout Factory was working on releasing an official Director's Cut.

The ultimate limited edition set was very expensive for one movie but I caved and ordered it. A few weeks before it would find its way into my eagerly waiting hands, reviews began to surface and some fans, as well as some of my friends were unimpressed with the new edit. This put a slight damper on my heart, I say slight because while I may not entirely enjoy the context of this new official reconstruction of the movie, I still have the version I've loved all these years, and I'll have a ton of special features to compliment it, so, good or bad, to experience Nightbreed yet again for the first time in a different way is enough for me.

I watched all of the features first, and I was a bit confused as to why the man responsible for this ambitious epic of blood and magic wasn't present in the main retrospective making of documentary. Also, in this feature there was footage of scenes that were not present in the deleted scenes (and neither in the Director's Cut, but more on that in a moment). I can't say I'm entirely underwhelmed, but I'm curious to know what shorthanded these features. And then, I took a deep breath to finally embark on the Director's Cut.

I started this new cut and I couldn't calm myself. I kept comparing it to what I had seen before instead of just taking it in. My mind was racing and I began deconstructing it immediately, repeating the criticisms of my colleagues. After about 30 minutes in, I stopped it and took a break. Found a distraction (the guitar) and eased my mind for a bit. Then, I started it over.

I don't think the Director's Cut is perfect, but that doesn't mean I think it's bad by any means! In this new version, I found the first act to be a bit uneven for Clive is trying to bring in more character development in an already quickly moving story, interspersing scenes of character relationship excised from the theatrical version between scenes of exposition. There's a musical number where the male lead visits his significant other performing on stage during a concert and while this scene is cool to see, I found it unnecessary for I feel their relationship is given enough development throughout the course of the story. The use of alternate takes heightening the performances I thought brought a solid emotional context to the film that wasn't as blatant in the theatrical release. Also, the movie tends to ponder during the second act, spending a lot of time on the antagonists, while I can see this being a problem for most viewers, I felt it made the climax all the more satisfying with the inclusion of some more action. Because of the heart that this new version tries to

define made the new ending work beautifully. This version is also more faithful to the novel and brings a lot more clarity to some of the ideas that originally felt rushed. I've waited forever for a Director's Cut and honestly, I am pleased. I respect Mr. Barker's intended vision of his film even though I don't find it better than the theatrical version nor do I think it is a completely different movie as it is being advertised by its developers. I like them both for different reasons; if I want a dark romantic fantasy, I have the Director's Cut, if I want an action film, I have the theatrical cut.

I can totally understand why viewers would be underwhelmed with this new version. The new footage was spoken of in legendary proportions which only lead the fans to enthusiastically speculate that this film would be nothing less than a life changing experience. After 25 years of waiting to see what could have been, we simply get a monster movie rich in myth given a bit more heart.

So now, a journey of mine has come to a close. I've devoted so much of my life to loving and studying this movie and all of my wonders and questions have finally been answered. I shall always hold this movie in my heart and in my mind as well as on my shelf.

Final notes:

Considering the materials that were given, I love the clarity in picture this Blu-Ray has to offer. But there's still plenty of footage that was featured in the workprint that is not present in this set, some of which I'd like to see again: In the workprint (as well in the novel) the mask in Decker's mind would talk to him, beckoning him to come out. Interesting to note that the workprint originally opened with the scene where Lori visits Boone at his job in the car garage (another scene I found to be unnecessary in the DC). The family Decker murders was not present nor were the two characters of the chubby guy with the tentacles that come out of his stomach and his black bull looking friend. Also, Hugh Quarshie survives and aids the Nightbreed in escaping.

Episode 06 - Demons/Demons 2

        Episode 06 - Demons/Demons 2








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Scare-A-Con

Coolidge Corner Theater

Popcorn (1991)

Long gone are the days of the gimmick film where seats buzzed, and when ghosts and monsters roamed the aisles. The amazing William Castle, who entertained audiences with such greats as House on Haunted Hill and 13 Ghosts, believed he could provide thrills outside of the silver screen. Rigging the theater with all sorts of proprietary gags made Castle a name to be recognized. With almost every other week a 3D film being released into theaters nowadays it's a little hard to think that a film in 3D was a rare treat.

Perhaps it was the changing tastes of the movie-going public that brought the end to theater gimmicks, but there are two great examples of tribute to the lost art form. The first being Joe Dante's overlooked period piece Matinee, with an outstanding performance by John Goodman in tribute to the late Castle. The other film that tips its hat to Mr. Castle is the offbeat slasher film, Popcorn.

Popcorn revolves around Maggie, an aspiring screenwriter attending UC Berkley, who keeps having vivid nightmares which she fuels to write her script. While attending class, Maggie's film teacher Mr. Davis tells them they need to get some funds for their department, or risk being shut down. So Mr. Davis enlists the help Dr. Mnesyne, who is a film historian, to re-create the lost art of the gimmick with such thrills as 3D, Shock-O-Scope and Odorama. The goal is to have an all-night horrorthon to raise money for their program.  As the event starts, Maggie starts to learn that her nightmares are repressed memories from her childhood, and it appears that her past has a deadly way of catching up with her.

As a fan of both 80's slashers and 50's Science Fiction, Popcorn is, well... a real treat as a genre fan. It's hard to look at the film as one cohesive story as there are two films going on here, both of which highly entertaining. The kills are all different and rather inventive, and while some of the actors may not be what you'd consider "A-List" (with the exception of the ever lovely Dee Wallace) they suite the film just fine. My favorite moments are the films within the film, serving as the go-between to the slasher stuff. This is just personal preference as the slasher story is handled really well for a film of this type.

Popcorn is a film that pays homage to the long gone B-Movies of the 50's and 60's while keeping modern day audiences appeased with a by-the-numbers slasher sub-plot. Popcorn isn't a film that will be known for re-inventing the genre, but it's a fun look at a bygone era of film making. With a well crafted sub-plot and an energetic script, Popcorn is a film that will entertain those looking for laughs as well as violence.

Popcorn is out of print on DVD, but available from Elite Entertainment. Synapse is supposed to release a special edition Blu-Ray this October, but I haven't heard any updates as of yet.

Rating: 5 out of 5 Trash Bags

Popcorn IMDB

Popcorn Amazon

Popcorn Wiki

Death Kappa (2010)

The execution of a proper parody is a difficult thing to accomplish. You have to be able to break the fourth wall with your knowledge of the genre shortcomings, while continuing to push the original story ahead. Too many times, we are bombarded with nonsensical pop-culture references that are supposed to represent plot and character development. That's why well loved spoof movies are few and far between.

Kaiju films have been lampooned forever, and, as described above, few are any good. The interesting thing about 'Death Kappa' is that while it was made in Japan, it has all the features of an American edit of a classic Kaiju film. Bad dubbing, special effects and incoherent plot points are only some of the aspects of 'Death Kappa' that are hamming it up.

In Japanese folklore, a Kappa is a mischievous goblin creature who happens to eat cucumbers (hence, Kappa Roll), and loves Sumo wrestling. This is all described in the beginning of the film by an American man with a Japanese name and accent. It sets the comedic tone for the film right off the bat.

'Death Kappa' tells the story of a Japanese pop-star who just couldn't hack it in the busy world of Tokyo, and moves back to the country to be with her one remaining family member, her grandmother. While taking the train back to her home town, the film is interjected with shots of  her grandmother walking with a basket of cucumbers and a group of rambunctious teenagers drinking and driving. Suddenly, out of a cliche, the grandmother is hit by the group of teenagers who speed off, and knock the remains of a petrified Kappa into the ocean (note: the "ocean" was represented by a fish tank).

The Kappa springs to life and dances around with the pop-star and her friends. All the while, a menacing creature is lurking on the beaches killing all in its wake. As the Kappa becomes friendly and dances to the star's music, a menacing figure is lurking around the corner. Are these two connected? What will happen to the Kappa and his friends? Where are the giant monster fights?!

Out of the last two questions presented only one matters:  giant monster fights. The film took the route of parodying two styles of Kaiju films: the family friendly and the classic monster vs monster. What I find to be the issue with 'Death Kappa' is that we are essentially given two separate movies that have to be judged as one. 'Death Kappa' is broken down into three parts: Family Film, Mad Scientist Film and Giant Monster Film. Each one handled differently in terms of what material is being poked fun at, but the jokes are just too forced and stale. From poorly written dialogue to cheesy computer effects, we're trying so hard to follow the story that the jokes are just pelted at us like a monkey throwing its shit.

It feels like the filmmakers really did have an appreciation for the giant monster movies of yesteryear, but with the face paced editing, it made the film feel too modern. The dubbing was atrocious, and it felt too much like the wooden acting was intentional. Sometimes it works, but mostly when the films weren't trying to be funny. The plus sides of 'Death Kappa' though are the costume and set design, which felt very much like a Kaiju film. Solid sculpting works on the monster bodysuits was a fine piece of eye candy, while your brain suffered through the plot.

At the end of the day though 'Death Kappa' is going to be a love it or hate it type of experience. There are a few laughs here or there, but I honestly felt like I was suffering through a lot of it. By the time the monster actually did make an appearance I had already checked out. It's not going to be remembered for anything other than a throwaway parody.

'Death Kappa' is available on Blu-Ray and DVD from Tokyo Shock.

Rating: 2 out of 5 Trash Bags

IMDB Page

Amazon Page