Swampchat: The Campy Spectacle of Bryce Dallas Howard’s Laughable Awfulness in Jurassic World (2015)

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Sometimes it takes more than one of us to tackle a film. Those are the times when we need a Swampchat.

Brandon: Reading over your review of Jurassic World was a refreshing experience. When I left the theater I felt an intense love-hate combo that had me a little more lukewarm on the film than you were, but I gotta say your enthusiasm is a little infectious after-the-fact. It’s good to take a step back and remember that “The predictable plot and characters aren’t the main selling point for this movie. It’s all about the dinosaurs!” The over-the-top dino action was certainly what got my butt in the seat, and the movie did deliver on that front, but I gotta admit that butt was squirming at the dialogue once it got there. As you alluded to in your review, the character Claire, played by Bryce Dallas Howard, was particularly groan-worthy on this front, serving as the “ball-busting” ice queen career woman stereotype no one was eager to see return to the big screen (hopefully no one, anyway).

As much as I enjoyed your enthusiasm for the movie’s dino action, I think you could’ve been even harder on Bryce Dallas Howard’s role in the film. I’m not going to mince words here. I honestly believe she might have been the most poorly conceived/written/acted/employed character I’ve ever seen in a movie this expensive. She was beyond awful. Just horrendous. But, once you accept how atrocious Claire is the whole thing becomes a fairly hilarious joke. For me that turning point came very early in the film, on an orgasmic helicopter ride (you have to see it to believe it) and lasted all the way throughout, or at least until she was making eye contact with a garden snake like she was gazing into a mirror. I’ve rarely been this simultaneously infuriated & tickled by a single performance before. It’s one for the camp record books.

Britnee, did you manage to find any humor in Bryce Dallas Howard’s performance or was the sexist implications of how she was written sour your reaction to her completely? Am I also being too hard on the actress or did was she really that inhuman in the role? I feel like I saw more human behavior from ScarJo in Under the Skin, but a lot of that could potentially be blamed on the script . . .

Britnee: I think I would have to watch the film again to see anything other than disappointment and annoyance with Claire’s character. We are usually on the same page when it comes to finding the camp value in crappy movie characters/actors, so I’ll give Campy Claire another shot. What was more disappointing than her character was the theater audience’s reaction to her sexist traits. When she was running in heels or trying to act tough and pretty for Owen, everyone belted out laughs. Someone even said “What an idiot!” There was one part in the film that sort of sums up Claire’s role in Jurassic World. She’s sitting in the driver’s seat (or passengers seat) of a truck while her nephews are in the back, and she attempts to calm them down by offering her protection. They immediately point to Owen and say something like “Um, can we go with him?”

Basically, Claire was useless and only in this film to be a joke and a pretty face. This is the only other film I’ve seen with Bryce Dallas Howard other than Lady in the Water, which is one of my favorite films. Her role in that film didn’t require great acting at all, so I’m not really sure if she’s a good actress or not. As for you’re harsh words about Dallas and Claire, they were 100% justifiable considering that the acting was crap and the role was the worst.

Brandon, do you think that all of the film’s dinosaur goodness makes up for Claire’s flaws? What was your favorite dino moment?

Brandon: I left the theater feeling very strangely conflicted on this one. Your initial review made it sound like the dino action overwhelmed a lot of the more unsavory elements for you & I’m totally there with a lot of the scenes. The trained raptors, the Pterosaurs swarm, and the climactic battle between (vague spoiler?) the old guard & the newest attraction were all fist-pump worthy elements that had me excited like the tiniest of children. However, I couldn’t shake the feeling that the film as a whole was just grossly off to the point where it could’ve been renamed Jurassic Park IV: A Woman’s Place Is Sidelined In The Van With The Kids or JP 4: Quiet Everyone, A White Man Is Talking. In the end I was half enthusiastic & half turned off. It was a strange sensation. To be fair to Bryce Dallas Howard, she was far from the only problem the movie had souring its more universally-enjoyable dino action, but she does serve as a convenient (and often hilarious) example of what the film gets wrong.

I think part of the reason I had fun with how awful Claire is in the film is because I had to. It was like a strange defense mechanism, as if my brain couldn’t handle something so egregiously wrong mucking up the pleasure I was getting from the trained raptor army & terrorized Jimmy Buffets of the film. Bryce Dallas Howard’s cold, implausible, entirely inhuman performance certainly helped things there, since it was easy to accept the idea of abandoning any non-camp enjoyment I could pull from her presence very early in the proceedings.

Britnee, one of the things I found most interesting in your review is the idea that Claire was especially regressive when viewed in contrast with Laura Dern’s turn as Ellie Sattler in the first Jurassic Park film, released more than two decades ago. However, there are some similarities between her character & the similarly career driven, baby hatin’ Alan Grant, played by Sam Neill in that film. Do you think that if Claire were less of a casual observer & more of an active participant like Dr. Grant, she would’ve been more of a palatable character? Or does gender-swapping those character traits pretty much guarantee the laughably bad performance that was delivered?

Britnee: Now that you mention it, there are a good bit of similarities between Claire and Dr. Grant. The idea of this most likely accidental gender swap sheds a new light on Claire’s character. Her attitude wasn’t the main thing holding her back from being a likeable character; it was her lack of participation in the nitty gritty of the film. She actually did have one big heroic moment, but unfortunately, it was overshadowed by her negative aspects. When the Indominus rex makes her way near the park entrance, Claire comes up with the brilliant idea of releasing the T-rex, and she even runs to the gate (in those damn heels) to release the dino. Why couldn’t she have had more parts like that? Now don’t get me wrong, she was very intelligent in many parts of the film, much like Dr. Grant, but she just wasn’t very physically active. I think that Owen is actually a big part of this problem. His manly man character was very oppressive and prevented Claire from doing much of anything. Claire and Owen should’ve been a team like Ellie and Dr. Grant, but the filmmakers seemed too focused on making Owen this macho breakout star instead of making Owen and Claire a dynamic duo.

Brandon, what are your thoughts on Owen? Why, especially in this day and age, do you think Jurassic World was so backwards when compared to Jurassic Park? Were the writers purposeful with this mistake or were they just a bunch of doofuses?

Brandon: I’m going to have to side with The Doofus Theory in regards to how this film got so mucked up. This is a major studio project that, although helmed by a director whose first film, Safety Not Guaranteed, had a strong cinematic voice, was most certainly made by committee. The fact that there are four credited screenwriters alone is not a good sign. If director Colin Trevorrow were paired with a single writer, maybe two, there could’ve been a much stronger vision shining through here. Instead, you can just feel the studio’s influence seeping through every frame to the point where producers & screen testers should’ve been given written by credits as well, at least for the sake of transparency. In the scramble to reboot a once mighty, now extinct franchise, Jurassic World makes constant homage to its 1993 ancestor, casually tossing out sly callbacks to all sorts of aspects from the original Jurassic Park with wild abandon. Some of these callbacks worked extremely well, especially when they culminate with the two films’ central monsters battling it out at the climax. However, the purposelessness of the exercise sometimes comes back to bite the movie on its tail, like when Dr. Grant’s child-hatin’ coldness (but not his heroic sense of adventure) get reassigned to a female character without any thought given to what that crucial change implicates.

Chris Pratt’s Owen has a very similar problem. Like the Indominous rex, he’s a creature of design, a classic movie hero seemingly grown in a lab solely to look handsome, squint purposefully, and crack wise. Like the reckless scientists in the film, the studio that created Owen were only trying to entertain the crowds looking for some dino action. They never once considered how dangerous their creation could be, how grotesque it would feel to watch a modern blockbuster in which every woman & POC character in charge would be proven weak & ineffective in contrast to the white man who swoops in to straighten everyone out. Even Chris Pratt’s bountiful charm can’t overcome an obstacle that treacherous & Owen’s flippant The-White-Man’s-In-Charge-Now attitude frequently comes off just as poorly as Claire’s Coldblooded-Damsel-In-Distress routine. Knowing that the effects these characters have on the film were likely a result of too many cooks spoiling the stew does little to help me forgive them for souring an otherwise pretty fun monster movie with a bunch of great, politically blank dinosaur action.

Lagniappe

Brandon: I honestly believe the Rosetta’s Stone of enjoying this film without caveat is personal acceptance of Claire as a campy mess. The awful performance combined with the (perhaps unintentionally) regressive dialogue was consistently humorous to me in the theater and I’m totally okay with that. I don’t need a movie that’s drawing power is mostly dinosaurs eating folks to win me over on an emotional or intellectual level. There wasn’t really enough going on with the film’s characters to provide a worthwhile face-value reading anyway. Claire is 1000% more entertaining as a joke than she is as a sympathetic character. It’s almost all for the best that that effect was unintentional; I wouldn’t want to believe that a final product that egregious was delivered on purpose.

Britnee: I think that I took Jurassic World too seriously during my first viewing because I expected it to be an extension of Jurassic Park. Of course, it is an extension of Jurassic Park, but it’s not as
similar to the first film as I initially thought. The dinosaur stuff was pretty similar, but everything else was totally different in the worst way possible. Now, I’m starting to see the overwhelming amount
of camp contained in the film. Owen the Raptor Man speeding around a dinosaur theme park on a motorcycle, a high-fashion ice queen trekking through dangerous territory in heels, and Jimmy Buffet running away from a dinosaur attack with a margarita in each hand are definitely not elements that would be found in a serious film, so I’m looking forward to watching it a second time with a much different mindset.

-The Swampflix Crew

Jurassic World (2015)

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fourstar
After raking in a total of $524.4 million its opening weekend, Jurassic World broke box office records and took the world by storm. Everyone has seen it, wants to see it, and they just can’t stop talking about it. The hype is really similar to the release of Jurassic Park back in 1993. I was a wee one at the time, but I remember everyone going bananas over it because it was going to be the biggest dinosaur movie of all time. Prior to its release, most films about dinosaurs were just silly (Prehysteria!, The Land That Time Forgot, Baby: Secret of the Lost Legend, etc.). The excitement died down for the second film, The Lost World: Jurassic Park (1997), and the third film, Jurassic Park III wasn’t as big of a hit either. I seriously thought that the third film was going to be the end of the Jurassic Park franchise because trilogies are the way to go nowadays. After hearing about the fourth installment, I spent a good amount of time searching for updates, watching the film’s trailers, and perusing down the toy aisles admiring the movie’s many action figures. I was more than ready to have this film blow my mind.

Dr. John Hammond’s dream of creating a dinosaur theme park finally comes true in Jurassic World, and it’s absolutely phenomenal. The attractions include a Tyrannosaurus rex feeding, a Mosasaurus feeding & splashdown, and a futuristic sphere that allows park goers to roll alongside a variety of herbivores. Even though Jurassic World is the king of all theme parks, its attendance rate begins to decline. In order to bring more people into the park, a group of geneticists create genetically modified female dinosaur called the Indominus rex. This dino-hybrid was beyond rad. She was really smart, terrifying, and a total killing machine. The CGI effects for this dino as well as all the others were some of the best that I’ve ever seen. There’s a great scene where a large amount of Pterosaurs break out of their aviary and attack the visitors (this is when Jimmy Buffet has his cameo), and the effects are gorgeous. It’s easily one of my favorite parts of the movie.

Prior to this chaos, the Indominus escapes from her caged environment (surprise, surprise), and she just starts killing everything in her sight. The film’s female lead, Claire (Bryce Dallas Howard), is the park’s operations manager, and her two distanced nephews are visiting her. The two boys end up venturing out too far at the same time the Indominus escapes. She panics and gets the assistance of the park’s raptor trainer, Owen (Chris Pratt), to locate her nephews. Pratt was great as Owen, the motorcycle-riding raptor man. I really loved how Owen was the Alpha of the raptor crew and had spiritual connection with them so much so that I had way too many crying moments for a movie about a dinosaur theme park.

While the film was an amazing action-packed thrill ride, it did have its share of flaws. The worst part of the film was the portrayal of the female lead, Claire. She’s a stereotypical ball-busting, cold-hearted career woman that’s clueless when it comes to taking care of kids. Well, because women can’t be career driven and compassionate at the same time. That would be crazy! I can’t help but compare Dr. Ellie Sattler (Laura Dern) from Jurassic Park to Claire because the two were leading female actors in Jurassic Park movies, but the difference between the two is night and day. Sattler was intelligent, considerate, and a complete equal to the film’s male lead, Dr. Grant; however, in Jurassic World, Claire runs around in heels depending on the protection and guidance of Owen. What’s so sad about this is that there is a 22 year difference between the two films. I think at this point, everyone is tired of seeing stereotypical, unrealistic female characters in film, and it’s a shame that such an impactful and monumental movie failed to be forward-thinking.

Jurassic World is definitely worth seeing in theaters, and it’s definitely worth the couple of extra bucks for the 3-D experience. The predictable plot and characters aren’t the main selling point for this movie. It’s all about the dinosaurs! They’re the ones that steal the show and make the film’s 2 hour length seem like a few minutes.

-Britnee Lombas

Rewind Moment: Humanoids from the Deep (1980)

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Rewind Moments are those special scenes in films that deserve to revisited over & over again due to their overwhelming impact.

Mutated humanoid fish people terrorize a small harbor town by killing and raping its inhabitants. Only Roger Corman could make an excellent film with such an absurd plot. Humanoids from the Deep is the definition of a B-movie. It’s a ridiculous gore fest filled with nudity and all the other wonderful garbage terrible movies are made of.

My “rewind moment” from Humanoids is the final scene of the film. One of humanoid’s rape victims gives birth to a mutated fish baby, and it is guaranteed to scar you for life.

-Britnee Lombas

Small Sacrifices (1989)

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three star

In 80s cinema, Farrah Fawcett was best known for her performances as revenge-hungry victims in films such as The Burning Bed and Extremities. However, in the made-for-TV biopic, Small Sacrifices, Fawcett transforms from a victim to a straight-up killer by taking on the role of the infamous Diane Downs. In the early 80s, Downs made headlines after being accused of shooting her 3 children in the backseat of her car. A few years after the incident in 1988, true crime writer Anne Rule published Small Sacrifices, which (obviously) the movie was heavily based on. The film has definitely made its share of appearances on the Lifetime channel throughout the years, so it’s easy for it to blend in with all the other made-for-TV dramas. The only thing that really sets it apart from the rest is Fawcett’s phenomenal performance. She’s really good a playing a bad mom. As horrible as that may sound, I mean it in the best way possible.

With her fluffy blonde hair, cute Southern accent, and all-American smile, Fawcett perfected the innocent image of Downs. How could this sweet single mother of 3 kill her children? Well, she was disturbingly obsessed with a married man (and fellow postal worker) Lew Lewiston, and during one of their rendezvous, he mentioned to her that he was not interested in having children. Interestingly, Ryan O’Neal played the role of Lew, and at the time, he and Fawcett were in an iconic relationship. Lew ended his relationship with Downs to go back to his wife, but Downs wasn’t having it. She completely lost her mind and took her children on a late night car ride, and while Duran Duran’s “Hungry Like the Wolf” was blaring in the background, she shot them all. Of course, she created an elaborate story about being attacked by a stranger that was hanging out on the deserted road, but she really sucked at keeping her story straight. Little by little, she transformed from being a grieving mother to a terrifying psychopath. I can’t even imagine how difficult it was to portray someone so mentally unstable, but Fawcett nailed it. She was so good that I had a difficult time separating her from her character, and that’s not something I come across very often.

Lifetime junkies, true crime lovers, and everyone in between, Small Sacrifices is an absolute must-see. The movie is about 3 hours long, so be prepared to spend a good bit of time with this one.

-Britnee Lombas

Rewind Moment: Aileen: Life and Death of a Serial Killer (2003)

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Rewind Moments are those special scenes in films that deserve to revisited over & over again due to their overwhelming impact.

One of my all-time favorite documentaries is Nick Broomfield’s Aileen: Life and Death of a Serial Killer. Aileen Wuornos is known as a psychotic serial killer who murdered several johns while prostituting in Florida from 1989-1990, a life detailed in the 2003 biopic Monster. Broomfield used this documentary to shed some light on Wuornos’ unfortunate upbringing while giving her the opportunity to speak and share her own story. After watching the film in its entirety, it’s difficult to not feel some sort of attachment to Wuornos. Her bulging eyes will haunt you for days.

There are so many “rewind moments” in this unforgettable documentary, but my favorite is the shot where she pretty much begs for her execution. She’s so terrifying and unstable in this moment, but at the end, I just want to give her a huge high-five for saying something so badass. I swear, if she’d ever been released from prison, John Waters would’ve picked her up in a heartbeat to star in one of his films. She has that special kind of charm.

-Britnee Lombas

Movie of the Month: Blow Out (1981)

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Every month one of us makes the other two watch a movie they’ve never seen before & we discuss it afterwards. This month James made Britnee & Brandon watch Blow Out (1981).

James: Brian De Palma’s political thriller Blow Out is our May Movie of the Month and I’m pretty stoked to revisit this hidden gem from one of my all-time favorite directors. Based on the 1966 film Blow Up about a fashion photographer who accidentally films a murder, Blow Out tweaks that premise, focusing on Jack Terry, a sound engineer for B horror movies, who gets entangled in a conspiracy after capturing the audio of a fatal car crash that kills a presidential candidate.

Putting his stylistic chops on full display, De Palma doesn’t pull any punches. Split screens, long tracking shots, dizzying angles; Hitchcock would be proud. It’s mind boggling that even with a star studded cast (including John Travolta, Nancy Allen, John Lithgow, and Dennis Franz) and gushing reviews from critics, Blow Out was a box office flop when it premiered in 1981. That’s a shame because everyone gives great performances, especially Lithgow as a cold blooded psychopath (what else) and Travolta as the sound engineer always looking for “the perfect scream”. Thankfully, Blow Out has gained popularity through the years and earned a reputation as a quintessential De Palma. I think it’s his best film.

What really blew me away re-watching Blow Out was how strongly the film holds up as a homage to the medium of film itself. It is a movie about making movies. As Jack puts together the audio and video of the fatal wreck, we are viewing the process of film making itself, the melding of sight and sound.

Brandon, do you feel like I do about Blow Out being a “movie about making movies”? Do you think this is why De Palma chose to focus on a movie sound engineer instead of a fashion photographer?

Brandon: I did find that approach interesting here, because normally films will interact with their own medium by showing members of a theater audience. This is even true in horror films, such as the monsters-break-the-fourth-wall classics Demons & The Ring or the throwaway gag in Gremlins where an entire theatrical audience is made of unruly, cackling monsters. There’s a little bit of audience-acknowledgement in the opening minutes of Blow Out, which features a few men in a screening room enjoying a hilariously tawdry, violent slasher movie. It adds whole other layer of specificity that the men are actually working on the film they’re watching, specifically on its sound effects. As James just noted, it’s not interacting with film as a medium from a consumer’s point of view, but rather from an active participant’s. Of course, the movie maker’s perspective isn’t entirely unique either, but the sound engineer angle has a very precise specificity to it, since most films about filmmakers would approach the story from the perspective of a writer or a director. It gets even more specific from there, given that these are men that only make cheap slasher flicks. At one point a character asks Jack if he works on “big” movies and he responds, “No. Just bad ones.”

That specificity turns out to be a very important distinction, especially the sound engineer detail. As James points out, Travolta’s protagonist, Jack, spends most of Blow Out’s run time attempting to construct a film version of a car crash he witnessed. Although film is a mostly visual medium, it’s Jack’s work with sound that dominates this process. He obsesses over the audio recording of the crash that he captured, using it as a cornerstone in his reconstruction of the crime scene. Yes, Blow Out is in some ways a movie about making movies, but more specifically it’s a movie about how essential sound is to film. It boils the medium down to one of its more intangible elements. In that way it’s much more unique than a lot of other movies about movies, arriving more than three decades before the film it most closely resembles in this approach (that I can recall, anyway), Peter Strickland’s Berberian Sound Studio.

Britnee, how do you think De Palma’s focus on sound in Blow Out shaped the film as a final product? Did its sound obsession have a big effect on you as a viewer, as opposed to how you normally watch movies?

Britnee: De Palma’s focus on sound really makes Blow Out a standout film and turns what could’ve been a run-of-the-mill thriller into a milestone in cinema. Of course, there are many other elements that make this film unique, but I think its obsession with sound is really what differentiated it from others. I have watched quite a few movies in my lifetime, but I’ve never come across or heard of a film that offers a behind-the-scenes look at the importance of sound in movies. Prior to viewing Blow Out, I never gave much thought to any of the sounds that occur during a movie, and now that I’ve seen the film, it’s all that I think about. In the final scene of Blow Out, Jack uses the screams from Sally’s murder for the bad movie he’s working on (his “perfect scream”), and I found this to be very unsettling. When I now hear a scream in a movie, I can’t help but think of the possibility of it being from an actual murder. What if there are psychotic sound technicians that go around killing people for authentic screams? It’s just something to think about.

The film’s camerawork is definitely something that stood out to me as well. Many of the angles were creative and voyeuristic with similarities to those in Blood and Black Lace, but there were a few that were way over the top, almost to the point of being ridiculous. The one that stands out the most to me is the merry-go-round shot that occurs in the scene where Jack is searching through his studio like a mad man looking for the missing tape. The camera must have spun around 100 times without stopping. It was like being on a Tilt-A-Whirl but not in a good way. Other than his theme park inspired camerashots, there were many others that were very innovative and enjoyable.

James, what are your feelings about De Palma’s imaginative cinematography? Were some of the shots a little absurd? Were they necessary for the film’s success?

James: A self-professed De Palma devotee, I love his unique approach to cinematography but I can understand how some viewers might scratch their heads at his more show-offy, “I went to film school” shots in Blow Out. Like the long tracking shot at the beginning of his1998 film Snake Eyes, many of these grandiose shots aren’t necessary, definitely a little absurd, but totally awesome. In fact, I probably wouldn’t have ejoyed Blow Out nearly as much if it didn’t included close up of owls and dizzying trips around Jack’s office. It reminds me of previous Movie of the Month directors like Mario Bava and Ken Russell who seem to take a similar delight in playing with their audience’s perspective

On a different note, I have to bring up the ending to Blow Out. As I addressed in my first question, Blow Out did not perform well in the bow office, and I wonder if the film’s bleak ending was the reason. With Jon Lithgow in full on psychopath mode and the Fourth of July festivities in full swing, we assume that that Jack will reach the girl in time but De Palma pulls the rug out from under us and the backrop of patriotism and freedom takes on a more ominous tone. Is this punishment for Jack’s participation in exploitation films? Is it a statement on American politics?

Brandon, what are your thoughts on Blow Out‘s ending? Why do you think De Palma chose to end the film in such an unconventional, bleak manner?

Brandon: I think the movie’s pessimistic conclusion is best understood in the context of De Palma’s status as one of the voices of New Hollywood. New Hollywood was already at least a decade old by Blow Out’s release, often cited as beginning with the release of Arthur Penn’s Bonnie & Clyde in 1967, but De Palma’s aesthetic & tone was very much rooted in the movement. In addition to other genre-defining traits, notable New Hollywood films like Easy Rider, Chinatown, The French Connection, and Harold & Maude had a tendency to subvert audience’s expectations by concluding on bleak & unresolved notes. I suppose the idea was that this approach was more realistic & honest because conflicts in “real” life don’t always end on the definitive & upbeat terms that often accompanied more escapist Old Hollywood fare.

I think De Palma goes even a step further than some of his peers in this case by falsely promising a grandiose, happy conclusion. When Travolta’s protagonist Jack first rushes to save the day, he disruptively drives directly into a Liberty Day parade in a grand gesture that normally would end with him victorious & Lithgow’s antagonist in jail. Instead, he crashes & burns. Literally. The “happy ending” subversion in Blow Out is so deliberate & well-teased that it plays like a hilarious prank before it takes an even darker turn. Despite the violence & grim political intrigue of the film’s story, De Palma still found a way to let his darkly playful sense of humor shine through.

Britnee, were there any other ways you found Blow Out oddly humorous outside the slasher-movie & hero-saves-the-day fake-outs that began & closed the film? What made you laugh in-between those moments?

Britnee: There was a whole lot to laugh at between the opening and closing of the film. While Blow Out was a serious thriller, there were a good bit of ridiculous moments and scenes that got a few chuckles out of me. Particularly, the scene when Jack first meets Sally in the hospital. Sally basically has a concussion after being in a fatal car crash, but Jack is so set on dragging her out of her hospital bed and getting her to a bar. He does succeed with getting her out of the hospital while she’s still in need of medical attention, but ends up having a hard time getting her to the bar for a couple of drinks (go figure). As Brandon mentioned previously, De Palma does have a dark sense of humor, and this is a pretty good example of it. Also, I’m just now realizing that the lovers in Blow Out, Jack and Sally, just so happen to share the same name as the famous couple from Tim Burton’s The Nightmare Before Christmas. Interesting.

Most of the other comical occurrences in the film were minor, but still pretty damn hilarious. Jack’s over-the-top dramatic facial expressions, Sally’s quirky dialogue, and Manny Karp’s dirty wife-beater really stick out in my mind as little things that were humorous in the film.

Lagniappe

Brandon: One thing I think that has gotten somewhat lost in the mix here is the performance by Nancy Allen as Sally. Known to most as “That Lady from Robocop” and known to Blow Out director Brian De Palma at the time of filming Blow Out as “My Wife” (feel free to read that in the Borat vernacular if you need to), is an actress who doesn’t necessarily get a chance to shine often. She’s extremely charming here as the love-interest-who-isn’t-quite-what-she-seems noir archetype, recalling performances like Dotty in Pee Wee’s Big Adventure & the secretary from Twin Peaks. It’s not entirely surprising that Allen’s performance is overwhelmed by the likes of John Travolta, John Lithgow, and the impressively sleazy Dennis Franz, but I do feel like deserves more recognition for bringing a certain heart, authenticity, and (as Britnee mentioned) humor to a film that may have felt like a (exceedingly technically proficient) cold cinematic exercise without her.

Britnee: Blow Out is such an unrecognized treasure. What I liked the most about this movie were the many twists and turns that occurred from beginning to end. After the first half-hour or so, I thought that I had the film figured out; an average Joe solves a murder and gets the girl in the end. It turns out that I’m a terrible guesser.

James: Blow Out is essential De Palma and arguably his masterwork. With its mix of intrigue, nail biting suspense, and dark humor, the film transcends genres and feels as fresh as it must have in 1981. Showcasing De Palma’s formidable skill behind the camera, Blow Out is also a great homage to the process of film making from a modern master.

Upcoming Movie of the Months:
July: Britnee presents Highway to Hell (1991)
August: Brandon presents Babe: Pig in the City (1998)

-The Swampflix Crew

Hack O’ Lantern (1988)

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fourhalfstar

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“But Mom, I like the taste of blood. Grandpa says it’s good for me.”

The bond between grandfather and grandson is a very special one, especially when the grandfather is the leader of a satanic cult and breeds his grandson to be the son of Satan. Director Jag Mundhra’s Hack O’ Lantern (aka Halloween Night) explores this specific type of grandfather/grandson relationship in one of the greatest “bad” horror films ever created. I knew that this was going to be a bad movie just from the title, but literally everything in the film was terrible. For starters, the main character, Tommy, is an 18 year old played by a balding 32 year old Gregory Cummins (Cliffhanger, It’s Always Sunny in Philadelphia). Now, even though Tommy is supposed to be the film’s main character, he’s present for probably less than half of the movie, and he barely has any lines at all. His grandfather is truly the most prominent person in the film, and his character isn’t even given a name. He’s simply referred to as Grandpa. Doesn’t this sound like a gem already?

Out of all the satanic themed horror movies I’ve seen (which is many), this one had the quickest satanic reveal ever. Within the first few minutes of Hack O’ Lantern, it’s known that Grandpa is a full-blown Satanist. After the opening credits, an innocent looking old man (Grandpa) driving a farm truck filled with pumpkins stops to visit his young grandson (Tommy). He gives Tommy a pentagram necklace along with a pumpkin of his choice and a little plastic skeleton. In one of the worst Southern accents I’ve ever heard, he tells Tommy that he’s “very special.” It didn’t take a genius to figure out what was going on, and honestly, I was a little disappointed. I personally would’ve liked Grandpa’s character to be more mysterious.

Ten years after receiving the necklace, Tommy turns into a rebellious teen, and he is more than ready to make his satanic confirmation. One of my biggest laugh-out-loud moments was when Tommy and Grandpa shared this super-secret satanic handshake. They both make (incorrect) devil horns with their hands and press them together while straight up mean mugging each other. Shortly after this occurs, a really bad heavy metal music video, starring Tommy, pops out of nowhere. The video is for D.C. La Croix’s “Devil’s Son” and I swear, the song is just as annoyingly catchy as “It’s A Lovely Life” from May’s Movie of the Month, Crimes Of Passion. This was definitely my favorite part of the movie.

About 30 or so minutes into the film, a slasher element is introduced. An unknown killer wearing a horned devil mask and cloak goes on a Halloween killing spree using a pitchfork, shovel, and knife as murder weapons. Of course, no slasher flick would be complete without a couple of nude girls, and I swear, everyone woman in this film had the opportunity to shed their clothes at some point. What I really appreciated was how the film’s slasher element blended in with its satanic roots so well. One did not overshadow the other, and many other films have not been able to balance different themes as well as Mundhra did with this one.

Hack O’ Lantern is a classic 80s slasher flick with a hint of satanic horror metal, basically the perfect formula for a “terrible” movie. It has not been released on DVD, but in November 2014, Massacre Video stated that they have acquired the rights to Hack O’ Lantern and plan on releasing it on Blu-ray later on this year.

-Britnee Lombas

Starry Eyes (2014)

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fourstar

Independent horror films are a dime a dozen nowadays, so I didn’t have high expectations for Starry Eyes. I was definitely taken by surprise because it actually ended up being a really good horror movie. Far from campy (in my opinion), it was a good, solid horror film. To make things even more interesting, the film was funded by a Kickstarter campaign. Knowing that donations from so many supporters contributed to the growth of such a successful film is mind-blowing.

The film starts out a bit slow, and quite honestly, watching the main character, Sarah (Alex Essoe), in her everyday life was a very painful experience. She is an aspiring young actress that has yet to land the role of her dreams. She has a horrible job, crappy friends, trichotillosis, and straight-up bad luck. Essoe’s acting was seriously on point, so much so that I wanted nothing more than to jump into the television and hug the life out of her.  Sarah is eventually given the opportunity for a leading role in a film produced by a major production company, but this is something that she will have to sell her soul to receive. Literally. Once she seals the deal with the production company, she starts to go through a few intense physical and emotional changes. Her “transformation” leads to a very memorable ending with a few twists along the way.

Throughout the entirety of Starry Eyes, there’s an underlying terror that’s difficult to ignore, and this is something that all good horror films should be able to offer. The film’s writers/directors, Kevin Kolsch and Dennis Widmyer, are two talented guys that everyone should be keeping an eye on. I’m hoping that they will eventually come out with Starry Eyes 2 because the ending ofStarry Eyes is almost like another film’s beginning, but sequels do have a reputation for being cinematic disappointments. I’m not going to hold my breath, but a girl can dream, right?

Starry Eyes is currently streaming on Netflix.

-Britnee Lombas

Blame It On the Streets (2014)

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twostar

Keenon Dae’quan Ray Jackson, better known as YG, produced Blame It On the Streets, a short film that offers an interesting look into what his everyday life in Compton was like prior to his success and fame as a rapper. What was intended to be a short film was more like an extra long music video without the music. There is a soundtrack that was created to accompany the film, but the film only contains short clips of YG’s songs. The lack of music was disappointing because the film was intended to illustrate the meanings behind several of his songs, such as “Meet the Flockers,” but it’s difficult to make that connection without the songs actually being in the film.

Blame It On the Streets wasn’t very good, but I highly doubt that YG wanted to make a cinematic masterpiece. The acting was very bland and the storyline was sort of all over the place, but despite all of its flaws, the film did hold my interest for its entire 28 minutes. There was a drive by, a high-speed police chase, a robbery, and loads of inappropriate language, so there was never a dull moment. One of my favorite scenes was when YG and his pals robbed a home in an Asian neighborhood in broad daylight. They didn’t have any gloves to mask their fingerprints, so they wore long black socks on their hands. It really lightened the mood.

Blame It On the Streets is currently streaming on Netflix.

-Britnee Lombas

Disturbing Behavior (1998)

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threehalfstar

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As I watched Disturbing Behavior for the very first time yesterday evening, something about it seemed strangely familiar. It didn’t take long for me to realize that it was quite similar to The Faculty, which was also released in 1998. In The Faculty, high school students are turned into aliens by their extraterrestrial faculty members and in Disturbing Behavior, high school students are turned into robots by their human faculty members. And, of course, each film has “the new kid in town” main character (typical for 90s teen flicks). After reading a couple of articles about the film, many compare it to The Stepford Wives (1975). I’m guessing this is due to the human to robot transformations, but that’s really the only connection I noticed. Despite all of the similarities it has to other films, Disturbing Behavior does a good job of standing out on its own. It’s campy sci-fi horror with a dash of high school drama, and I really enjoyed the film.

Steve Clark (James Marsden) and his family move to the small town of Cradle Bay after the tragic suicide of his older brother. Like all new kids, he immediately connects with a couple of outcasts at his new high school, Rachel Wagner (Katie Holmes) and Gavin Strick (Nick Stahl). As the film progresses, some “disturbing behavior” begins to occur in the group known as the Blue Ribbons, a clique of popular kids decked out in letterman jackets. With the help of a wacky janitor, Steve and Rachel find out the horrific secret behind the Blue Ribbons and attempt to stop their reign of terror.

It’s always great to see Holmes in a “bad girl” role since she’s best known for being the girl next door in Dawson’s Creek. I really enjoyed her in this film because she is great at pulling off the “misunderstood teen” look and attitude, and the chemistry between her and Marsden is pretty damn hot. She starred in the music video for The Flys’ hit single, “Got You (Where I Want You),” and I always assumed she was selected to be in the video because she was a pretty big teen idol during the time it was released. It turns out that the song made its debut on the Disturbing Behavior soundtrack (it plays in the opening scene and during the credits), so that’s probably the reason she was in the video. Mystery solved!

Viewing Disturbing Behavior through a critical lens makes it a horrible viewing experience, and that’s because it’s not a film that should be taken seriously. It’s loads of mindless fun and totally worth a watch or two.

-Britnee Lombas