All posts by Rod Lott

The Beat Generation (1959)

Hey, dig this jazz, cool cat: Because his doll left him for his rich daddy, Stan (Ray Danton, The Centerfold Girls) terrorizes the town as a serial rapist. Basically a walking tube of Brylcreeme, Stan’s known ’round town as “the Aspirin Kid,” so named for the me-gotsa-headache ruse he uses to penetrate thresholds when women are home alone.

Detective Culloran (Steve Cochran, 1949’s White Heat) is on the case, which gets personal after Stan bingos the bongo of the cop’s wife (Fay Spain, The Private Lives of Adam & Eve). And then really, really personal when she discovers she’s got a bun in the oven.

The Beat Generation marks a next-year reunion for High School Confidential! producer Albert Zugsmith and starlet Mamie Van Doren. It’s something of a spiritual follow-up, with Ms. VD playing another saucy, savory sex bomb. Here, she’s victim No. 3 … or would be, if not for the fact that she wants it bad. “I wish I had,” she tells the police. “He looked like real gone kicks.”

The movie sure is, provided you’re willing to take it as a half-serious crime story. It’s even a bit progressive in that director Charles F. Haas (1959’s Girls Town) doesn’t blame the victim for the rape. But he does shame her into nixing her plans for a rhymes-with-smuh-smortion.

To be fair, despite The Beat Generation’s title, beatniks barely figure into the story, although the only and only Vampira, free of wig, spouts some free-verse nonsense while a white rat hangs on her shoulder. Somehow, the whole shebang ends with a fight underwater. —Rod Lott

Get it at dvdrparty.

Kill (2023)

If revenge is a dish best served cold, Kill serves it up — with seconds, like it or not — delivered on a block of dry ice. In the deceptively simple Bollywood actioner, Lakshya — just Lakshya, thanks — kicks ass figuratively and literally as National Security Guard commando Capt. Amrit Rathod.

His longtime girlfriend, Tulika (Tanya Maniktala, as charming as she is beautiful), is forced into an engagement by her father, a titan of the transportation industry. So with a ring of his own, Amrit hops the Delhi-bound train she and her family are riding, in hopes of saving his beloved.

That Tulika accepts his commode-set proposal doesn’t surprise Amrit. But that it happens as money-hungry kidnappers take over the train and target her family in a full-blown terrorist/hostage situation? Yeah, that’s quite a swerve.

As Amrit slides into Everyone’s Savior mode, he lays out Kill’s killer concept: 36 bandits across four coach cars on one unstoppable train. Personally, I like his odds. I also acknowledge the setup is so mindless, a kid could write it.

But could a kid execute it as well as writer/director Nikhil Nagesh Bhat? Not a chance! Most working filmmakers in America aren’t even up to the task. Not since Gareth Evans’ stick of Indonesian dynamite, The Raid: Redemption, has an action film been this pure, kinetic, inventive and unforgiving. Not Evans’ The Raid 2, nor a single John Wick flick, any four of which Kill arguably most resembles. It plays — and for keeps — as if Mr. Wick bought a one-way ticket on David Leitch’s Bullet Train. And no dance sequence!

What Lakshya lacks in leading-man verisimilitude, he makes up for in violence. Befitting of its title, Kill is relentless in soundtrack-squishiness as Amrit and allies face a seemingly endless barrage of fist, feet, machetes, sledgehammers, cleavers, daggers, fire extinguishers, etc. etc. etc., much of it dealt by Thakur, the skeeviest of bad guys.

If you don’t hate Thakur on sight, the scene-stealing actor portraying him, Raghav Juyal, soon will take care of that. Juyal relishes the opportunity to become the Hindi Hans Gruber. This fight film’s juice is well worth the squeeze, even when your wind pipe is the one being compressed. —Rod Lott

Get it at Amazon.

Arena Wars (2024)

Basically a remake of Lucio Fulci’s The New Gladiators, Brandon Slagle’s Arena Wars also forces Death Row inmates to combat on live television in the near future. For this Mahal Empire production, that’s the year 2045 vs. Fulci’s 2072, because let’s not get too crazy. 

That TV show is called — surprise! — Arena Wars. Despite being co-hosted by a most grizzled, most hair-dyed Michael Madsen (Mahal Empire’s Death Count), it’s a nationwide smash. But with ratings not what they used to be, one of the rich white men behind it asks, “How do we make death exciting for the masses again?” 

The answer involves pitting seven Death Row inmates with QR-code neck tattoos against the show’s seven costumed killers. Sporting names like Meat Wagon, each villain has a concept: Mr. Smiles is a homicidal clown; Master Blaster wields a chainsaw; Cutie Pie, the lone female, slings a mean machete.

Meanwhile, on the prisoners’ side, our hero is former Marine and current innocent man Luke Bender (John Wells, Mahal Empire’s Bermuda Island), who looks like every guy you’ve ever seen wearing a shirt from Tapout and/or Ed Hardy. They progress through seven rooms, like Bruce Lee in Game of Death, only horizontal.

These futuristic bread-and-circus pics number greater than events in the Olympics — summer and winter combined. Unlike most, which are funny only in the ways the filmmakers did not imagine, the script by Slagle (House of Manson) has an actual sense of humor — a Mahal Empire staple. For instance, the opening scene’s titles orient us in “THE BIG FUCKING CITY,” while Madsen comments on one contestant’s grisly fate, “I’d hate to be the underpaid janitor who has to clean that up.” 

Brothers Sonny and Michael Mahal’s story hits the basic beats without playing notes to connect them. Thus, fight scenes constitute the bulk, which gets tiresome … unless you’re the kind of person who watches WWE Raw, likely the intended audience anyway. —Rod Lott

Get it at Amazon.

Tastes of Horror (2023)

Tastes of Horror is the Korean equivalent to Tales from the Darkside: The Movie, in that the anthology film is a feature version of an existing series. The difference here is that Tastes’ half-dozen stories aren’t new, but adapted from the animated show.

Absent of a wraparound, the segments bump against one another with merely a title card to separate them. In a TikToky take on “The Monkey’s Paw,” aspiring K-poppers encounter a witch’s dance video that, when performed, makes your wish come true. Fresh from winning a casino jackpot, a man is stranded at a strange hotel. Stuck in a purgatorial room, a woman must complete rehab within a specified time to escape.

A girl’s med-school dreams are in danger of being dashed until she learns a sacrifice will earn her good grades. Apartment tenants are warned not to use the building’s gym after hours, but they do, invoking a figure with requisite long, dark hair covering her face. Finally, two mukbang YouTubers face off in a stomach-stuffing eating contest, consuming nauseating piles of donuts, fried chicken, sushi and more.

If these six segments represent the best of Tastes of Horror’s run, I’d hate to see the remainders. All but one put forth an interesting premise, yet sluggish pacing in each fritters that away; the effect is like watching your frugal relative open her gifts verrry carefully so she can save the wrapping paper.

At least visually, the tales feel of a piece, rather than their true origins of coming from five directors. On the other hand, that means Tastes’ “house style” is bland — competent, but bland nonetheless . A few bright spots alight throughout, from clever setups in the gym to a Ringu-inspired nightmare and a sequence of rats raining from the ceiling, yet none enough to push the omnibus into a recommendation. —Rod Lott

Get it at Amazon.

Model House (2024)

After famous model Bella Baylor (Zombeavers’ Lexi Atkins) is mowed down by a car, new and naive model Zoe (Cory Anne Roberts) is called into replacement duty on a bikini shoot. Part of that entails rooming with her fellow tanned-and-toned mannequins in a rented home which gives this film its double-meaning title of Model House.  

Their first night may prove to be the end of their days, as the pad is invaded by gun-totaling criminals in comedy and tragedy masks. The felons (Scout Taylor-Compton and Piranha 3DD’s Chris Zylka) demand the models swindle social-media followers out of a million bucks by posting a donation link to the Bella Baylor Family Foundation — a nonexistent charity that’s actually an offshore account. Do it for the ’gram. 

With Model House, music video veteran Derek Pike follows up his directorial debut, the inauspicious made-for-Lifetime Kidnapping in the Grand Canyon, with something in no danger of airing on that women-centric cable channel. Not when the models, save Zoe, are so transparently portrayed as intellectually vapid; one is all into OnlyFans, while the most insufferable has named her breasts Kylie and Kendall … and can’t wait to show them. 

Recently seen trespassing across another suburban threshold in A Creature Was Stirring, Taylor-Compton may be top-billed, but Model House’s blueprint showcases Roberts (an actual contestant on TV’s America’s Next Top Model) in her first movie role. While competent, she and the others are helpless to keep the whole thing from being stolen by Randy Wayne (Hellraiser: Judgment), also one of the producers, in an amusing recurring bit as an in-denial ex. 

Although slickly made, the movie isn’t successful. Pike’s own script fails him by going serious after a casually comedic, playfully self-aware setup suggesting a twist on the Slumber Party Massacre template. What follows is not that, but paint-by-numbers content nearly as tedious as the influencers it depicts. Pike shot this modestly budgeted thriller in the cost-effective environs of Oklahoma City. That the Sooner State capital is passed off as Los Angeles is hysterical, considering how only about four people dot the street. If you’re willing to buy that, perhaps you’ll swallow the rest? —Rod Lott

Get it at Amazon.