All posts by Rod Lott

Grave Encounters (2011)

Had Grave Encounters come with traditional opening credits, I might not have gone beyond that point. Here’s why: The film is written, edited and directed by “The Vicious Brothers.” Embarrassed to affix real names to it? Or was “The Extreme Brothers” taken, bro?

A Paranormal Activity-type flick of near-startling inactivity, Grave Encounters begins on a high note, with a straight-faced lampoon of every single crappy “reality” show featuring would-be ghost hunters. Here, the team totaling five aims to shoot its sixth episode overnight while locked inside the abandoned Collingwood Psychiatric Hospital, where hundreds of lobotomies were performed on mental patients many moons ago.

With Sean Rogerson doing a fine job of portraying the host as a total douche (to a point of tangible annoyance), the requisite strange stuff begins to happen following a belabored setup. This includes a woman’s hair being pulled, a window opening on its own, a door slamming on its own, and so on. Things only ramp up at the tail end, but either are highly reminiscent of scenes from other movies — most notably, [REC] and the House on Haunted Hill remake — or are acted so amateurishly, what is meant as horror comes off as humor.

There are two good moments, both of which add up to less than five seconds. The only thing “Vicious” is the film’s apparent lack of vocabulary; most of the dialogue is written with three words: “fuck,” “shit” and “Matt.”

I spit on your Grave Encounters. —Rod Lott

Buy it at Amazon.

The House of Clocks (1989)

Don’t be dissuaded that The House of Clocks is a film Lucio Fulci directed for cable television. After all, HBO’s infinite Real Sex series is directed for cable television. In other words, none of the Italian-baked horror master’s sensibilities is toned down. To assure you, an early scene depicts a woman being stabbed in the hoohah, and her baby-making parts — looking not unlike bait-shop wares — spill out.

To turn back the clock a bit, the titular abode belongs to Mr. and Mrs. Corsini (Cannibal Holocaust’s Paolo Paoloni and Damned in Venice’s Bettine Milne), an elderly couple who have used their wealth to fill their mansion with 70 years’ worth of antique clocks. They also have their nephew and niece there, off in a separate room where they can rot in relative peace, even with the railroad spikes that protrude from their necks.

Enter three young ruffians: two guys, one girl. These shoplifting, pot-smoking, cat-in-plastic-bag-trapping punks burst into the place to rob the Corsinis blind, but accidentally kill them, too. At the moment of the old geezers’ murder, the clocks freeze. Soon, their hands inexplicably move backward, thereby enabling the deceased Corsinis to take their revenge. Like sands through the hourglass, so are the days of our lives.

Goreophobes need not bother setting a date for this one, as it’s as brutal and bloody as Fulci’s famed filmography. Once the senior citizens start to lash back at their uninvited guests, The House of Clocks isn’t located that far from The House by the Cemetery or any of the director’s other zombie works. This one isn’t as good as those, but his fans will enjoy its over-the-top bloodletting. If you thought the “spring forward” portion of daylight saving time was a shock to your system, imagine how bad it would be under this roof. —Rod Lott

Buy it at Amazon.

Atrocious (2010)

With America rocking the found-footage business, Spain gets into the act with Atrocious. Its concept is that sibling urban-legend investigators Cristian and July (unknowns Cristian Valencia and Clara Moraleda, respectively) are dragged by their parents to spend Easter weekend in a nearby village, where stands the family’s castle, empty for 10 years. Certain to be bored to death, the brother and sister shoot video of the entire trip.

Legend has it that a girl disappeared from the grounds decades before, never to be found. Also, there’s a gated labyrinth adjacent to their property they can’t wait to explore, but their father forbids them to step foot there. So naturally, they do, and find a lot of prickly branches there. Oh, and a well. And anyone who has seen The Ring knows those things are bad news. Especially later when they find a fresh trail of blood leading to it.

That’s not all. The kids hear weird sounds emanating from the maze while they’re trying to sleep. Things really escalate when their 8-year-old brother can’t be found, leading to a too-long run through the dark. (Hope you like night vision!)

The mere title of Atrocious invites trouble (I assume it was chosen to resemble the smash Insidious), but actually, the movie isn’t even close to awful. It’s not great, either, but it is muy bueno, with a rather effective final 10 or 15 minutes that are undeniably creepy, even if you’re short of being scared. —Rod Lott

Buy it at Amazon.

The French Sex Murders (1972)

One has to love how direct The French Sex Murders is, not only in title, but making good on that title. Viewers will get healthy doses of all three things in B producer Dick Randall’s shot at a giallo. Heck, the opening of a man leaping from his death (partly rendered in crude cartoon) from atop the Eiffel Tower is even repeated at the end. What scenery!

And I don’t mean just the Eiffel Tower, either, because much of the film is set in an exclusive Parisian brothel headed by Madame Colette (Anita Ekberg, La Dolce Vita). One of its hottest whores (Barbara Bouchet, Don’t Torture a Duckling) is discovered murdered, and her last client (Peter Martell, Death Walks at Midnight) is fingered for the crime. He accidentally beheads himself fleeing the police, yet the call-girl killings do not stop with his grisly death.

Inspector Pontaine (Humphrey Bogart lookalike Robert Sacchi, in his debut) continues to hunt for the real killer, taking him from the bosom of Lady Frankenstein‘s lovely Rosalba Neri to the laboratory of Professor Waldemar (Howard Vernon, The Awful Dr. Orlof), who proposes an intriguing theory.

The mystery is so easy to crack, it hardly qualifies as one. But that’s not the point; a giallo is less about the killer, and more about the kills. Director Ferdinando Merighi likes his so much that he shows you the exact same shot of the violent act in several times’ succession, but each in a different colored tint. He also shows you many women in the altogether nude, but keep in mind that some of them are French, which means their armpits match the drapes. —Rod Lott

Buy it at Amazon.

Maximum Risk (1996)

Ringo Lam (City on Fire) brought his might as one of Hong Kong’s most noted action directors to the West for Maximum Risk, the first of three assignments starring Jean-Claude Van Damme. Said Muscles from Brussels plays the cop Alain Moreau, twin brother of Mikhail, the guy who’s killed in the kick-ass prologue. (And before we proceed, with this, Double Impact and Replicant, just how many double-trouble movies does Van Damme intend to make?)

To find out — about his sib’s death, not the number of twin movies — Alain travels from France to New York, where he enlists the help of a possibly autistic cabbie (Zach Grenier, TV’s Deadwood) who’s writing the Great American Novel. Everywhere he goes, Alain is mistaken as his brother, a “big-time gangster” who evidently betrayed the Russian mob.

Even club hostess and former stripper Alex (Natasha Henstridge) assumes he’s Mikhail, and thus, throws herself at him because she’s the dead dude’s GF. Alain, however, backs off from her advances, which is how you know this is not based on a true story. Later, however, after he spots a peek at her fabulously real breasts while she changes clothes, Alain’s into the idea of letting her rub her Species DNA all over his parts, and allows it.

But this is an action movie, and generic though much of may be, Maximum Risk does deliver in that department, with Lam excelling at staging the car chases more than the gunplay. As so many of these flicks tend to do for no discernible reason, its climax is set amid hanging animal carcasses. I’m a bit surprised Van Damme was willing to share the screen with another slab of meat. —Rod Lott

Buy it at Amazon.