All posts by Louis Fowler

The Kindred (1987)

Somewhere around 1984, I got my first video membership. It was a small mom-and-pop store in an even smaller town, with the most eye-catching posters circling my being, relating to mid-80ers like Re-Animator, From Beyond and Ghoulies, for example.

And though I completely forgot about the 1987 movie The Kindred, I will never forget that poster featuring a baby’s bottle with a … slimy thing inside. It still haunts me.

Kindly physician Dr. Lloyd (Rod Steiger) apparently has an evil side, finding accident victims and conducting experiments. While trying to find some “journals” or whatever scientists do with written notes, he inadvertently kills his lab partner.

The deceased lab partner’s son, John (David Allen Brooks), who is also a doctor, is down with his girlfriend and some other students to find the “journals” on the experiment. Meanwhile, as John’s dog waits on the porch, a slimy thing breaks out of the cellar, eating him.

As all parties converge in the near-creepy house, slimy things get in through people’s skin, rooting around in the body and creating a new quasi-lifeform. It doesn’t make much sense, but it does have Oscar winner Steiger consumed by the monster, so that’s something!

But most of the movie is quite forgettable. I even forgot that Max Headroom’s Amanda Pays plays a mysterious scientist. She’s quite good in the thankless role, more than the movie deserves. But as far as I can see, this tale of science amok is, like the experiments, pretty half-baked.

I still like that poster, though. —Louis Fowler

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The Living Dead at Manchester Morgue (1974)

Released under a myriad of titles — Breakfast at the Manchester Morgue, Let Sleeping Corpses Lie, Don’t Open the Window and so on — the Spanish-Italian film The Living Dead at Manchester Morgue calls itself a comedy, but in the 44 years of watching subpar movies, I never thought it was a comedy. Boring, maybe … but a comedy? I don’t think so.

As the swinging, swanky theme plays, a buxom lass flashes her wares to no one in particular. I don’t know who that is or what they want, but that’s replaced with chemical runoff, overflowing trash bags and a stiff upper lip. I guess it’s an ecological film now?

After a fender bender with with Edna (Cristina Galbó), George (Ray Lovelock) hitches a ride with her to the English town of Windermere. While asking for roadside directions, some of the local farmers are testing some machinery utilizing sound waves. It wakes the dead and, thank God, one of the character’s heroin habit. Yeah.

Meanwhile, the inspector (Arthur Kennedy) has some serious anger issues that should be dealt with, until he is barely strangled in the finale.

With the exception of a few well-executed zombie designs, this tries to be five or six films and, as we learn, Manchester Morgue can barely get one off the ground. The mixing of ecological themes, zombie dirges, police procedurals, ill-fated drug drama, British sex comedy and some sort of weird ritual to revive the dead via their eyelids, it is too much.

I did like the randy breasts, though. Pip-pip, my good sir! —Louis Fowler

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Blow Out (1981)

Set in the high-stakes world of a sound-effects designer, Brian De Palma’s Blow Out follows everyman technician Jack (an effective John Travolta) plying his wares in the world of trashy films and outré smut. Late one night, scoring some sounds, he records an accident on the road.

While most people would get a commendation from the police force, Jack suspects foul play. A man obsessed, he goes deeper to excavate the mondo world of sound effects as he’s targeted with political intrigue, cold-blooded killers and sweetly affected Nancy Allen and her baby voice.

As he gets to the deeply overwhelming conclusion, Jack uses his well-trained ears to unravel the mystery and, ever more so, using his wits to catch at killer. Taking inspiration from Michelangelo Antonioni’s 1966 film Blow-Up, the mystery of Blow Out is not the killer, but instead the ramifications of the killer.

A true testament to De Palma’s 1980s brilliance, this is a complex film that weaves a dirty brilliance in its Philadelphia freedom, bringing everything from rote slasher skinflicks of screen to John Lithgow’s eel-like presence as the hands-on strangler; he hits all the buttons. While this well-timed thriller had semi-glowing reviews upon reception, Blow Out seems to be forgotten by most parties; I guess a coke-fueled movie like Scarface will do that do you. —Louis Fowler

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Massacre at Central High (1976)

When I was around 8 or 9, an edited-for-television version of Massacre at Central High played one evening on an UHF station. A few minutes into it, my mother came in the living room and started watching. She recalled she had seen it and, even worse, that Andrew Stevens was in it.

I don’t remember anything else, except mostly that my mother knew who Stevens was; either way, this snippet of conversation was rediscovered when I watched the new-to-Blu-ray Massacre at Central High, which leads to more questions, but I digress …

As the syrupy song “The Crossroads of My Life” imbues on the soundtrack, Robert Carradine is pushed by a bunch of bullies in the school hallway, which sounds bad, but to be fair, he was drawing a swastika on a locker. Good for the bullies, I guess.

Even with that exercise of antifascism, they are pretty bad, too; their gratuitous disciplining includes a chubby student trying to scale a rope in gym class, the school’s hearing-impaired librarian being harassed and, yikes, raping some girls in the chemistry lab.

As the new student David (Derrel Maury) sees the terrorism taking place, he seeks what any student would: revenge. On my count, he takes down a rockin’ hang glider; a rockin’ surfer in a van driven off a cliff; and a rockin’ swimmer who takes to a pool with no water.

You would think everyone would be satisfied by this conclusion, but they are not, instead repeating the cycle, but with a bigger body count and so on. The characters are so strange, even with director Rene Daalder’s foreign direction skills, they act like they are in a stage play in an actual stage play. It gives the movie a real meta scenario, even if they don’t know it.

But to think my mother saw this at a first-run theater in the ’70s: What other skeletons does she have in the closet in there? More importantly, is Andrew Stevens in there? We’ll never know. —Louis Fowler

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Cool World (1992)

As hot as sex kitten Kim Basinger was/is, the cartoon version of her in Cool World, Holli Would, might be a bit better, if only for the way she cockteases anthropomorphic dogs, cats and a young Brad Pitt. Yowza! According to the ads, “Holli would if she could …”

Ralph Bakshi’s Cool World really adapts the video of the Rolling Stones’ “Harlem Shuffle” by way of a cheap skin flick, leading to a great good okay movie. Coming out of the clink for, I guess, murder, artist Jack (Gabriel Byrne) drives around his comic studio and comic shop, letting all the early ’90s nerds know graphic artists drives girls crazy, especially Holli.

From his mostly drawn Cool World, Holli entices Jack to cross over into our world primarily by using sex as a weapon (to be fair, so was Kim Basinger). On her tail is Pitt — whose acting talent was apparently not always there — as a 1940s cop who has to take her down, as well as a few abrasive — but very Bakshi-lite — cartoons.

The breathy intonations aside, trailblazing animator Bakshi created a new playground in 1992, but sadly, everybody instead was watching progeny like Tiny Toon Adventures, The Ren & Stimpy Show and other post-ironic viewing. Meanwhile, Cool World was a smutty sex comedy, as was the custom in ’92. Monkeybone vibes, anyone?

Byrne is mostly fine and Pitt is all about the baby blues, but the selling point is the miniskirted Basinger, animated or not. But what I really dug was the closer tune, “Real Cool World” by David Bowie; maybe the movie should’ve been about some puppets? —Louis Fowler

Get it at Amazon.