All posts by Louis Fowler

Killer Crocodile (1989)

Two moderately appealing lovers frolic on the shore, playing guitars and rejecting sexual advances, but something monstrous is waiting for them in the water. To the similar-sounding cues from a very popular theme by John Williams, a swimming woman gets dragged down to the merciful depths of the shallow water; we can only assume that the much-loved shark Jaws has moved into a freshwater lake in the beautiful Italian countryside.

Turns out, however, we’re actually in an unnamed Latin American country and, what the hell, it’s not a shark, it’s a crocodile. A killer crocodile, if you will.

As a group of annoying journalists (led by Richard Crenna’s son, Richard Anthony Crenna, The Great Los Angeles Earthquake) venture down the river in search of fake news to write regarding multiple cans of toxic waste destroying the marshlands, they come across the foam-and-latex killer crocodile, picking them off one by one; the newsmakers plan to get revenge on the murderous reptile with a series of stupider and stupider plans after each well-earned kill.

Meanwhile, the crocodile stays busy, eating small dogs and smaller children as well.

A local adventurer — complete with a seemingly magical floppy hat — helps the survivors to track the killer crocodile down; additionally, they’re in a sad race with the town’s linen-suited judge (played by Hollywood legend Van Johnson, The Scorpion with Two Tails) and his local toxic waste broker, apparently also on the hunt for the crocodile, mainly so they can catch him and blow him up with dynamite. Luckily, the croc eats their boat.

Directed by Fabrizio de Angelis under his Karate Warrior series pseudonym Larry Ludman, even though the crocodile and many of the bloody effects are usually effective, as you can guess, everything else here is bottom of the toxic waste barrel, all done in the likably exploitative style that the Italians became known and vaunted for, at least by lonely dudes at horror conventions.

Killer Crocodile, interestingly enough, was shot back-to-back with its very similar sequel, but didn’t we kind of say everything we really needed to about killer crocs with this one?  —Louis Fowler

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Hellbound: Hellraiser II (1988)

Hot on the hells of Clive Barker’s nightmarish ode to demonic cuckery, Hellraiser, from out of the shadows and into the black light came the satanic sequel, Hellbound: Hellraiser II, a vast labyrinth of infernal imagery and chilling characters that bested the original and, sadly, ensured that the still-ongoing series could never reach these serpentine highs again.

Still dealing with the pure trauma of seeing her father pulled apart by hooks and chains — it’ll screw you up every time — young Kirsty (Ashley Laurence, Warlock III: The End of Innocence) is being kept in an unsettling mental hospital run by the perverse Dr. Channard (Kenneth Cranham, The Legend of Hercules), a man intent on stupidly opening a gateway to hell. The guy is also a serious collector of Lament Configurations and even has a mute girl who conveniently likes to solve puzzles, mostly as a way to deal with her mother’s murder.

Channard, using the infamous bloody mattress from the first film as a protein-rich conduit, resurrects Julia (Clare Higgins, Ready Player One), Kirsty’s spiteful stepmom, now apparently risen to unholy power as the Queen of Hell or a position of equal malevolence. Meanwhile, Kirsty’s uncle (and Julia’s former lover), Frank (Sean Chapman, Psychosis), is being tortured on the daily by ghostly nudes that he can never touch. I know the feeling, Frank!

Kirsty, on the other hand, has her own devilish date with the dark side: travelling through the mazes of the underworld to rescue her father (Andrew Robinson, Into the Badlands), seemingly sent to hell by mistake. But when Pinhead (Doug Bradley, Wrong Turn 5: Bloodlines) and his cadre of cenobites show up to torture her nubile flesh, she makes yet another deal with the saints of sensual suffering in a bid to stop Julia and the updated Cenobite Channard, who is now floating about with a syphilitic penis attached to his cranium.

With a sadistic streak that momentarily alarms as much as it eternally arouses, Amityville 1992 director Tony Randel — not that one, unfortunately — entrenches us even further into Barker’s world of godless sin and sanctity, creating a far more bitter version of hell than has ever been seen on film, presided over by an immense monolith called Leviathan, which occasionally shoots glowing spheres of ’80s special effects at interlopers.

To be fair, I thought this netherworld would have better security that that, but I guess that probably isn’t erotic enough for Pinhead and his pals. —Louis Fowler

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Brittany Runs a Marathon (2019)

Since having a stroke over a year ago, I’ve lost close to 200 pounds. And, even though I’m considerably older than the titular Brittany in Brittany Runs a Marathon, how the world’s opinion changes — for good and bad — when you drastically change yourself is so honestly depicted here that, unless you’ve been through it, you’ll probably never understand.

Good-time girl Brittany (Jillian Bell, Rough Night) is an overweight party animal who lives primarily on Adderall, self-deprecation and random hook-ups, which, as you’d imagine, depresses the hell out of her. When a doctor advises her to lose 50 pounds, she attempts to get her shit together and starts running around New York with her recently divorced uppity neighbor and a gay dad trying to earn the respect of his son.

The tribulations that Brittany goes through to get to the marathon, from dealing with random food binges to mysterious leg pains to an Instagram roommate who tells her she be fat again soon, is an earnest account of an unhealthy person trying to change not only her outer self, but her inner self as well. That being said, it is also dramatically funny at times when it doesn’t intrinsically hurt.

Bell does a good job channeling these massive insecurities with a fully acerbic wit, but the whole romantic subplot with slacker dog-sitter Jern (Utkarsh Ambudkar, Freaks of Nature) feels a bit shoehorned in, at times threatening to turn Brittany into a stereotypical rom-com; thankfully, director Paul Downs Colaizzo always pulls back when venturing in that territory and returning the focus to Brittany and her own self-improvement.

Of course, I’ve gone through my own journey alone, so maybe I’m just bitter in that regard. —Louis Fowler

Vampires (1998)

Sometime in the 1990s, the unholy promise made by Near Dark was utterly fulfilled when Hollywood started to make purely American vampire flicks in the form of From Dusk Till Dawn, Blade and the underrated Vampires — or John Carpenter’s Vampires — that took the undead mythos and, with a bloody smirk, drove a stake right through them.

Future hatemonger James Woods (Videodrome) leads the cast as acerbic vampire slayer Jack Crow, employed by the Catholic Church to do what he does best: make brutally caustic one-liners while lighting creatures of the night up like a cheap firecracker throughout the scenic desert landscapes of the Southwest. It’s all in a day’s work for Jack and crew until, at a whore-filled party, the vampire master (Thomas Ian Griffith, xXx) shows up and slaughters most of the affiliated hunters, drunken prostitutes and even a priest or two in his search for a relic known as the Béziers Cross that will allow him to walk in the sunlight, apparently the dream of most bloodsuckers.

With the help of chubby sidekick Tony (Daniel Baldwin, Stealing Candy) and the novice Father Adam (Tim Guinee, Iron Man), they use pre-bitten hooker Katrina (Sheryl Lee, Twin Peaks: Fire Walk with Me) and her mental link with the master to track him and his nest of vampires down; she’s usually in one form or another of undress while doing this, which was great in 1998.

Loosely based on the novel Vampire$ by John Steakley, this movie was released during a mostly hit-or-miss time in final act of Carpenter’s career, coming in like a bat out of hell after the (somewhat) highs of Escape from L.A. , about to careen downward with the (somewhat) lows of Ghosts of Mars. It makes sense, though, as Vampires lie dead in the middle: a decently watchable 108 minutes, but by no means a final masterpiece. —Louis Fowler

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Ma (2019)

Though it’s been repackaged by Blumhouse for primarily horrific purposes, the story of Ma, I believe, is a pretty universal one for many (most?) teens; I mean, how many of us, at one point or another when growing up, hung out at a moderately weird older person’s house, doing things we probably weren’t really supposed to be doing?

I mean … surely I couldn’t have been the only one, right?

Irritating youth Maggie (Diana Silvers, Booksmart) moves with her understanding mother (Juliette Lewis, Natural Born Killers) to a small town in Ohio, mostly to get their feet back on the ground after an ugly divorce. While Mom now has to work overtime at the town’s casino delivering drinks to her high school nemesis, Maggie starts bumming around with other irritating teens down at the local rock pile. You know the type of kids, too: They mostly hang out in front of the liquor store, trying to get adults to buy them booze.

As a matter of fact, that’s exactly how they meet Sue Ann, or as she likes to be called, Ma (Octavia Spencer, The Shape of Water). Pretty soon, Ma is hooking the kids up with plenty of liquor and drugs and a place to do it all in, all in an attempt to relive her, as we soon learn, miserable teenage years. Seems that, at the hands of the parents of these kids, she was taunted pretty bad, leading to a traumatic moment in a closet with a boy she really liked.

I guess you really can’t blame Ma all that much when she imprisons and tortures the teens or, in the case of one dude, intravenously feeds him dog’s blood. While very little of it makes sense, the lynchpin of the film is Academy Award winner Spencer, playing a wholly believable kook, mixing the pathos of pain and pathology of a psychotic to create a fully memorable character; too bad she’s trapped in a mostly mediocre movie.

As I was about halfway through the movie though, I started to think about the people I might have bullied in high school; I could definitely believe it if there’s one guy out there who is just plotting revenge on me, planning to do it through my child. Well, the joke’s on you, man, because I am a childless 41-year-old guy with no prospects for the future. Better luck next time. —Louis Fowler

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