All posts by Louis Fowler

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

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Dona Flor and Her Two Husbands (1976)

When I met Dona Flor and Her Two Husbands, it was in the mature section of the video store. Surrounded by beaded curtains, the titillation of promised soft porn — “cable version,” the box exclaimed — just around the fuzzy corner to syrupy heaven and carnal self-pleasure.

Instead, it was a Brazilian art film about the dual nature a woman goes though channeling love and lust. I was thoroughly pissed. But now, some 25 years after I first saw it, I have viewed Dona Flor with new eyes.

After a night of hard partying, Vadinho (José Wilker) dies. His widow, the titular Flor (Sônia Braga), brings new meaning to long-suffering; during their marriage, he went from cockfighting and gambling to countless affairs and wife-beating, as one does.

Flor goes on with her life. She meets and marries Teodoro (Mauro Mendonça), a pharmacist she believes is a good man, but also a boring one. It’s okay, though; Vadinho’s ghostly visage is fine with performing all his late-husbandly duties — all sexual, of course. I guess Teodoro does, too.

While I originally thought this was tale about a new wife and the trials and titrations about marriage, it’s actually a sexy wish-fulfillment fantasy, with Braga’s Flor being the sultry object of South American desire. It’s concerning that she puts up with Vadinho’s abuse, but I guess she makes peace with it, because Flor gives both men a kiss goodnight, even if one’s a ghost.

Dona Flor was first remade in 1983 as Kiss Me Goodbye with Sally Field, James Caan and Jeff Bridges. The original’s sex appeal was monstrously gone, replaced with a brown swatch of neutered khaki fabric. —Louis Fowler

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Buck and the Preacher (1972)

When I was recently hospitalized, I became a fan of the Western genre. It harks back to the time I watched them with my father was I was a kid. Sure, I was more drawn to the anti-hero type, but it was one of the only times I bonded with him. One of his favorites was the 1972’s Buck and the Preacher, respectively starring Sidney Poitier and Harry Belafonte in the title roles.

Having been through emancipation, slaves try for a better life during westward expansion. Buck (Poitier) is a wagon master, trying to take a party to the west. However, they cross paths with a cadre of dirty racists — creeping parties of white pissants who try to take them down, maiming and killing all. Buck teams with the Preacher (Belafonte), doling out two-fisted vengeance along the way, with help from an Indigenous tribe. Out of sight!

Poitier and Belafonte are a dynamite duo, giving a new spin on the slightly unmatched platonic couplings; despite being a gruff loner, Poitier is no-nonsense, trying to get these people to their new home, while Belafonte is a religious huckster who goes against type.

What I really like is the film’s score by jazz musician Benny Carter. His twanging riffs have a real lustrous sheen in the wah-wah category, giving the whole soundtrack a real chugging atmosphere. Much like the film, I can’t say enough about it. —Louis Fowler

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Okja (2017)

When Okja premiered in 2017 on Netflix, many people maintained it’s about a girl and a “big pig”. However, I remembered a touching fable (foibles?) about a girl and a hippo-dog-elephant-pig. But I digress …

In an ideal farm in South Korea, young girl Mija (An Seo Hyun) cares for Okja, a wholesome hippo-dog-elephant-pig; he is taken to the big city, much like Babe: Pig in the City. But unlike Babe: Pig in the City, Okja is instead populated with pro-animal terrorists, pro-animal reality hosts and pro-animal factory farms.

Directed by the renowned Bong Joon Ho (Parasite), the film is notable for the extreme moments of scat jokes. But poop aside, it makes a children’s film in its own image. Also, the cast of Tilda Swinton, Paul Dano and Jake Gyllenhaal are playing to their characterized strengths — usually by stupid accents, but still.

What truly makes Okja a great film — which in turn makes Okja, a peaceful hippo-dog-elephant-pig, and how he is used — are the foot solders of this corporation, giving Okja a large boot to the head. It truly is unsettling about animal rights and how far we’d go.

Of course, it’s all undone by the time you crave a steak, but at least you know you tried. —Louis Fowler

Get it at Amazon.