Sci-Fi & Fantasy

Kaliman en el Siniestro Mundo de Humanon (1974)

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Across Latin America, you didn’t see kids lining up for the latest adventures of Batman or Superman, be it at the newsstand or, later, the movie theater. Instead, they had a reigning culture of their own superheroes who never really crossed over into North America (not that they had to), with the best example being Kaliman.

With blessed powers such as ESP, astral projection, telekinesis and, quite obviously, the martial arts, the mysterious Kaliman made his claim to superhuman fame by traveling the globe and solving dastardly crimes with aid of former street urchin and current young ward Solin, who is in training to become Kaliman’s successor — if that ever happens, honestly.

With well over 1,300 issues of the comic book and a string of popular radio dramas — not to mention a lawsuit from the assholes at Marvel — he made his motion picture debut in 1972 with Dallas talking head Jeff Cooper taking on the somewhat muscular lead to great success in many Latin-based countries.

Sadly, I have not seen it. What I have seen, however, is the follow-up, Kaliman en el Siniestro Mundo de Humanon and, man alive, is this one fun flick!

Here, Kaliman spends his time leisurely walking the beaches of Rio and driving in a car. But when his apartment is telepathically burgled and the inhabitants become murderously possessed by a cursed necklace, he and Solin somehow end up in the jungle, searching for the lackluster hideout of Humanon.

Additionally, Kaliman helps Solin form a completely NSFW drinking tube when their thirst gets the best of them, and there’s a doped-up monkey doing scared flips and tricks somewhere in there, too, among all the stock footage of dangerous animals for them to point at and laugh from a distance.

That’s nothing when compared to when we meet Humanon, the red-cloaked, pointy-capped villain (who reminds me of a rather sassy Grand Dragon) and his army of what I’m guessing are zombies to hunt our heroes down and kill them.

As expected, Cooper is completely ridiculous as a supposedly Middle Eastern mentalist, but the ludicrousness of it helped the movie move forward in a very schlocky way that seems like a lost art. Granted, as far as comic book movies go, it’s not going to blow the roof off the Avengers Tower anytime soon, but how about a big budget retelling of the Kaliman mythos? —Louis Fowler

Get it at Amazon.

Horror

Beneath Us (2019)

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With Beneath Us, the genius lie entirely in the pun of the title. First-time feature director Max Pachman’s slice of immigrationsploitation leaves subtlety out of the picture, despite the resonance and seriousness of its premise.

Four undocumented workers — including brothers Alejandro and Memo — are hired by the über-wealthy, über-voluptuous Mrs. Rhodes (Lynn Collins, X-Men Origins: Wolverine) to finish construction on a guest home at a bargain-basement price. The property she shares with her husband (James Tupper, 2017’s Totem) is well-fortified, cut off from the rest of the world and all its promise with an electric fence. Forced to work day and night with no rest until the job is done, the workers too slowly realize they’re not going to be allowed to leave alive, what with the underground cavern of hired hands past.

To call the bosses are “racist” is to undersell their cruelty, which is hardly a one-off; Mr. and Mrs. Rhodes are essentially serial killers with the highest credit limit possible on a Home Depot credit card. The longer the job takes, the crazier Mrs. Rhodes gets, which is both the film’s greatest asset and liability. From the first scene, Pachman takes care to set up the troubled family dynamics of Alejandro (Rigo Sanchez, TV’s Animal Kingdom) and Memo (Josue Aguirre, Incarnate), then play them out … until he allows Tupper and especially Collins to approach their parts from rail No. 3.

Make no mistake: Collins is enormous fun in an utterly unhinged performance, but her Karen-to-the-nth-degree antics distract from the movie’s message even more than her push-up bra. It’s difficult to make politics stick in horror when your antagonist vamps and tramps her way through what amounts to a Tex-Mex Avery cartoon. —Rod Lott

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Martial Arts

Death Promise (1977)

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Bruceploitation veteran Charles Bonet (Fists of Bruce Lee, et al.) graduates to his own vehicle in the modern-day Death Promise as — now here’s a stretch — Charley. The young Puerto Rican is living his best life in the worst of Manhattan when the landlord of his shitbox apartment tries to force out all the tenants; when shutting off the electricity, gas and water doesn’t work, a dusty box of rats let loose in the halls is Plan B.

As Charley’s Pops (Bob O’Connell, The Sting II) learns, the blame is on the “landlord syndicate” dba Iguana Realty. With a multimillion deal at stake, Iguana needs to level the place. Pops pushes back, saying they’ll only be able to demolish “over my dead body” — a proclamation the syndicate takes as an open invite. After consulting his local dojo master, Ciabatta Shibata (Thompson Kao Kang, The Black Dragon), on next steps, Charley vows to take out all responsible for Pops’ murder.

With the help of his bell-bottom jeans and his best pal, Speedy (Speedy Leacock, he of the monogrammed karate uniform and an Afro somehow parted down the middle), Charley makes a list and checks it twice — five times, actually, as his targets include:
• a Cameron Mitchell-esque, cigar-chomping archery buff (Tony De Caprio, Wanda Whips Wall Street)
• a judge by day and philatelist by night (David Kirk, Putney Swope)
• your garden-variety sleazeball, complete with disgustache (one-and-doner Thom Kendell)
• a smack dealer (one-and-doner Abe Hendy)
• and their Hal Holbrook-ian, cane-wielding figurehead, Alden (Vincent Van Lynn, Fuzz), who, until he’s felled by ninja stars seemingly cut from a cardboard box in the alley, takes orders from a Blofeld-ian mystery man — complete with kitty cat

The only movie directed by one Robert Warmflash, Death Promise is dirtier-than-dirt cheap. From its look, sound and vibe, you might think it were made by Fist of Fear, Touch of Death crew members on a potty break. And yet, the martial arts performed by Bonet, the Latin Panther, are impressive. His inevitable showdown against Bob Long (The Super Weapon) and others is especially satisfying because of the feral, crazed noises his foes emit, and because Warmflash isn’t one to move the camera much, that inexperience actually plays as a strength since we can clearly see each fighter’s moves.

In other physical news, many scenes include two- and even three-man walking hugs. Take it as the urban trash classic’s harbinger of charm. As the catchy, soul-infused theme song bellows, it’s gonna blow your mind — that’s a promise! —Rod Lott

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Kitchen Sink

Santa Sangre (1989)

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WTFAlejandro Jodorowsky is a transcendental madman. He’s everything a master of eclecticism who is consistently creating in this world should be, but, as the dollar reigns supreme over us all, sadly can’t be, no matter how hard he tries. That should be obvious given his scant track record of film, placated through other forms of art.

But the mercilessly beautiful tale of Santa Sangre took him from the realm of suspected hippie storyteller to proven grandfather of spiritual interpretation, as the film takes us not only on a journey throughout the life of Fenix, but the life of all of Jodorowsky’s obsessions and damnations, from holy cults and bosomy circus folk to maternal obsessions and the Invisible Man.

Jodorowsky’s sons Adan and Axel are Fenix, young and old, respectively. As a child in the circus, he sees far too much death and sex, and soon, they become intertwined, from his mother obsessively believing in a folkloric saint to his father’s demonic womanizing, all done under an American flag. After another night of bloated cheating, Mom throws acid all over Dad’s penis and, in turn, he slices her arms off.

Having been in an asylum where he is surrounded by mentally handicapped children for most of his life, Fenix sees his mother standing outside his window and escapes — and, in turn, becomes her arms. While I’m sure that’s healthy, it gets worse as Mom can’t stand Fenix thinking about any other women and kills them all, often in the most gorgeously giallo of ways.

A hauntingly challenging film consistently filled with beautiful darkness and feral wonder, I consider this to be Jodorowsky’s apex as a director, taking himself, Fenix and especially the viewer to the ultimate outreaches of religious ecstasy and unholy forgiveness, a combination few directors — if any — could truly present on screen. —Louis Fowler

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Thriller

Crawl (2019)

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When it comes to dangerous animals I’d never like to meet face to face, I always seem to forget about alligators, but that’s mostly because I’m never in the state of Florida, America’s penis. Regardless. the movie Crawl is a great reminder that, short of being a Cuban drug dealer, there’s really no reason to ever visit.

Sullen teen swimmer Haley (Kaya Scodelario), having recently lost another meet, drives a couple of hours to check on her deadbeat dad Dave (Barry Pepper), a sullen contractor, as a tumultuous Florida-style hurricane is hitting land. Unable to find him, when her smart dog barks a few times near the stairs, she goes to the basement to find him pinned in a corner by a couple of large alligators.

Instead of immediately running to find help, she swims deeper in and becomes trapped, too. Even more gators show up, all hungry or violent — I can’t tell. Various people also show up, from a trio of convenience store thieves to her sister’s cop ex-boyfriend, only to be brutally mangled by the leathery beasts.

Luckily, her dog is all right and makes it to the end, in case you were worried. I was.

Taking everything that is terrifying about Florida and turning it up to 11, Crawl is far better than it has any right to be, and I believe that’s mostly thanks to director Alexandre Aja and, of course, producer Sam Raimi being able to rise above the obviously schlocky material, including the entire state of Florida. That really says a lot. —Louis Fowler

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