Turistas (2006)

turistasTry as he might, actor-turned-director John Stockwell (John Carpenter’s Christine) can’t get away from the ocean blue — Blue Crush, Into the Blue, Dark Tide, Turistas — but perhaps he should try harder, especially after that last one. If offering the continuous sight of Olivia Wilde in a bikini can’t raise moviegoers’ pulses, you’re screwed.

Made at a time where “torture porn” was briefly all the rage, Turistas follows a handful of American backpackers to Brazil, including siblings Bea and Alex, played by Wilde (TRON: Legacy) and Josh Duhamel (the Transformers franchise). When a bus wreck leaves the gringos stranded, they join forces with a fellow traveler (Melissa George, 30 Days of Night), despite her butt-ugly hair braids. Because she can speak the native tongue of Portuguese, she can help them get out of trouble.

turistas1But first: parrrrr-TAY! Livin’ it up one night on the beach, our white folks are drugged and robbed of all their possessions. Seems they’ve stumbled into a conspiracy where vital organs are harvested without consent from stupid Americans. Ironically, your interest will have waned long before this point is reached, provided you had any left after the first scene.

To the surprise of no one who’s seen Stockwell’s work before, Turistas boasts beautiful scenery and expert underwater photography — all wasted on one of the weakest horror films shat out by a major studio in the new millennium’s first decade. Looking pretty means nothing when your words bore others to tears. To borrow the movie’s own tagline, “Go home.” —Rod Lott

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You Won’t Believe Your Eyes!: A Front Row Look at the Sci-Fi/Horror Films of the 1950s

YouWontBelieveThis isn’t stated anywhere in You Won’t Believe Your Eyes!, but co-author Mark Thomas McGee holds such a deep and abiding love for the monster movies of the dawn of the Cold War era that he eventually created one of his own, in 1970’s Equinox. The only reason I bring it up is to assure readers they’re in good hands with this fond look back at so many of those science-fiction and horror matinees.

For the BearManor Media paperback, McGee’s co-writer is lifelong friend R.J. Robertson, who — we learn in the introduction — died two decades ago. That means much of the contents are older than that (McGee even mentions forgetting they wrote this until it was found in the garage), yet you wouldn’t know it, because invasions of saucer men, atomic submarines, incredible shrinking men and beasts of Hollow Mountain are timeless.

In 11 loosely themed chapters, the two review what has to be more than 100 B movies of interchangeable titles and painfully low budgets, bearing names of men like Roger Corman, Herman Cohen and Bert I. Gordon. The best entries arrive when the authors supplement their opinions — honest, it should be noted, as they’re unafraid to call crap “crap” — with the positions and perspectives of members from the cast and crew. In doing so, we learn a little more about what it took to get the American Godzilla to screen, not to mention Hammer Films co-founder James Carreras’ quote that at his studio, “we make the movies where the monsters bite the women’s titties.”

One knock on the book is such third-party inclusions are the exception rather than the rule. Fortunately, rarer are the times when McGee and Robertson have so little to say, you may wonder why the entry wasn’t excised entirely.

Most of the time, they have plenty worth sharing, including a playful fit. For example, of Patricia Laffan’s performance in Devil Girl from Mars, they write, “She looks like she hasn’t had a bowel movement for twenty years.” Such remarks make me willing to overlook the occasional movie that doesn’t seem to fit with the rest (the comedy Bell, Book and Candle?), in much the same way that the generous helping of photographs mitigates the sometimes-crowded layout. —Rod Lott

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The Signal (2007)

signalTold via three “transmissions,” The Signal stands as a unique interpretation of the end-of-the-world scenario that informs so many works of speculative fiction. The quasi-anthology of interlocking stories depicts the effects of a synapse-disrupting broadcast that travels through all modes of electronic communication — from television sets to telephones — resulting in mass psychosis.

Stephen King’s 2006 novel Cell explored eerily similar territory, but whereas his book ultimately left me thinking, “Why did I bother reading this?,” The Signal had me asking, “Why didn’t I see this sooner?”

signal1Not so much separate stories as shifts in perspective, the tales of co-writer/directors David Bruckner, Dan Bush and Jacob Gentry largely follow an unfaithful young woman (Anessa Ramsey, Rites of Spring) whose blue-collar hubby (AJ Bowen, The House of the Devil) succumbs; the cuckolding boyfriend (Justin Welborn, The Crazies) who tries to save her; her paranoid neighbor (Sahr Ngaujah, Stomp the Yard) who cobbles together some improvised weaponry; and attendees of the bleakest of New Year’s Eve parties. People haven’t taken this many shots to the head since … well, insert the gang-bang joke of your choice here.

For a good half, the proceedings exhibit a freewheeling style where anything can happen; somewhere around that mark, however, it gets caught in a vortex of repetition. The film crawls out of it for the third and final bit, but it pales in comparison to the strongest segment: the first. So while the scrappy triptych amounts to one of diminishing returns, the exercise is arresting just enough to emerge on the side of positive. —Rod Lott

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The St. Francisville Experiment (2000)

stfrancisvilleRushed out to catch a ride on that crazy Blair Witch Project mania, the soundalike-titled The St. Francisville Experiment places four young people overnight in a haunted mansion in the Louisiana town of St. Francisville: a team leader with a poor haircut, a film student with limited vocabulary skills, a busty history major and a dog-faced psychic with front teeth the size of Chiclets.

According to the found-footage film’s prologue, St. Francisville is home to more haunted houses than anywhere in America, and everything we are about to see is real. Oh, bullshit.

stfrancisville1So that you don’t think it’s a total rip-off of Blair Witch, a few subtle differences exist:
1) There are four people instead of three.
2) Instead of a creepy basement, there’s a creepy attic.
3) Nobody says “fuck.”

Like Blair Witch, it has few shocks placed between near-excruciating stretches of shot-on-video footage. Unfortunately, its shocks are most tame: Ooh, a chandelier fell! Yikes, the chair moved! Eew, there’s a bug in my sandwich!

The finale is even more ridiculous (not to mention all the proof you need this is faked): Oh, no, the door shut! Yuck, live rats! Help, I’m trapped in a piece of carpet that’s fallen through the floor, just like Tom Hanks in The Money Pit! Directed by Ted Nicolaou (TerrorVision), this Experiment may be better than sitting through Book of Shadows: Blair Witch 2, but a failure is a failure. —Rod Lott

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Contaminated Man (2000)

contaminatedmanPoor William Hurt. How does one go from being nominated for the Best Actor Oscar three years in a row to toplining a below-average virus thriller called Contaminated Man?

With a mullet that makes him look like a Foghat roadie, Hurt stars as David Whitman, a hazardous materials specialist for the United Nations. He’s called to a chemicals company in Budapest (economically enough), where veteran employee Joseph Müller (a bald Peter Weller, RoboCop) has just been downsized and taken revenge by unleashing some, like, really bad chemical stuff.

MCDCOMA EC002Unfortunately for Müller, he’s also gotten himself exposed to the stuff and becomes … wait for it … the Contaminated Man! Basically, this means he coughs a lot and everyone he touches grows pus-filled blisters and spews skim milk within the hour. All the viewer gets is an uninvolving, sub-Outbreak-type chase where Whitman tracks Müller from one public place to another. It all culminates in the latter filling a remote-control submarine with his infected blood and threatening to taint the water supply.

Director Anthony Hickox has done fun work before in pure B-movie mode (Waxwork), but this is not another notch in that belt. No, this is drab, bleak viewing, made all the more drab and bleak by being set in the aforementioned Budapest. Both actors deserve better. The only thing great about Contaminated Man is its title. —Rod Lott

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