The Arrival (1996) –
An astronomer is promptly fired after receiving a mysterious space transmission, which tingles his tin foil. It’s dumb Hollywood adventure sci-fi that takes a baton from the X-Files. Characters and actions are often cartoonish. Charlie Sheen goes from zero to 2011 within the first 20 minutes. The movie actually gets really fun around the halfway mark, but overstays its welcome and ends on a generic note.
If It’s Tuesday, This Must Be Belgium (1969) –
A comedy about a group of American tourists on a hurried bus tour through Western Europe. Unfortunately, the closest thing we get to a central story is the least entertaining subplot of the movie, but the ‘character’ tourists with forced quirks are hilarious.
Diabel (1972) –
What happens when you give your actors Shakespearean material and an endless supply of cocaine?
The Stunt Man (1980) –
A man on the run from the police stumbles onto a movie set overseen by a power-crazy director. This is carried by quick, clever dialogue and superior acting from an Altman-esque cast. Then there are impressive stunt scenes within stunt scenes within stunt scenes. A little humor, a little tension, a little drama.
The Blood of a Poet (1933) –
A young man experiences surreal goings-on that include his hand developing a mouth, a hotel with an uncertain gravitational pull, and a living statue. Then schoolboys get into a dangerous snowball fight. Like most classic surrealism, hidden meanings are elusive (if they’re there at all), leaving the mind plenty of room to wander.
The Dunwich Horror (1970) –
An out of town girl is charmed by a locally shunned young man that lives in a creepy old manor with his gramps. Campy acting, on the nose dialogue, and an enjoyably groovy but cartoonish Les Baxter score make it impossible to take anything here seriously, but it is admirably artistic.
*sniffs wine The aesthetic recalls Corman’s colorful Poe films with a dash of Scooby Doo. It’s still possible to have some fun with properly tuned expectations.
Depraved (2019) –
A modern-day Frankenstein story with pessimistic commentary about human nature. Henry, the ‘creator,’ comes across as a bit too normal for a guy that wants to splice together corpses. I like a bit of sensationalism here. The rest of the cast is irritating at times (often by intention), but largely believable. The movie has a decent look with a yellow & green color scheme, is set almost entirely at night or in a derelict warehouse, and flirts with stop motion and psychedelic CG effects.
I only watched this because Larry Fessenden was in the chair. I liked Fessenden’s movies a lot around 10-15 years ago, but he lost me after Beneath (a low-brow deviant amidst his pretty original filmography). I’m glad that he’s at least exercising his tried and true style here: psychological drama disguised as horror. That is until the last half hour, wherein the movie turns into an implausible, hastily edited mess. Maybe I’m being a little generous because I’m rooting for Fessenden to continue making movies in his pretty unique style.