Posted in: Blu-ray, by Sean Axmaker, Contributors, Film Reviews, Horror

Blu-ray: The Larry Fessenden Collection

LarryFessendenLarry Fessenden isn’t the most well-known of indie-horror filmmakers but he should be. As a writer / director, he’s taken the classic horror genres and turned them inside out, and he’s produced or co-produced dozens of films, including Kelly Reichert’s Wendy and Lucy and Night Moves, Ti West’s The House of the Devil and The Innkeepers, and Jim Mickle’s Stake Land, through Glass Eye Pix, his own production shingle. He’s been a cheerleader, in his own words, for other independent filmmakers with a passion for horror, and his encouragement has made the genre much richer in the past couple of decades.

Scream Factory, the horror imprint of the Shout! Factory label, collects Fessenden’s first four directorial features and releases them on Blu-ray for the first time in The Larry Fessenden Collection (Scream Factory, Blu-ray). All four films are all newly mastered in HD transfers approved by the director and presented in separate discs with new and archival supplements.

No Telling (1991), Fessenden’s first feature as a director, takes on Frankenstein through the story of a research scientist who starts poaching animals from the nearby forest to experiment on while ostensibly on a summer vacation with his wife. Meanwhile a proponent of organic farming tries to get the local farmers to give up pesticides for the good of the land. It’s eco-horror in the modern age. The disc includes new commentary by Fessenden, a featurette, the short film White Trash (1997), and deleted scenes.

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Posted in: by Kathleen Murphy, Contributors, Film Reviews

‘3, 2, 1 … Frankie Go Boom’: Sweet Raunch

Ron Perlman and Charlie Hunnam

Though deliciously rude and crude, 3, 2, 1 … Frankie Go Boom possesses a surprisingly sweet heart. The failures and foibles of one Frankie Bartlett, screwed-up man-child, are lovingly embraced fun-house mirrors of Everyman’s (and woman’s) existential condition. Rollicking its transgressive way toward defining grown-up masculinity, Jordan Roberts’ screwball romp never stoops to the misogyny and other infantilisms rampant in so many Peter Pan comedies. Like Some Like It Hot (one of Roberts’ favorite movies), Boom celebrates the ways in which nobody’s perfect.

At first, 3, 2, 1 … Frankie Go Boom reads like the worst title ever. But its baby-talk syntax and climactic collapse eloquently signpost all the pratfalls, sexual and otherwise, that have bedeviled and humiliated Frankie (Charlie Hunnam) since boyhood — courtesy of his compulsive-prankster brother Bruce (Bridesmaids‘s Chris O’Dowd). The title also evokes that breathless momentum of let’s-pretend child’s play that characterizes Roberts’ only apparently episodic, all-over-the-map narrative style.

The film begins life as a pastel home movie in which gleeful Bruce tricks his sibling into “going boom” into a backyard “grave.” Twenty-five years after that first downfall, Frankie has holed up in a womb-like trailer in Death Valley. Writing books he never finishes, he’s hiding from the millions who enjoyed the Internet video of his disastrous wedding: Compulsive filmmaker Bruce thoughtfully recorded the moment when Frankie discovered his bride had cheated on him with his best man. Somehow their mom (Nora Dunn) convinces Frankie to come home to celebrate Bruce’s graduation from drug rehab. And thus begins Frankie’s descent into a fresh hell of beleaguered manhood.

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Posted in: by Sean Axmaker, Contributors, DVD, Film Reviews

The Gangster Mamas (and Other Lady Outlaws) of Big Bad Corman – DVDs of the Week

Big Bad Mama / Big Bad Mama II Double Feature (Shout! Factory)
Crazy Mama / The Lady In Red Double Feature
(Shout! Factory)

One of the less recognized genres that director/producer/indie-exploitation movie mogul Roger Corman adopted as a minor specialty was the depression-era gangster movie. As a director he turned out Machine Gun Kelly (1958), The St. Valentine’s Day Massacre (1967) and (most importantly for the purposes of this piece) Bloody Mama (1970), his perversely Oedipal take on the Ma Barker story with Shelley Winters as the machine gun mama leading her sons through a bank-robbing spree and keeping them a little too close for comfort on their days off.

Angie Dickinson in the driver's seat of "Big Bad Mama"

Jump ahead a few years and Corman, now retired from directing to run his own independent studio, turns back to the period gangster thriller with a femme-centric twist (which proved so effective in Boxcar Bertha, the 1972 feature he produced for AIP and with an up-and-coming young filmmaker at the helm taking first shot at directing a real Hollywood film: Martin Scorsese). Bloody Mama and Boxcar Bertha are the two godmothers of the four films featured in a pair of double features from Shout! Factory, including three that carried on the legacy of Corman’s gangster Mamas: all previously available but newly remastered for posterity presented at good prices.

Angie Dickinson takes the driver’s seat in the getaway car of Big Bad Mama (1974) and powers the low-rent Bonnie and Clyde as the feisty Wilma McClatchie, a sexy and strong-willed depression-era widow with two teenage daughters blossoming into sexual creatures. Angry, outspoken and determined to take back her share (and a little more) from the fat cats and corrupt authority figures that took everything from her, she puts a stop to her daughter’s wedding with a rabble-rousing speech about social injustice and then hits the road with a fun-loving bootlegger on the run from the Feds (one of them played by Corman familiar Dick Miller). It’s the just beginning of her outlaw education on the road to bigger and better crimes, from small-time robberies and race track heist to high society capers, with two new partners: rough and ready bank robber Fred Diller (Tom Skerritt) who literally has his bank robbery hijacked by Wilma and smirking con man William Baxter (William Shatner) who seduces Wilma right out of Fred’s arms. Her girls, Billy Jean (Susan Sennett) and Polly (Robbie Lee), are quick to fill the void in Fred’s bed. He’s nothing if not adaptable.

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