Posts by David Annandale

Nacho Cerdá made his name on the underground horror circuit with Aftermath, a short feature that made everyone’s worst surmises about autopsy tables look hopeless optimistic. The question that looms around his feature debut, The Abandoned, just out on DVD, is how on earth he might top Aftermath’s taboo-busting calling card. Wisely, he attempts no such thing. Though there is one notable moment of “yeeeurrrrgggh” in the film, it otherwise marks a very different approach to horror, as well as making clear that Cerdá is the kind of talent that horror desperately needs at this juncture. It’s a criminal shame that the film received to theatrical distribution to speak of, but here’s hoping it will find the audience it deserves on DVD.

Volume 4 of Warner’s Film Noir Classic Collection series raises the bar over its wonderful predecessors by doubling the number of movies on offer: ten this time around.

Very briefly:

Acts of Violence sees two former war comrades (Van Heflin and Robert Ryan) on a violent collision course. The former is a respected citizen, the other is, well, Robert Ryan, and he’s never up to any good, but things are more complicated than they appear.

Mads Mikkelsen, whom we last saw taking a rope to James Bond’s family jewels, is here up to a far more praiseworthy activity: helping run a school for orphans in an impoverished region of India. The school is struggling to survive, and when a Danish businessman expresses an interest in providing stable funding, but only if Mikkelsen comes to Denmark for a meeting, the latter is reluctantly persuaded to leave India for the encounter. At said meeting, the tycoon (Rolf Lassgard) casually (it seems) invites Mikkelsen to his daughter’s wedding. Mikkelsen accepts, and at that wedding receives quite a shock. Lassgard, it turns out, has a very personal secret agenda at work.

All right, some musings on basics now. I have spilled a fair bit of verbiage over the course of this column about films that are so bad they’re good. But there are questions going unanswered, and, dare I say it, unasked: how exactly does this come to pass. How does a bad movie achieve a certain form of perverse greatness? Why do we enjoy watching these things? I could go on.

Logan (Malcolm Stumpf) is a lonely 13-year-old whose experience of junior high, already hellish, is made exponentially worse by his emerging homosexual identity. Smitten with Rodeo, an older rebel who is one of the only other students to spend time with him, Logan adopts the female identity of “Leah” which he uses to seduce Rodeo over the phone, hoping to make his daydream a reality. Meanwhile, he identifies strongly with the mountain lions that have begun straying onto the campus and being shot.

Dan Chupong plays a young warrior, armed with rockets and martial arts skills, who roams the Thai countryside in the 19th Century, searching for the man who killed his parents. His only clues are that he trades in buffalo and is a unique tattoo on his chest. He finds the man he believes is his target, but this trader, who possesses magical powers, is also in the sights of an evil local aristocrat who is trying to get rid of the local buffalo population in order to drive up sales for his tractor franchise. Said ne’er-do-well sets up our hero to do his dirty work.

One hundred years after Abraham Van Helsing and allies fail to annihilate Dracula, the vampire arrives in a small American town looking for an amulet that, if destroyed at the prescribed moment, will usher in a reign of darkness. Recruited to aid in this project are versions of the Wolfman, the Frankenstein Monster, the Mummy and the Creature from the Black Lagoon. Opposing Dracula is the titular Monster Squad, a group of monster-crazy boys and one very little (and very adorable) sister, who befriends the Monster.

Part and parcel of loving cult movies is a profound sense of nostalgia. This melancholy ache for the past is not necessarily limited to periods one has actually lived through. The shape of the nostalgia also takes on different forms, and can often wind up feeding on itself. This is a phenomenon that the bargain-basement DVD can help perpetuate. Allow me to attempt to explain myself a little more clearly.

This is, I gather, part of a series of documentaries under the wider umbrella of “America Undercover,” and is not the first of the taxicab ones. What we have here is a collection of vignettes as various people hail a cab and, captured by the cab’s security camera, engage in revealing conversations with the driver. Most of these discussions deal with relationships and sex (the guy and his transsexual girlfriend, the guy with the big woman fetish, the guy with a thing for “crazy chicks” and so on). Over the course of the hour, this becomes a little tiresome, and one hopes for a passenger with something else on his/her mind.

Edward G. Robinson is the war crimes investigator on the relentless hunt for the fugitive Nazi who masterminded the Final Solution. He arranges for the one man who knows his face to escape imprisonment, and follows him to a small Connecticut town. There he loses his quarry, but evidence soon points to Orson Welles, who, under the identity of Charles Rankin, is now a college professor and new husband to Loretta Young. Welles stops at nothing, including murder, to protect his secret, but little by little Young is forced to realize who her husband really is.