Mature

A good erotic movie is actually harder than it sounds.  Sure, you have to have skin, word play, arousal, and yes, that other kind of play.  But the good erotic films like Basic Instinct, 9 1/2 Weeks, and Embrace of the Vampire (You thought I was going to say Fatal Attraction, didn't you?) are very entertaining and have a story that draws you in to keep you there even when the spicy bits aren't on the screen.  Today's erotic film is Curiosa, which certainly hits all of the skin elements, but does it have a story that I would want to watch again and again?  Let's check it out.

A curiosa is an erotic object, book, or photograph.  We start the movie with a little photography as we watch our two main characters, Pierre Louys (played by Niels Schneider), who is taking pictures of Marie de Heredia (played by Noemie Merlant).  Marie is set to marry Henri de Regnier (played by Benjamin Lavernhe), but she does not love him.   She is actually in love with Pierre, who is Henri's best friend as well.

So, it is the Upcomingdiscs.com 31 Nights of Terror and your favorite columnist, Mr. Michael "Hey, were you expecting John Ceballos?" Durr has stepped in for a review about some of his favorite subjects. Cheesy Horror flics and Alyssa Milano. Today's title is an absolute cult classic and that is the original 1995 Vampire thriller, Embrace of the Vampire. So strap yourself in, and prepare to watch something so beautiful that it brings a tear to this columnist's eyes. (Tissue please)

*Warning*, the following post may contain absolute chicanery. Any attempt to make sense of this review should probably require a trip to the local psychiatrist's office for an immediate appointment. While there, you might want to ask for my mind back. I seemed to have lost it on my way to the Badminton for Divorcees convention. Thank you for your cooperation.

I didn’t know what to make of this Pig/1334 double bill when I took it on as my latest assignment. All I had to go on were the aggressively grotesque images on the Blu-ray case. I wasn’t yet familiar with the work of Dutch filmmaker Nico B. or former Christian Death frontman Rozz Williams. I did a bit of research, mostly because I wanted to make sure I wasn’t being handed a real-life version of the videotape from The Ring.  (Surely, there would be a less drastic way of informing me my services were no longer required on this site.) What I uncovered instead was an intriguing and haunting back story.

Pig is a 23-minute short co-directed by Nico B. and Williams, a pioneer of deathrock. (Unfortunately, I didn’t have access to too many deathrock records when I was growing up in Puerto Rico.) The short was filmed in 1997 and tells the story of a pig-masked serial killer (Williams) who ritualistically murders an unidentified man (James Hollan) in an abandoned house in the middle of Death Valley. Williams never saw the completed product because he hanged himself on April 1, 1998, shortly after finishing work on the soundtrack. (Pig premiered in Los Angeles in January 1999.)

Ever watch one of those movies that you don’t quite get or understand the first time around? You are certain that the movie is decent and the plot moves along well. But the problem is there are plot holes and the viewer is sure of them. Until they watch the movie a second time. Then either the viewer realizes the movie is brilliant or still full of plot holes. Well, today I encounter one of those films, Dressed to Kill and I think this one has filled out nicely.

It is another morning. Mike Miller (played by Fred Weber) shaves his face with a straight razor and we pan to the very nude Kate Miller (played by Angie Dickinson) taking a shower. She watches him intently and then starts to touch herself (this is unrated kids, we get to see a whole lot of Angie). As she becomes more aroused and more into herself, she doesn’t notice that there is now a man behind her. He takes her aggressively and she cries out in pleasure as we fade to black.

Unlike most people my age, I still have a surreal view of love despite a plethora of failed relationships and a horrendous first marriage. Sometimes, I feel like I am the only person who doesn’t have a screwed up concept of love. But thankfully I did find my true love before anything happened to my ideology. Enter the movie Year of the Carnivore, a movie that disguises itself to be about sex when in reality it is more a statement about good old fashioned love.

Eight O’ Clock. Just another day for Sammy Smalls (played by Cristin Milioti) until she peers out his window and stares at a guy engaged in a self sexual act. (it is not graphic, just disturbing). Interested, she doesn’t even realize she is eating off her parent’s picture. So off Sammy goes to the grocery store to do her job as store security. She catches a old man stealing a steak and hands him over to the store manager, Dirk (played by Will Sasso) who mulls him over.

Monica Guerritore is an unnamed wealthy socialite (all of the characters in the film are unnamed) who catches her husband in flagrante with another woman. To add insult to injury this woman is a TV personality of a sort unknown in North America, but common in France and Italy – an attractive woman whose only job is to let you know what's coming up next – and, rightly or wrongly, can represent, as is the case here, a certain form of empty glamour.

At any rate, Guerritore, sexually humiliated, heads off on the road with no particular destination in mind. She encounters exuberant cartoonist Gabriele Lavia (also the director of the film, but best known on these shores for his roles in Beyond the Door and Dario Argento's Deep Red and Inferno). The two begin an affair that rapidly spirals out of control, crossing all the boundaries of passion (that's the idea anyway) and veering rapidly towards self-destruction. All in about twelve hours!

Paula (Carmen Montes), a dancer at a strip club, is arrested for the murder of Paula (Paula Davis), a fellow dancer. The arresting officer (Lina Romay) questions the near-catatonic Paula, and the rest of the film is a slow-motion, flashback of the dead Paula dancing, the two women making love, and the murder. Once the slow-mo begins, there is no further dialogue, except for a cryptic fable that Paula tells to the camera.

Jess Franco's latest effort is his most minimalist, and in some ways most personal, film to date. There is no set to speak of: the film was obviously shot in Franco and Romay's apartment, which doubles for both the home of the Paulas and, perhaps, the police station. I say “perhaps” because the notion of any definable space is a very tenuous one in this film. The only set dressing consists of a few aluminum screens, which play a role in the zero-budgeted surrealist effects. As has been pointed out elsewhere, there is nothing groundbreaking about the effects the Franco conjures here. The kaleidoscopic images, frequently involving Davis fusing and splitting from her double, would not have been out of place in the 1960s, and aren't going to break the back of even the most basic computer editing suite today.

Dear Faithful Readers, Due to the nature of Sam Kinison's work on stage and off stage, this review may contain foul but funny humor, bad but heeeeelarious language, and not so politically correct (but correctly off the wall) jokes. Please be aware before you continue to read. Yours Always, Noms

*Yells into a microphone* NOW LET'S GET THIS PARTY STARTED! Oooooooo owwww owww owwwwwwww! For those of you who don't know, Sam used to be a preacher. No, I am not a liar dangit, look it up! But after his divorce with his first lousy skeeze who broke his heart into a billion pieces, I mean *cough* wife... he left that behind and became a comedian. And not just any comedian, an effin legendary comedian. It is just sad that his life was cut short, and not because of drugs or alcohol that HE used (which everyone and their mothers swore was gonna be the cause some day) but due to a drunk driving, 17 year old, kid. The world works in mysterious ways.

The other day, I was conveying to my better half that she should do an open review about a movie called Secretary that was fairly new to Blu-Ray. She ultimately decided against it because she felt she could not do a PG review for such a risqué movie. It is only fitting that a week or so later, I find Bad Lieutenant, a NC-17 movie in my own review pile and I was faced with the same task. Take an absolutely gritty, dark and disturbing movie and do what you can to make it a wholesome review. I always did like challenges.

Harvey Keitel plays a very bad cop. In fact, he's actually a Lieutenant of a local New York precinct (btw, he's never actually given a name, so we'll call him Lt.). He's had the crazy life that echoed the overzealous nature of the 80's. He has a family complete with a wife and children but the wholesome image stops right there. In his time out on the streets, he boozes, gambles, steals evidence, womanizes and does drugs including a whole lot of cocaine.

A nunsploitation box set was always an inevitability, and here the good people at Cult Epics chime in with just such a collection, one limited to 2500 copies. There are only two films here, but they are two good ones, the works of strong directors. One is a distinctively idiosyncratic work, showing the unmistakable hand of its filmmaker. The other will quite simply knock you out the back wall.

Behind Convent Walls is Walerian Borowczyk's contribution to the subgenre. A repressive abbess rules her convent with an iron fist (not to mention the blade concealed in her cane), but the sexuality of the nuns will not be repressed, and it will make its presence known, whether through rebellion or madness. The film defies any linear summary, given that it is almost impossible to tell the nuns apart, and the various incidents are not only disconnected, they take place with very little motivation or logic. Instead, we have a strikingly beautiful exercise in pure cinema. The Aurum Film Encyclopedia: Horror, on the subject of Borowczyk's Docteur Jekyll et les Femmes, notes, “Borowczyk's imagery, here fed by his fetishistic fascination with all things antiquarian, is often stunning and the film becomes a sort of still life in which familiar yet alien objects … seem imbued with a secret significance all their own.” Exactly the same is true for Behind Convent Walls. While nowhere near as powerful a film as The Beast, it is nonetheless well worth one's full attention.