Coming into this month that I dubbed something like Resident Evil Sequels Month, I was really, really, very worried about how my mental health would survive this. See, here’s the thing… The first Resident Evil is very awkwardly bad early 00s action schlock with zombies and monsters. I had major issues with that, but I could live with it just being a shitty movie. 2004’s Resident Evil: Apocalypse took that and cranked it up to about a 35 on the shitty scale. It was laughably bad. It’s bad movie night bad.
But, to my surprise things kind of went a better direction. Resident Evil: Extinction brought in a new look and feel, and I liked the post-apocalyptic landscape. Resident Evil: Afterlife brought director Paul W.S. Anderson back into the director’s chair after writing the previous two entries, but it was a bit of a step down, but at least not terrible (at least better than the first two films), and Resident Evil: Retribution was a better mix of the action schlock with sci-fi schlock and horror schlock. The last three entries at least proved the series could be somewhat entertaining.
But here we are, at the end, with Resident Evil: The Final Chapter. Why am I bemoaning the time spent and thanking magical sky man that it’s all over? These movies are all really quite tiring. I want to move beyond them so badly because I’m so worn out by the insanity that is inflicted onto my eyeballs and brain. It’s like Stockholm Syndrome at some point. Do I really like some of these movies or has my brain simply adjusted to their crap factor and I’m just letting it happen to me. It’s got me in a sleeper hold and just whispering to me, “Let it happen… Shhhh… Let it happen.”
And, frankly, if that was Milla Jovovich doing that to me, I’d be okay with all that is happening.
Oh boy, do we have a LOT to talk about in this new B-Movie Enema. article. Oddly, the movie itself, Joel M. Reed’s controversial Bloodsucking Freaks from 1976, doesn’t really have a lot to discuss in terms of what is seen on the screen (don’t worry, I will be calling play-by-play nonetheless). No, there are two topics in particular to discuss in much greater detail.
I’m not entirely sure where to start with this, so let’s start with the director, Joel M. Reed. He unfortunately passed away in a care facility in New York City just earlier this year. He’s one of the many unfortunate casualties due to the global pandemic that is COVID-19. He’s likely known best for making this movie, which drew the ire of many, many people when it was released. The release of the movie also had a couple alternate titles like The Incredible Torture Show and Sardu: Master of the Screaming Virgins. However, almost everyone knows this movie by the title Bloodsucking Freaks. That’s the name applied to it by Lloyd Kaufman when Troma came along to take over the distribution of the movie.
With a single word, this mega company can conjure up many, many feelings. For many, it’s animated features. For some, it’s an iconic mouse. Others think of family vacations when they were little or, once grown, special times they have with their little ones. Some believe it’s everything wrong with the world. Some, like director Randy Moore, apparently believes it is a person, place, and thing that is so fake and full of shit, he wants to be sure he makes a whole movie to drive home his disdain, and then go on a press tour to make sure people know he’s above all this Disney fakeness.
The movie was Escape from Tomorrow. The gimmick is the guerrilla style filming inside both Disney World and Disneyland which is mostly what this movie has to stand on seven years on from its original release. Why is filming inside Disney Parks such a gimmick to begin with? Well, the place is absolutely crawling with intellectual property. Disney is fierce about litigation when it comes to their shit. There’s another reason why this movie was deemed risky, but I’ll get to that momentarily. Continue reading “Escape from Tomorrow (2013)”→
It’s been a bit since I did an anthology movie. In fact, I’ve only ever done one in the past. So let’s make up for that with a giant, nearly two full hours of kooky b-movie stories rolled into the horror comedy Chillerama from 2011!
The four segments contained within Chillerama are framed by a connecting story at a drive-in theater that is playing monster movies. Then, each of those four segments is a parody and homage to a particular genre and style. Additionally, each segment is directed by a different person – Adam Rifkin who directed mostly a split between family fare and boner comedies/thrillers, Tim Sullivan who was mostly known for producing movies like Detroit Rock City before making 2001 Maniacs with Robert Englund, Adam Green who made his mark with the Hatchet series of horror films, and Joe Lynch who is most recently known for directing Mayhem starring Steven Yeun and Samara Weaving.
Chillerama was the brainchild of Rifkin and Sullivan who met on Detroit Rock City and spitballed an idea for an anthology called Famous Monsters of Filmland – a title based on the Forrest J. Ackerman magazine that they grew up reading. Continue reading “Chillerama (2011)”→
Well, I guess you could say 2019 on B-Movie Enema was “the year of Zombie” as I talked about Lucio Fulci’s first Zombie movie from 1979 back in January and then Zombie 3 from 1988 came along in April. Before we close out this year of Zombie, I should get to Zombie 4: After Death (also just known as After Death).
What makes this movie noteworthy is that it’s the first Zombie movie that goes without input form Lucio Fulci himself. You can say that Zombie 3 didn’t seem to be that much of a Fulci flick itself, due to Fulci leaving the production due to illness, but he’s still given credit for the movie (whether or not he wants to have it). What is a holdover from the previous installment is the duo that brought us the amazingly disastrous masterpiece that is Troll 2, Claudio Fragasso (listed as the director) and his wife and co-conspirator Rossella Drudi (credited as lone screenwriter).