Snobbin: Beautiful Trash in the Pop Culture Gutter

I used to be a wallflower at the punk show.  Standing in back like those cool people in that Jawbreaker lyric or Peter Parker, replete in sweater vest a tour song well defined. I watched everyone else participate, slunk in the corner like a ragdoll  in required black hoodie, shock of auburn hair, drooped over crooked glasses. '90s indie fashion or a Weezer video extra, the early days of emo.  A backpack possibly slung over my shoulder, and a lack of beer in my hand, made me stand out, an awkward clown, never a joiner. Even though I loved the volume of the music, the warmth of the room, distinguished from the blustery, wintery outside, I found it hard to join.  These states never get warm. The band never breaks a string. Once I finally joined and met the people in the room, I became a figure in the scene, with my own nickname and relevance. Seldom a band member, I was the eternal commenter, the guy who could talk records, a legend in my hometown. Like that irredeemabl...

David Bruckner's  The Ritual builds suspense through the familiar narrative trope of difficult friendships and decisions but takes its protagonist to unexpected places that rework many folk horror tropes, such as the outsider coming to unfamiliar areas and finding horrific occult practices and villagers that are compelled to commit them. The premise which could be a feel good buddy comedy turns horrific quickly, and the legacy of the characters comes into question. Add in a really interesting folk horror monster with antlers, hoofs, and human-like body parts, and you have all the ingredients for an interesting genre excursion. 

  The updated Rube Goldberg devices in this loose remake of William Castle's 1960 haunted house flick along with the exaggeratedly designed ghosts make this one fun to watch if predictable. Tony Shalhoub, Shannon Elizabeth, and Matthew Lillard each give their all in a film that needs more scares. 

 Bees barely buzzes. Even John Saxon cannot save this snoozefest. 

One of the best voodoo films due to strong performances, atmosphere, and special effects. Wes Craven tells a complex political story in a way that never feels dull and generally surprises. The film generally authentically covers Haitian voodoo honestly without attempting cheap scares. Dr. Dennis Allen (Bill Pullman) and Dr. Marielle Duchamp (Cathy Tyson) also somehow maintain realistic chemistry while combatting the evil Dargent Peytraud (Zakes Mokae) in a thriller that actually thrills.

George Romero like you've seldom seen him. This arty vampire film manages to bring the New Hollywood to the Arthouse vampire. Most of the film meanders, despite having interesting characters and dialogue, but the conclusion still surprises and makes Martin must viewing. 

Daniel Radcliffe's believable performance elevates this update on the Hammer Gothic horror film. What it lacks in gore, it makes up in character development. While not as over the top as classic Hammer flicks, The Woman in Black still finds ways to surprise.

This anthology film delivers a few cool twists on typical horror tropes and leaves you wanting more from each vignette. I asked myself what else this world had in store for its protagonists. The sense of the unknown is palpable in ways that few horror movies have conveyed after 2000. 

Angela Bettis's offbeat and vulnerable performance as the titular character trying to understand the world around her makes this one a worthwhile watch. Her childhood trauma and fragile mental state lead to an unsettling conclusion. 

A stylish, erotic vampire thriller that makes up for its lack of plot with good music and interesting performances by Susan Sarandon and David Bowie. Bauhaus's performance was a welcome addition. 

A horror comedy that does not take itself too seriously as it lampoons high school social groups and mainstream emo bands to comment on the absurdity of modern life.  

An unconventional vampire love story, focusing more on the sensual than the gory aspects of the vampire mythos. As with many Rollin films, the limited dialogue adds to the ambiguous nature of the vampire protagonists.

This sequel makes two look tame. An exorcist fights bandits with the help of his ghost companions. Nonstop action obscures the lack of plot. The scene where the boy ghost is folded and trapped in a wine jug has to be seen to be believed.

This gory Jaws copycat has far more character development than I expected. Richard Jaeckl is underrated. The Neal Adams poster artwork is pretty phenomenal as well.

I need more Ernest Thesiger in my life. His performance stands out from the rest of a stacked ensemble cast in this over-the-top gothic look into the life of the dysfunctional Femm family. While lesser known than other films in James Whales' filmography, particularly Bride of Frankenstein , The Old Dark House with its elements of camp and social commentary still surprises today. I showed it in my film class, and the students were entranced. 

The films that Vincent Price made for American International Pictures (AIP) vary in quality, generally due to narrative and budgetary inconsistencies. Great casting and performances, along with comedic elements, make this one an interesting watch; however, the premise of reusing the same coffin wears thin after a while. Peter Lorre, Basil Rathbone, and Boris Karloff all put in interesting performances, but Rhubarb the Cat almost steals the show. 

Dario Argento's cut of the classic zombie film feels more action packed and propulsive because of pacing. However, sometimes the music is too loud, obscuring dialogue, even thought it makes the zombie attacks appear more menacing. An interesting take on one of the best. 

Stylish but ultimately a rehash of vampire tropes that felt unfinished. I wanted something more because of the hype. 

Jean Rollin's movies are always beautifully shot and, while generally lacking a traditional narrative, present interesting protagonists and little dialogue. Overall, this is a complex story about friendship in the guise of a vampire movie.

 I'm generally not a big fan of Haunted House movies that were released after 2010, particularly the Conjuring series, or, honestly, any haunted house movies that deal with possession, poltergeist activity, or exorcisms. Don't get me started on Ed and Lorraine Warren or other woo peddlers. However, The Other s is very different. Nicole Kidman's spectacular performance brings realistic gravitas to an interesting historical, supernatural drama by adding an element of believability missing from most. The shocking third act reveal additionally sets this one apart. 

Ricky Lau's Hong Kong Comedy Horror film Mr. Vampire II is sillier than the first but ultimately fun. More movies should reference hopping vampire lore. 

Atmospheric, beautifully shot, and ultimately mysterious, Hiroshi Matsuno's ghost ship pirate tale remains one of the more visually stunning horror films in Japanese cinema. 

Possibly, one of the most quotable horror films ever released. Roddy Piper's performance as everyman action hero Nada and the irresistible b-movie plot that incorporates sun glasses that allow common people to see the alien overlords in their midst, makes this one truly unforgettable and must watch. A cult film that deserves its acclaim. 

Yikes. I'm not a fan of this generic slasher. Besides the over-the-top gore and nominally interesting killer in Art the Clown (David Howard Thornton) that add to its hype, nothing really stands out. I'm actually at a loss as to why this series is so popular. 

While not a return to the form of his classic gialli days, this fairly straightforward thriller shows that Argento can still make a suspenseful, cinematically interesting picture. 

The documentary style effectively grounds this one as a realistic crime story, but the horror elements continually surprise, sewing elements of supernatural doubt. 

A silly premise concerning a police chase on a ghost-infested Mars that often feels like it wants to be a Mad Max or Snake Pliskin sequel is not one of John Carpenter's better offerings. However, if you just want a fun movie with a visually distinctive villain and many laudable action sequences.

More Lovecraftian madness from John Carpenter that takes the generic horror plot of a fish out of water character visiting a small town and discovering horrific happenings. John Trent (Sam Neill) morphs between sensible and insane as he investigates the disappearance of horror writer, Sutter Cane. The nonlinear plot and typical Carpenter flourishes make this one so much fun. 

Another John Carpenter film with interesting practical effects, significant performances by Donald Pleasance, Victor Wong, Lisa Blount, along with a scene-stealing cameo by Alice Cooper. A welcome addition to fun films with Lovecraftian themes. 

  How did I miss this one? Ken Russell brings his sacrilegious fascination with religion to an exploration of the psychoactive drugs and the human psyche. If you like 2001: A Space Odyssey (1968), Altered States captures a similar feeling of the human in transition. The scenes where Edward Jessup (William Hurt) transforms into other forms are worth the trip alone. 

Grace Passô and Ricardo Alves Jr.'s Dazed Flesh  is a short experimental film that confrontationally explores what it means to be human. A wandering, disembodied voice takes over a woman's body and gives a monologue on what a body means as a vehicle for movement and a social construction. 

Stuart Gordon's Stuck is a chilling cautionary tale about how not to act if you run someone over with your vehicle. Mena Suvari and Stephen Rea's down-to-earth, pragmatic performances make this terse ripped from the headlines horror shocker surprisingly affecting. 

I'm hoping to start writing regularly again, particularly beginning work on my first nonfiction book. It's been a long time coming. I've written numerous chapters/articles, blog posts, poems, a few failed book proposals, and other miscellanea but have never finished a longer work, unless you count the dissertation. Of course, numerous health challenges in the last few years have dampened this dream. My hands feel better after using wrist braces for my carpal tunnel, but I cannot type like I once did. They still hurt and are shaky. I've been having brain fog and a stuffy headache from the forest fire smoke. I feel like I'm moving in slow motion. I'm posting this for support and motivation to get back to it. I want to find the strength and energy to keep going. I miss writing the way I used to since it has been part of me for as long as I can remember. However, I made it into work for so long that I'm trying to find the fun again, along with the ability to phy...

 

From the opening notes of Propagandhi's anthem of resilience, "At Peace," the title track on their eighth album, listeners will realize that the band has learned how to reflect and grow, despite the anger they continue to feel from years of governmental malfeasance. The band's flirtations with metal are becoming more hardened with each release, and this track is heavy. metaphorically and musically. The feeling of doom is underscored by menacing metallic guitar arpeggios before Chris Hannah's weary, world worn vocals break the heaviness. The verses and choruses reach a riffy consensus as he hits a breathy, hypnotic, drawn-out mantra, "I am at peace," The band, including bassist Todd Kowalski, guitarist Sulynn Hago, and drummer, Jord Samolesky find their groove in a sludgy, trudging heaviness that martially moves along with the lyrics.  Hannah sings a plea that resonates heavily with many of us who have been trying to understand how we have gotten to this ...

"They call it youthful idealism / And even I would have to agree with them / Some of us grow up, and it's still there"-Operation Ivy, "Junkie's Running Dry." When I think of coming of age in the late 1990s and early 2000s, I often find myself attempting to recapture those moments of silence or solitude that still existed in an era before social media and 24 hour news cycles took over. While we had cellphones, they were not the pocket computers of today, social media did not exist as it does now, and people could still use the excuse that they were not at home to answer the phone. No one expected us to be on call at all hours of the day, nor did they battle over political talking points in the stratified way they do now. Instead, we could "turn on, tune in, and drop out" like the previous generation, albeit with different drugs and drama, in ways that are often not available to younger generations. I was a master at "dropping out" in those...

I'm trying to write longer, languorous lines, you know, as I have not been writing like I should. These lines might form a rib, a bit, an attempt at honest expression, or an artistic endeavor to keep me from my dotage. To shake off the brain fog, post-Covid before I fix my shaky, sore carpal tunnel hands and get back to work. I wake up numb in brain, fingertips straining and hurting, finding it hard to talk, momentary, mental lapses, and an inability to move, work, or think. The cabin helps as the bright sun shakes off the long upper Midwest winter, which felt like it lasted eight months this year. The mosquitoes materialize from seemingly nothing to work like tiny Draculas on all available creatures. A bald eagle screeches in its deceptively tiny bird voice, and the chipmunks chase each other with much commentary. A toad hops through the gray dirt of the campfire pit in search of a cool escape from the torturous sun's red rays. I defog as I watch every other creature move thro...

With a script by Samuel Fuller, this hardboiled Douglas Sirk noir does not disappoint if you like crisp dialogue, tight pacing, and disillusioned characters.

Joan Micklin Silver's breezy "hit" comedy relies more on the societal expectations for human connection than the fairy tale "will they, won't they" of the average rom com.

Jack Lemmon plays bamboozled straight man to Walter Matthau's audacious and award-winning turn as ambulance chasing lawyer, "Whiplash" Willie Gingrich, as they bargain for a huge settlement. Another Wilder gem that engages and surprises; however, the film doesn't allow Lemmon to let loose as much as I'd like.

Wim Wenders' Yasujiro Ozu documentary is a contemplative journey to Tokyo in search of people, places, and situations connected to the Japanese director.

Akira Kurosawa's No Regrets For Our Youth (1946) stars Ozu's favorite lead, Setsuko Hara, in a prescient antifascist political vehicle. Kurosawa includes lots of dramatic action without a "pillow shot" in sight.

Roddy Bogawa's 2004 documentary I Was Born, But is named after Yasujiro Ozu's 1934 silent film and mirrors that film in specifics of identity formation, particularly how class, culture, and nation inform who we are. The film is parts quiet meditation on Japanese American identity, including thoughts on Pearl Harbor, and the formative influence of the punk rock scene. Through additional reflection on his childhood in California and Hawaii and its impact, Bogawa creates an entrancing narrative that feels very different from Ozu but still tells a similar story on how art and identity shapes us.

While I often thought GLB's final record didn't reach the heights of their earlier albums, I now realize that the polished songwriting, production, and lyrical honesty emphasize a maturity and growth. My downer '90s self also did not relate to the jubilant sound and lyrics. However, I still wish Paul Kimble was on bass.

Otis the cat should survey the trees and birds, But he'd rather annoy me. Since the sentinel spruce and maples do not heed him, He licks the window in small circles. Nearby chickadees care little For these feline demonstrations. The cold weather snaps us to attention, And the snow falls silently while we watch From inside a creaky house, hoping for touches of lenient spring amidst the wintery chills.

I have waited a long time for the new Charles Burns book. Final Cut is beautifully drawn, but the characters feel like ciphers. On the surface, the horror movie tropes and exploration of the human psyche feel like vintage Burns, and my younger self would have loved it. His connections between cinematic narratives and human connection show how fantasy sometimes separates us. However, Final Cut feels much emptier than Inside Out and less horrific than his best work. The science fiction horrors are only on the screen and in the mind and not realities for the characters as in other Burns stories. Thus, he shows that our disconnections can be more horrific than any fiction. That said, maybe I'm just that far removed from my teenage self and cannot find a connection to any of these characters or their familiar obsessions. As they slip apart, I found myself also withdrawing. Perhaps, that's the point.

Yasujuru Ozu's A Story of Floating Weeds (1934) and its remake Floating Weeds (1959) are masterworks in drama. Each tells the story of a traveling kabuki theatre troupe visiting cities on the Seto Inland Sea. The films' primary conflict revolves around the owner's excursions to visit his former mistress and their grownup son, who believes that the actor is his uncle. The lead actress becomes jealous when she finds out. She pays a younger actress to seduce the son, an act that complicates everything. Meanwhile the troupe's fortunes take a downturn as audiences are more interested in newer styles.  Both films include an amazing scene where the kabuki master and his mistress shout across a rainy street while walking back and forth, which reinforces their alienation and disconnection. Like many of Ozu's pillow and low-angle shots, he deftly builds characterization and setting through placement. Perhaps, the character studies and relationships in each are at their must s...

The second movie in Ozu's Noriko Trilogy, a series of films that stars the fabulous Setsuko Hara as a character named Noriko, although none of the films have the same characters. Thematically, many of Ozu's later films feel connected due to their emphasis on women's roles in post-war Japan and their similar English titles. They often deal with relatives who want to help marry off their single family members. In this one, the character Noriko is living in her family's home when her uncle (Kokuten Kodu) suggests that since she is 28, she should get married. Ozu always handles this common theme with subtlety and understanding of family dynamics.  Complications arise fairly quickly, and the family's plans go awry. They want Noriko to marry her boss's forty-year-old businessman friend, Mr. Manabe, but she has different plans. The mother of her widowed childhood friend Kenkichi Yabe (Hiroshi Nihon'yanagi) asks Noriko to marry her son. When she says yes, it aliena...

Snow on spruce boughs, The second coming of a rabbit Disrupts the morning silence I think of you asleep miles away In clouded memories of fog Here in the snowy north, The temperature dropped to negative 25 Even the birds are silent, But the spruces still contemplate our Tiny backyard, unaware of our plights.

An adaptation of Italian cartoonist Guido Crepax's erotic Valentina series, Corrado Farina's film  chronicles her experiences with the title witch. Effective cinematography and frames that resemble comics abound, yet the slow-paced narrative could use more action. Eastman plays Valentina's (Isabelle De Funes) considerate lover, Arno, who helps her fight Baba Yaga.

A spiritual successor to Anthropophagus , Joe D'Amato's  Absurd borrows heavily from John Carpenter's  Halloween , adding gore in the inimitable Italian fashion. Eastman plays the hulking killer who was the victim of an experiment that gave him healing powers at the cost of his sanity.