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Tuesday, September 30, 2014


Hey, dear and loyal Vaulties! October, the month that culminates in the most excellent day that is Halloween, is about to kick off, so you regulars know that means it's time once again for my annual month-long journey through the dark annals of horror cinema (and occasionally television).

Scary stories have been around as long as there have been storytellers, and a sizable segment of this planet's sentients eat up spine-chilling tales like a rapacious werewolf devours the tender flesh of an unlucky woodland wanderer, so it comes as no surprise that the horror genre has been a staple of global entertainment and has grown and thrived as the means to enthrall audiences with narratives that evolved along with us. Horror as a motion picture genre goes back to the dawn of the movies and it's been over a century since the first moving images silently flickered across the screen in the darkness as the public absorbed the wondrous diversions that unspooled. While comedies, dramas, romances, and adventure narratives held moviegoers riveted, darker, more sinister material also lurked in the indoor twilight and filmmakers were quick to realize that such chillers were a rich lode to be mined. From there the genre grew like Topsy and filled the silver screen with hordes of shambling revenants, thirsting nosferatu, eldritch demoniacal entities conjured through the wielding of forbidden rites, unrestful spectres, blasphemous man-made creatures, other-worldly wigglies that the mere sight of which drives the most stalwart of men to states of gibbering madness, medical nightmares in which our own bodies become our enemies or the healers who are supposed to grant us their aid turn their skills to dire pursuits, seemingly indestructible wielders of kitchen implements and power tools who stalk remote back-woods to prey upon randy youths, primordial throwbacks that defied extinction to terrorize swimwear-clad nubile young maidens, and even that most seemingly-mundane of threats, the unhinged murderer who walks among us and blends in while committing atrocities that would make veteran homicide detectives blanch and fall to their hands and knees while voiding the contents of their stomachs. All of those and more can be found in a richly-fetid cornucopia that often slyly reflects the needs and climate of the given era of production and examines areas of the human condition that may otherwise be un-broachable if not cloaked in shadow.

But enough of all that flowery film school yakkety-blah-blah-blah. If you've bothered to read this far, it's plain that you care about scary movies and are here to see what baleful chronicles of fright Yer Bunche will dredge up from the celluloid depths for the year of two-thousand and fourteen. For this year's selections, there is no real rhyme or reason behind my choices, though there will be the occasional thematic overlap and comparison/contrast of certain sub-groups within the genre. I will also take pains to point out that stories that are ostensibly viewed as examples of other flavors — comedy, science-fiction, "thrillers," and non-supernatural drama — can quite easily be revealed as horror to the very core, and that horror can function equally well as art or junk food for the imagination.

So sharpen your axe, dust off the Necronomicon, apply fresh rouge to grandma's mummified corpse, and make sure your homemade shroud of supple human skin is properly secured to your febrile pate. 'Tis once again the month of All Hallows' Eve and we are nothing if not prepared...

Monday, September 29, 2014


Hot DAMN, I'm fired-up for October and the spirit of Halloween that infuses everything for those all-too-short 31 days! I've been cranking some of my seasonal favorites — a tad early, I know, but come on — and I figured I'd share them with you, so enjoy, dear Vaulties!!!

Sunday, September 28, 2014


Yes, dear Vaulties, it's that time of year again, so get ready for another round of 31 DAYS OF HORROR! This year's entries will feature another eclectic mix of classics, obscurities, oddities, and downright wastes of celluloid, all brought to you in the inimitable Vault of Buncheness manner, so see you on Wednesday!

Saturday, September 13, 2014


Back in print after more than four decades, the first of Jean-Claude Forest's BARBARELLA graphic novels is getting a deluxe edition with an excellent new English translation by Kelly Sue DeConnick that breathes new life into the material. I've had the 1966 Grove Press version for a long time and know it quite well, so I was very pleased to read DeConnick's version, which rewrites the dialogue to be more naturalistic and not stiff like the very formal translation of forty-eight years back. 

And while those familiar with Barbarella from the famous Jane Fonda movie version will note that the film cribs its plot from the graphic novel's second half — The first half being a series of meandering and not-all-that-interesting random adventures and sexual encounters, though the second half more than makes up for the first half's made-up-on-the-fly plotting — and will be surprised to find that Barbarella of the comics is a lot different from the innocent found in the movie. Here she is tough and sexually aggressive in the manner of a woman who has been around, and she displays little of the semi-goofy aspect that Fonda so memorably brought to the screen. 

And though its once-scandalous sexual content is now tame to contemporary perceptions, it all wears its 1960's Frenchness on its sleeve and it's quite charming in its quaintness. (If created today, I shudder to think of how modern explicitness would rob the material of a lot of its whimsical fantasy vibe.)

This edition is an expensive hardcover at $79.99, so if you're going to snag it I recommend doing so via Amazon, where it's nearly half-off of the cover price. Whatever the case, it's definitely a recommended addition to the shelves of any serious student of international comics and it will be released on September 17th.

Saturday, September 06, 2014


Young John Waters, circa 1972.

Manhattan's Walter Reade Theater at Lincoln Center has been home to many terrific retrospectives that I've had the distinct pleasure to attend over the years, and last night was the opening evening of the first complete retrospective of the films of John Waters (which, I might add, saw several nights of its program completely sold out online in a matter of moments after tickets went on sale). I've been a slave to Waters's films since I saw the infamous (and fucking hilarious) PINK FLAMINGOS (1972) while still in high school. The film's warped and offensive sense of humor, incredibly twisted content, and in-your-face celebration of its outsider protagonists had a seismic effect on my development as a person and I unequivocally consider seeing that movie to be a life-changing experience. It also instantly rendered Waters my favorite living director and I subsequently went on to see every one of his movies, so I naturally had an interest in experiencing his rare, seldom-seen short film works. Never released on any home video format and only periodically screened when Waters had the whim to do so for friends or as limited  part of a film series or art show, these early efforts have been the source of great curiosity among the Waters faithful, so their inclusion in the Lincoln Center retrospective is a joyous occasion indeed. The films are apparently no longer extant in their original 16mm prints but they have been preserved in digital form (presumably transferred from archival videotapes), allowing for them to be shown on the huge flatscreen TV in Lincoln Center's amphitheater.

I arrived early and picked up my pre-ordered ticket for the sold-out 6:30pm screening of FEMALE TROUBLE and then made my way across the street from the Walter Reade Theater to the amphitheater. The screening of the shorts was at 4pm and free to the public, and every seated was filled by the time the lights dimmed. Here's what transpired, and I have to admit that I was pleasantly surprised by what I got.

HAG IN A BLACK LEATHER JACKET (1964)   17 minutes

Sporting one of the best titles ever, this seventeen-minute experiment was shot by the eighteen-year-old director on a budget of thirty bucks — the actual figure according to Waters and, judging from what's onscreen, he's not lying — utilizing stolen film stock and starring a number of Waters's cronies, including Mary Vivian Pearce, who would later become a recurring featured player in his first five full-length films. The quasi-narrative depicts the marriage of black man to a white ballerina on the roof of John Waters's parents' house, with the ceremony witnessed by assorted weirdoes and presided over by a cross-wielding Klansman. Employing the same kind of ADD-riddled unlicensed soundtrack collage technique as later found in MONDO TRASHO (1969), the film is rough around the edges — very rough, an aspect not at all helped by the dodgy video transfer — but briskly-paced and amusing. It also definitely already has the signature feel and trashy aesthetic of Waters's later work. Oh, and it should also be noted that there is neither a hag nor a black leather jacket to be found anywhere in this film.

ROMAN CANDLES (1966)   40 minutes

Freshly kicked out of NYU film school and influenced by Andy Warhol's CHELSEA GIRLS (1966), Waters aped Warhol's split-screen technique, only going it one better by intending its three free-form non-narratives to be projected onto a trio of individual screens. The result as seen on video at Lincoln Center was a screen composed of two upper tiers of imagery atop a third, with each running a series of unconnected clips and stock footage, including snippets from EARTH VS. THE SPIDER (1958) and THE CREATURE WALKS AMONG US (1956). It's dizzying and somewhat headache-inducing if one tries to follow each tier at once, but it's impressively well-constructed and never boring (which, frankly, I expected it to be), unlike many short films that bear the mark of film school influences.

EAT YOUR MAKEUP (1968)  45 minutes

The short opens with an anguished young woman crawling across sand dunes toward a shirtless young man while she repeatedly screams, "Makeup! Makeup!!! Makeup!!!"— an hilariously overwrought performance that elicited gales of laughter from the theater audience — until the mysterious man throws her a plate full of beauty products that she greedily devours. Following the credits, the short shifts location to a Baltimore park where a crazed-looking black-clad woman (Maelcum Soul) has her underlings kidnap young women off the street and take them into the woods, where they are forced to wear ridiculous outfits and repeatedly stalk a bargain basement outdoor catwalk until they model themselves to death for the amusement of a drugged-up and violent throng of spectators. The crazed modeling is periodically interrupted by the models being force-fed makeup, and diversions into fantasy and other odd attractions in what is revealed to be a boardwalk-like setup. The fantasy comes in when a wigless drag queen, played by a seventeen-year-old Divine, arrives to chat with the black-clad mistress of ceremonies and imagines herself as Jackie Kennedy riding and waving in the ill-fated motorcade as canned brainlessly guffaws on the soundtrack. The sheer balls/bad taste of doing such a sequence even five years after the real-life event that shocked the nation and the world screamed Waters, and it was amazing to see something so intentionally transgressive and offensive so early in his catalog.

Dangerous filmmaking: a parodic reenactment of the Kennedy assassination — with a laugh track, no less — some five years after the dire real-life event and featuring an obese teenage Divine in drag as the First Lady. I'm amazed Waters and company were not tracked down and stoned to death for this at the time.

The boardwalk element includes a Horror House ride (whose signage proudly proclaims "It'll make you sick") that drives a patron to terrified, shrieking apoplexy and apparent death with its depictions of mundane and wholesome suburban life and American values, and would be harkened back to and inverted for the "Cavalcade of Perversion" in MULTIPLE MANIACS (1970). It all wraps up with a "happy" ending cribbed from a mashup of Snow White and Sleeping Beauty's stories, and is once again accented from start to finish with music Waters didn't bother to get the rights to use. Of the three shorts, I would name EAT YOUR MAKEUP as the most accessible of the lot and the one where Waters's later tropes first begin to coalesce. 

Totally worth paying to watch yet kindly screened by Lincoln Center at no cost to the audience, the three early Waters films are a must-see for Waters fans, provided you're lucky enough to have the opportunity to catch them. Waters has stated that they will never be made available on home video because obtaining the music rights would be prohibitive, and also , reportedly, because they are simply too embryonic and relatively crude when compared what came later. I get where he's coming from when it comes to their stylistic/aesthetic primitiveness, as he is a filmmaker whose growth in assuredness and skill is visibly trackable on a film-by-film basis, but it would still be nice to have the shorts readily available for scholarly perusal and also to make Waters completists happy. Too bad about the damned music rights, though.