Thursday, December 30, 2010

Episode #113: Yi Specialists

Welcome back to another GGtMC, with your hosts for this week....Rupert Pupkin and Big Willy!!!

Sammy was detained with child care again and the guys stepped it up and knocked a review packed episode for the listeners!!!

This week, the Gents cover Sergio Corbucci's The Specialist AKA Specialists (1969) and Yi Yi (2000) directed by Edward Yang.

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Mystics In Bali (1981): Review

Directed by H. Tjut Djalil. Starring Ilona Agathe Bastian, Yos Santo, Sofia W.D., and W.D. Mochtar. Rated R.

From the man who brought us the highly-acclaimed LADY TERMINATOR comes this star-studded love story under the guise of a supernatural horror film. OK, all sarcasm aside, this bat-shit insane Indonesian horror movie revolves around an American author named Catherine who's doing some research in Bali for a book she's writing on the subject of Black Magic. And, of course, what better way to get an understanding of something such as Black Magic than to become a practitioner of it. Dumb broad. With the help of a suave local named Mahendra, Catherine hooks up with a local witch who practices the art of Leyak Magic something-or-another. With Leyak Magic comes the ability to transform oneself into an animal or some sort of destructive object, more or less.

Aside from the supernatural business, there's a really awkward romance subplot involving Catherine and Mahendra. They hold hands a lot (how cute) and kiss every once in a while. It's obvious that Catherine wants Mahendra's ringading-dangdong inside of her, but for some reason (SPOILER ALERT) Mahendra never seals the deal. Could it have something to do with the strange woman that's been spying on them from afar throughout most of the movie? You'll have to watch the movie to find out. I know, the suspense must be killing you.

On a personal note, I've heard about this movie somewhere before, but never really sought it out. The reason I decided to give it a watch now is because I looked up a list of horror movies with the most bizarre monsters or villains and found this film's particular villain to be too awesome to pass up. Most of the films on the list were a revelation to me, but there were some films on there that I've either heard about or have seen before. Included among the list of bizarre baddies were killer condoms, killer blow-up dolls, and beds that eat people, just to name a few. MYSTICS IN BALI was listed as having a levitating disembodied head (with entrails still attached!) that attacks people and re-attaches back to its host upon completion. How this comes about is that - to keep it as brief as possible - Catherine becomes possessed and is basically controlled by the evil witch, which results in her head detaching from her body and terrorizing people in a nearby village.

Despite there being a dramatic difference in film quality during the floating head sequences (or any other scene involving special effects for that matter) in comparison to the rest of the movie, Catherine's disembodied head is still an awesome sight to behold because of how utterly stupid it looks, but yet it's also quite fitting for such an insane film as MYSTICS IN BALI. As it turns out, that's not all the film has to offer in terms of over-the-top horror elements. Throughout Catherine's stint as a practitioner of Black Magic, she also turns into a pig monster and a snake woman. We also get moments of Body Horror (Bali Horror?), as well as a nasty vomiting scene and, of course, the witch herself who spends most of the movie cackling and sounding awfully similar to the vocalist from Dimmu Borgir.

While the film is indeed filled with moments of sheer Indonesian insanity, the parts of the film that take place in between those insane moments are boring and meandering. Had I been watching the film casually and without the intention of reviewing it, I would have made a habit of fast forwarding to the "good parts". Nonetheless, MYSTICS IN BALI is apparently one of the better horror films to have come out of Indonesia, and one that caters to Western audiences while maintaining its Eastern roots and folklore. Available on DVD through the Mondo Macabro label, this film is worth seeking out for those who appreciate absurd and obscure horror cinema, despite its faults. On a side note, lead actress Ilona Agathe Bastian was just some German tourist who was on vacation and approached by a producer to star in the movie.

Make or Break: What made the film for me was the scene in which Catherine engaged in a bizarre dancing ritual with the witch and eventually turned into a pig. Going into MYSTICS IN BALI, the knowledge that the film was going to be "strange" was there, but this particular scene is what really kicks the film into gear and sets the tone for the rest of the insanity.

MVT: As much as I'd like to show director H. Tjut Djalil some love for putting together such an insane movie, there's no way that I can not award the "most valuable thing" in the film to the floating head. It's so ludicrous, and the fact that the filmmakers decided to present the head with its body's internal organs still attached makes it that much more awesome.

Score: 5.75/10

Sunday, December 26, 2010

Bonus #26: Interview with Tim League

For a holiday gift from the GGtMC, we offer you an interview with the founder of the Alamo Drafthouse, Tim League. He sat down to talk with our West Coast Correspondent Rupert Pupkin.

Direct download: TLIntRM.mp3

We hope you enjoy the holiday gift from us to you!!!

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Thursday, December 23, 2010

Episode #112: The Looker Brothers

Welcome to another episode of the GGtMC!!!

This week, Sammy was detained by child care and was unable to actually be on the show. However, guest Mike Malloy, director of the upcoming Eurocrime! The Italian Cop and Gangster Films That Ruled The 70's, and Large William put together a nice little program for the listeners and reviewed a couple of interesting films.

The Gents talked about Looker (1981) directed by Michael Crichton and The Dion Brothers (1974) directed by Jack Starrett.

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Saturday, December 18, 2010

Bonus #25: Interview with Mike White

Large William and Sammy sit down and have a chat with Mike White, one of the true cinema fans, about his new book Impossibly Funky: A Cashiers du Cinemart Collection. The GGtMC recommends everyone go out and buy the book because this is what writing about cinema is all have the word of the Gentlemen that this is one of the best film books of the year.

You can purchase the book here:

Mike would also love for anyone that wants to purchase the book to support your local retailers and go out and purcahse the book but if that isnt an option, we provided the link above for that purpose.

You can also find Mike's blog over at and while your over there check out his survey requesting films that arent available on DVD.

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Thursday, December 16, 2010

Episode #111: Superfuzz Texas

Welcome to another episode of the GGtMC!!!

This week the Gents cover Superfuzz (1980) starring Terence Hill and directed by Sergio Corbucci and Paris, Texas (1984) directed by Wim Wenders.

Everyone bring your Boogie Shoes and dance the night away with Big Willy and The Samurai.

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Saturday, December 11, 2010

Bonus #24: Destroy All Movies with Zack Carlson

Welcome back to the GGtMC!!!

We have a special bonus for you this week, our West Coast Correspondent Rupert Pupkin sit back down with Zack Carlson, one of the lead programmers over at the Alamo Drafthouse, to discuss his work on the book Destroy All Movies!!! The Complete Guide to Punks on Film.

You can purchase the book by following this link:


Wednesday, December 8, 2010

Wavelength (1983): A Review

Here’s a hidden gem (perhaps a semi-precious one) from the 1983, which may have been unfairly related to the “E.T./Close Encounters Rip-Off” bin. I think this movies exists on its own merit, but we’ll get there. The story is nothing revolutionary, as a couple stumbles upon a government laboratory in which aliens are being held for experimentation.

We begin with pre-credit sequence featuring some grainy ‘alien autopsy’ type footage in a the Los Angeles equivalent of Area 51 type locale. Via a terribly inappropriate film noir female voice over, we’re introduced to Bobby, played by Robert Carradine. It’s a bit tough to buy Robert Carradine as a burnt out rock star – and his occupation does not really factor into the story, so having him as a teacher or architect would have made the first 15 minutes of the movie a little less awkward.
His girlfriend Iris, who narrates the beginning of the story but abruptly stops for now apparent reason, is played by Cherie Currie of the Runaways fame. She’s hearing strange sounds and asks Bobby about the giant industrial building that is a stone’s throw from his house. All he knows is that it's government property, and that it has been empty for years. Or is it?
The only other familiar face is Keenan Wynn, who plays Bobby’s friend, channeling Walter Huston role as a ‘prospector’ who apparently feels there’s still gold somewhere around the Hollywood sign. I did not make that up. Also, there's a fairly barky dog.
The film build some momentum with a decent sequence with handheld camera as they first enter the facility. There's some effective lighting done on the cheap, giving it a very natural look. This makes sense as the cinematographer Paul Goldsmith has done a lot of documentary work, including When We Were Kings.
Our lovebirds are captured by the evil military folks, and it appears as though they will be killed. The scientists discover that Iris has some sort of psychic connection to the aliens, but their efforts to investigate further are hampered by the fact that exposure to the aliens seems to be killing off the personnel at the facility. The military decides to 'bury' the problem, leaving Bobby, Iris and the aliens several stories below underground under a pile of rubble. Luckily the aliens are strong and resourceful, and the group makes it way out of L.A. to the desert with a plan to get the aliens in touch with their mother ship. 90% of the film's budget is burned through in the final minutes as fighter jets take on a giant, glowing orb. Before you know it, everything is back to normal and the credits roll.
The movie is well paced, getting a good deal of exposition out of the way via a military briefing. Much of the acting among the supporting staff is quite stiff, but it’s not all that distracting as it suits the multiple conversations between military and scientific personnel. The two leads are quite strong, and I must admit that Currie's performance was a pleasant surprise. Budgetary corners are cut in some crafty ways, including some great stock footage of Air Force One. There are flaws, however, and some are quite apparent, including a 20 second bit with a boom mike bouncing around.
What makes this film stand out is how the story unfolds in a way that respects the intelligence of the viewer. It serves as proof that a small budget and science-fiction can co-exist.
Make or Break: The early footage of the pods really gets your attention and helps you get beyond the silly subplot involving Bobby's music career, or lack thereof.
MVT: The Aliens - the 3 children do a great job, coming across as very eerie without ever speaking a word of dialogue. There's one that looks like a hairless Chloe Sevigny.
Score: 7.5 out of 10. If you are looking for an entertaining, thoughtful 'aliens on Earth' movie, you could do a lot worse.

Episode #110: El Tiburon Infernale

Welcome back to an EPIC GGtMC episode filled with improper comments and crazy shark attacks!!

This week the Gents bring along Pickleloaf and cover The Last Shark (1981) directed by Enzo Castellari and El Violador Infernal AKA The Infernal Rapist (1988) a little gem of Mexploitation and easily one of the sleaziest films we have ever discussed on this fine program.

We also have mucho feedback and as always we giggle at many absurd moments this type of cinema offer us in their reviews...

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Monday, December 6, 2010

City Under Siege(2010): Review

If you’re making a film for the Chinese movie-going audience, what is your first go-to resource of getting the audience immediately on your side? The eeeeeeevil Japanese, that’s who! I don’t really intend to make light of the war-time atrocities that the Japanese military committed during their occupation of China, but it’s easily the most transparent plot device you’ll see in Hong Kong cinema. At least in City Under Siege, the Japanese are shown to be woefully inept mad scientists who have created some super-soldier mutant gas stuff. Cue the carnival troupe in Malaysia. It’s ok, just stick with me.

Here, we’re introduced to Sunny(Aaron Kwok), a clown that’s part of a troupe of circus performers who’s suffering a serious inferiority complex. He’s always wanted to become a master of the flying dagger, but he just can’t escape the shadow of the dastardly Zhang(Collin Chou). Oddly enough, this is no merry band of circus performers, but rather just a bunch of circus kung-fu dicks who are after the gold that the Japanese had left in a spooky cave on the edge of town. These greedy shlubs promptly get exposed to the super soldier gas that gives them the Neopolitan ice cream of super powers(strength, speed, invulnerability), but the baddies start to turn into grotesque mutants while Sunny is just fat for a little bit.

How on earth can a concept so ludicrously wonderful go so horribly wrong? An ambitious abundance of subplots, groan-worthy comedy, 2 hour run time, and more rubber muscle suits than you can shake a bulgy vein at. It’s hard to pinpoint where exactly the seams come apart on the movie, but I doubt it was even held together in the first place.

I’ll start off with the acting. The primary offender is Kwok’s painfully juvenile portrayal of Sunny. Sometimes I can roll with a young goof grappling with inadequacy and relative self-worth, but when it comes from a 45 year old actor, it’s just creepy and completely disengaging. He’s a one-man comic relief task force and it’s too unbearable for words. Hong Kong cinema has had a long and storied tradition of pandering to its audience through constant comic relief, but this man is no Stephen Chow. Collin Chou seems to be enjoying himself as the eeeevil Zhang, but there’s not much else to him other than his random crush on Angel(Shu Qi) . Jacky Wu Jing adds some enjoyment with his boyish charm and kung-fu stylings. Although, his attempt at facial hair still doesn’t hide that he still looks like a 14 year old.

Even outside of the principle actors, every other aspect of the film manages to fumble the ball and the responsibility rests on director/writer/svengali Benny Chan. The directing is hammy and uneven, while the runtime could have been drastically reduced to help keep the momentum going. Subplots range from impending nuptial stress to tv politics. The worst subplot revolves around Sunny becoming something of a celebrity and we’re treated to a take on celebrity that’s makes Hancock look nuanced and sophisticated. The action choreography leaves a lot to be desired since it’s obvious that Wu Jing had to slow down considerably so the others could keep up and the constant explosions just aren’t enough to be a serviceable distraction.

With all this said, there is a goofy charm to the whole affair that keeps it from becoming a complete waste of time, but it comes close. The movie doesn’t make many efforts to be anything more than what it is, but where it should be entertaining, it just comes off as painful. Sometimes a serviceable distraction is all a movie needs to be to get my recommendation, but in my heart of hearts, I just can’t bring myself to recommend this to anyone, even in spite of the muscle suits.

Make or Break: The movie just completely lost me when Sunny is exposed to the gas and falls into the ocean. He makes his way out but has turned into a Blob of sorts and has a ravenous hunger. He stumbles across Shu Qi who has a flat tire so he helps and she agrees to take him home. Heartwarming dialogue and broad characterization fall on the viewer like an errant piano. Sunny goes to sleep and the water drains out of him(presumably he’s a sponge) and he’s back to normal. This power isn’t relevant to the rest of the movie. Presumably, they had a fatsuit for the day and damn it, they were gonna’ use it.

MVT: It’s gotta’ go to Jacky Wu Jing who’s the only consistently enjoyable part of the movie. It really kind of bums me out that he hasn’t taken off like Donnie Yen, Jet Li, and Jackie Chan had in the past. I honestly feels he’s the one that has got a great mix of martial arts skill and natural acting talent. For shame, Hong Kong, for shame.


Saturday, December 4, 2010

Pondering the Make or Break Scene (or a half assed review of Stormy Monday because I didn't really like it)

So it was one of those Friday nights.   
I’m sure there were some social events I could have very easily invited myself to.  Or I could have gassed up the car and gone on a failed quest to find the best side of the road Taco Stand.   
Look, it doesn’t really matter.  
The point is that I decided to curl up on the floor with my dog and watch a movie on the tube.   
As if by divine intervention, I came across Mike Figgis’ stab at Neo-Noir known as Stormy Monday (1988).  
I had always wanted to see this.  
It has a killer cast (Sting, Melanie Griffith, Tommy Lee Jones) and was made by the man behind what I consider to be an American Classic, Leaving Las Vegas.   
And even a minute or two into the film, it actually looked absolutely gorgeous.  Each shot was immaculately composed, lighted, and executed.  This is what a highly trained film scholar like myself would call the “Oh, pretty...” effect.    
(The “Oh, pretty...” effect would be this movie’s down fall, as we will see later on in this makeshift essay).  
I throw the remote away (in the metaphorical sense) and settled down to watch a flick.   

There is a story in Stormy Monday, but unfortunately it’s incredibly boiler plate.  There is a hero (Sean Bean) who works for a baddie (Sting), and gets involved with a Femme Fatale (Griffith) that leads him down the Wrong Path.  We’ve all seen this story a million times.  There’s nothing wrong with it, if the filmmakers have an ability to execute it well or reinvent it.   
The problem with Stormy Monday is that the plot is simply background noise.  This movie is really about creating a “look.”  
What’s the closest thing I can compare the “look” of this movie to?   I don’t think it’s a coincidence that I thought immediately of the American artist Edward Hopper.  Figgis and his director of photography Roger Deakins go to great lengths to blow misty smoke into the frame, light characters’ faces with the glow of neon signs, isolate Melanie Griffith in a flattering and flooding spotlight, etc. 
(If you’re not familiar with my pretentious reference, please google Edward Hopper.  You’ll recognize his “Night Hawks” painting.)
Wonderful, but why the hell should I care?  Here are a few movies that covered the Neo-Noir genre ten times better:  The Last Seduction, Red Rock West, and Brick.  
Why are those movies better?  Because they are actually engaging and they caused me to pay attention to them.   They had what could be called a “make” scene.  
(Here comes a bad transition...)  
The hosts of the Gentleman’s Guide to Midnite Cinema talk about “make or break” scenes.   
Until tonight, I hadn't really contemplated what that meant.  But now I think I get it.  
The “make” scene is the transitional moment that causes you to become fully engaged. The moment when you realize:  “This film has me by the gizzards and won’t let go.”  I suppose it varies on a case by case basis.  It could be emotional, it could be comedic, etc.  
The “break” scene is the point in time in which you realize that you have no interest in what you are watching.  (The healthier among us usually decide to shut off the film at that very point in time.  But the obsessives usually don’t ever learn better).  

There was not a “make” scene in Stormy Monday.  But I think I can confidently tell you what the “break” scene was.  The moment in which the Sean Bean character guns down two men that are beating up Melanie Griffith. He’s gone to the dark side, but it wasn’t the gut wrenching event it should have been.  
I don’t care=break scene.  No matter how pretty it looks. 
(That transition was ambitious but ultimately didn’t work.  I’ll give myself a solid “B” on this entry.)
Now why didn’t I go looking for that Taco Stand?  I could have been there by now.  
Stormy Monday
Rating: 6.5 (looks great, but is dull)

Friday, December 3, 2010

Trash Humpers (2009): Review

Directed by Harmony Korine.
Starring Rachel Korine, Harmony Korine, Brian Kotzur, and Travis Nicholson.
Running Time: 78 minutes

Resembling a SOV version of GUMMO without the narrative, and with a group of troublemakers disguised in grotesque masks instead of troubled, drug-abusing teenagers, TRASH HUMPERS is a plotless art-film in which said troublemakers wander around the back roads and secluded areas of Nashville, Tennessee dry humping trash bins and trees, destroying inanimate objects such as televisions and radios, and encountering an assortment of characters who somehow manage to outdo them in the "weird" department.

At first glance, TRASH HUMPERS may seem like nothing more than a bizarre variation of JACKASS, in which its actors hide behind makeup and do crazy shit in public, but anyone with an appreciation for avant-garde cinema (and preferably with a familiarization of director Harmony Korine's cinematic quirks and style of filmmaking) may find that this undeniably insane film actually has some heart to it. As evidenced by his other films (whether you like them or not), Harmony Korine has an absolutely uncanny way of making things seem completely natural when in fact you're watching something scripted and carefully directed. Of course this isn't always the case, but Korine truly has a great understanding of the cinema veritee style of filmmaking; his actual knowledge of filmmaking masked by the bat-shit crazy subjects that he films, making the viewer believe that they're watching something legitimately psychotic. Such is the case with GUMMO, JULIEN DONKEY-BOY (even with recognizable people like Ewen Bremner and Werner Herzog amongst the cast), and of course TRASH HUMPERS.

Art films can be a touchy subject for some people, no matter if they're a casual film fan or hardcore cinephile. Kenneth Anger (a favorite of mine) is a good example. Some people think his films are brilliant and others think his films are extremely overrated and pretentious, but, as with any form of art, be it film or painting, the beauty of a certain piece of art is in the eye of the beholder and what that piece of art means to them. That being said, TRASH HUMPERS was destined to be a divisive film, and even I found myself questioning the merits of what I was watching throughout most of it. TRASH HUMPERS is so maniacal that it's almost impossible to classify. Is it art? Is it exploitation or comedy or horror? Or, is it indeed "trash"?

The film follows three central characters (a female, played by Harmony's wife Rachel, and two males) who resemble destructive senior citizens. Every once in a while, the fourth character (played by Harmony himself), who mainly films the shenanigans, appears in front of the camera to join in on the bizarre antics. These characters are extremely unsettling and downright frightening at times, and most of the credit goes to their masks and makeup effects that make them seem like relatives of the Sawyer family from TEXAS CHAINSAW MASSACRE, who somehow got away from the Lone Star state to wreak havoc in another part of the country. And, while it's not exactly a film with any true narrative structure, and it obviously takes place over the course of a few days, TRASH HUMPERS is comparable to a "one crazy night" film that gets progressively more deranged. It starts out as an uncomfortable comedy, and by the middle of the film the main characters are murdering people instead of terrorizing inanimate objects.

In the end, TRASH HUMPERS - a film that I contemplated not even finishing because of how stupid I initially thought it was - won me over and I found it to be an impressive, unhinged piece of filmmaking. It's not enjoyable, per se, or very re-watchable (the same can be said for the director's other films), but Harmony Korine has undoubtedly created a niche for himself as a filmmaker who's willing to be bold and take chances, and this is merely the next step in an interesting direction in his career. To follow his pristine and beautifully-filmed MISTER LONELY with something that purposely looks like a really bad dub of a VHS tape is a testament to that statement. I'd only recommend seeing TRASH HUMPERS if you're familiar with Korine's work or if you like strange art-movies. If you'd like to explore Korine's filmography, this is not a good starting point.

Make or Break scene: For me, the scene that made the film was the ending. There are a lot of interesting moments throughout the film, but the ending, in a way, redeemed every tasteless moment leading up to that point. I won't say what happens in the end even though it isn't necessarily a "spoiler", but strangely I found the ending to be quite heartwarming and scary at the same time. It's a very intimate moment with just Harmony and Rachel Korine and a third character, and a nice way to wrap things up.

Most Valuable Thing: Without a doubt, Harmony Korine. He's the mastermind behind this, so it would only be fitting to give him the props. Personally, I'm really not a fan of his work, with the exception being his most accessible film MISTER LONELY, but I do admire him for sticking to his guns and creating films that are personal to him.

Score: 7/10

Thursday, December 2, 2010

Trog (1970): Review

Directed by: Freddie Francis
Starring: Joan Crawfod and Michael Gough

Trog has become rather infamous as Joan Crawford’s final feature film appearance. It is quite amazing that someone as talented as Ms. Crawford had fallen to this level, but the 70s and 80s were not kind to many of the big names from Hollywood’s Golden Era including Joseph Cotten, Ray Milland and Ava Gardner.

The film opens with a rather unexciting spelunking sequence, with a studio-bound cavern that looks cleaner than my basement. It is filled with cheesy looking stalactites and stalagmites (don’t ask me which is which), which turn out to be important in the grand finale. There’s a really lame jump scare with a lizard, and eventually we encounter Trog.

How can I best describe Trog? The overall make-up job is terrible, as he looks like the missing link above the shoulders, but completely modern age below the shoulders, complete with manicured hands and very little body hair. Apparently, he’s super strong and quite angry. Most of Trog’s aggression comes in the form of wrestling moves, with the body slam being his favorite. I half expected him to pick up a chair as some point.

Crawford plays a world famous anthropologist, who lives in the middle of nowhere, England. To be fair, she’s fairly believable as she slurs her way through pseudo-scientific dialogue, theorizing that Trog might have thawed out a la Iceman . She helps him develop as a person with soothing music and a game of catch. Michael Hough shows up as the local cynic; constantly repeating the line “This is a waste of taxpayers’ money”. His acting is so brutally over the top, that he helps Crawford come across as relatively subtle.

Ultimately, between the '20th Century Ape Man' sequences and the courtroom melodrama, the movie becomes a weird mash up of Escape From the Planet of the Apes and Inherit the Wind. The low point (or high point, depending on your perspective) is a 3 minute sequence in which Trog ‘remembers’ scenes from the past. It turns out that he may have left his cave to see a movie at some point in the 50s, because his memories are really stock footage of claymation dinosaurs from The Animal World (1956).

We wait nearly 75 minutes for the inevitable rampage sequence, which is actually worth the wait as Trog does more damage than a gang of football hooligans. The best bit is when Trog hangs a butcher from a meat hook. That image really jarred me as a child, and it holds up ok today. For some reason, Trog picks up an innocent little girl and carries her into the cave. Crawford comes to the rescue, but even she and her magnificent eyebrows cannot full save the day for Trog (the character and the film).

Make or Break: Unfortunately, it is a break. The make-up is just terrible, killing the overall impact of the supposed threat that is Trog. Dishonorable mention must go to his little fur booties.

MVT: Crawford for sure. I’m pretty sure she’s tanked through most of the movie, but she’s still head and shoulders above anyone else. Her bonding scenes with Trog and quite good, and it makes you wonder why she couldn’t show that kind of love to her real life kids.

Score: 5.5 out of 10. Portions of the film fall into the “So Bad It’s Good” category, but there are too many dull moments to make it a true camp classic.

Wednesday, December 1, 2010

Episode #109: Amer Saddle

Welcome back to another episode of GGtMC!!!

This week the Gents cover Amer (2009) a buzz film from the festival circuit and Silver Saddle (1978) a spaghetti western directed by Lucio Fulci.

Also, you get to experience Sammy being owned by his son because he was bored with the film chat. Not a fan.....YET.

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