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Django Kill… If You Live, Shoot!

Posted by Josh Samford On August - 15 - 2008
Plot Outline: Yeah, it has “Django” in the title but don’t be fooled, it has nothing to do with the film reviewed on this site. Just another case of people trying to make a buck off another film’s popularity. Anyway, Tomas Milian plays “The Stranger”, a Mexican bandit who works with a group of white men to pull a heist in which they get a whole lot of gold. Once the gold is in their hands though, the white men turn on the Mexicans and black men, making them dig a grave and shooting them all. They all die, except The Stranger. He awakens and claws his way out of his shallow grave. Two Indians rescue him and treat his wounds and soon follow his trail. While The Stranger makes his way across the desert though, the gang of white men stumble into a small town. Once there, one of them makes the mistake of flashing their gold around and before you know it, the gang finds themselves hanging from a noose. All but one man, the leader of the gang. Our ‘hero’, The Stranger just so happens to find his way into town at the moment he tries to escape the town too. Needless to say, goodbye Mr. Bigot. Now The Stranger’s mission of revenge is over, but he decides to stick around a while and takes up with Mr. Sorrow’s gang. Things begin to sink once Mr. Sorrow finds out someone in the town has the gold that the gang has.

  

The Review: Your loyal webmaster ‘il pantsman’ is having a bit of a spaghetti western revival this week. So here I am, this is the sixth film and I’m calling an end to the festivities. I’ve been watching all of these films for the first time this past week or so, writing down my thoughts after each viewing. So, starting from beginning to end, how was I supposed to know I would be saving the worst for last? I know that sounds terrible, as if the film is putrid or something, but I just expected a whole lot more. This was the only film of the whole marathon that made me exclaim ‘that sucked!’ after the closing credits. I mean that literally, I stood up and bluntly said it as loud as I could without yelling. The film just didn’t do anything for me. It starts off well enough with Milian rising from the grave to seek revenge, but then the film basically deconstructs after Milian has no one left to kill. I supposed the director had dreams of pretension but if you’re going to deviate from formula, for god’s sake make sure you have something to say and you can convey it! There were some interesting shots most certainly, and I respect it for going in a different direction, but the direction it headed in went to nowhere. I mean that. The film wanders and plods near the end for what seems like forever, needles subplots getting far too much exposure, all to get a cop-out resolution that ends in a matter of minutes. Sorry kids, no great duel or gun battle here. There’s essentially nothing.

Bah! The more I think about the film the more upset I get. I really don’t like to feel that way either. I’ve seen people who really like the film, and I hate disliking it so much because of that. It’s just that the film delivered so very little but had such great promise. It had Tomas Milian! Tomas Milian for pete’s sake! If there’s one thing that I have learned from watching all of these film’s, it’s that Milian was a force to be dealt with. Django Kill did nothing for his screen presence. Now, I will give the film credit for the fact that it let Milian stretch out some. This isn’t his usual ‘wild’ performance or ‘rascal with a heart’. He’s much more concentrated here and desperately tries his best to make the most of this dramatic role. He does a good job, as Milian was bound to do, but his charisma is all but laid to the wayside. As some astute critic put it, he really is a zombie in the film. There are moments where I was just screaming at Milian to punch someone in the mouth, or just, do SOMETHING. Instead, his character really is essentially dead. There are moments where he comes to life, like the moment where he gets in a fist fight in a bar. Even then though, it’s completely out of character. Just take a look at the ending and the climax of his love affair (that’s no spoiler, I didn’t say anything!). There’s no consistency at all really, the character shows compassion some times but avoids other situations. He’s either a mess or just not well written.

Then there’s the ending which I commented on earlier. It was like they knew they were running out of film and had to shoot something to close it all up. It just felt incredibly unfulfilling. I don’t even know exactly what it was that bothered me so much about it, as I seen another reviewer point out (and yeah, I always read other reviews to make sure my points at least seem vaild) they didn’t even let the audience know what happened to The Stranger’s Indian pal. Not surprising since they barely let you know what happens to The Stranger. There’s no emotional growth, no character growth, no nothing. I swear it just seems like a long road that leads to nowhere. Ahh, I’m ragging the film pretty hard I know, but I find it hard to comment on the things that were done well. As I mentioned, the imagery was great. There are some fantastic shots throughout the film, nothing on the level of Run, Man, Run! or anything, but still there’s some great technical work here. In the first half of the film especially, there are some great ideas at work. Watching Millian escape from his shallow grave is an amazing way to start the film off, and his retelling of how he and his compatriots were left to die is equally as mood setting. These moments of inspiration become fewer and fewer really, but up until somewhere after The Stranger gets his revenge, it’s all gold (pun intended). Since this is a spaghetti western you would expect some amazing work on the score, but to be honest, I barely noticed it. The score seemed far too subtle for this kind of film. Near the ending I was trying my best to notice it when it played so I could accurately judge it, but now about an hour after watching it I can’t even hum it in my own head.

So it basically stacks up like this: An A for effort, but a C- for execution. I loved the idea of a man setting off for revenge, but then finding that the revenge had been taken by someone else. It’s an interesting twist that just makes you wish all the more that the director would have actually done something useful with the idea. Instead, the film comes off as a meandering mess of blandness. Now, after all of that griping and complaining, I’m giving it a 2? You expected a one didn’t you? No, I think a two is fitting. It’s not an extremely terrible film really, it just tilts below the scale of generic. To those who really love the film, sorry if I offended you. This is all just my opinion after all so maybe I’m just a doofus. I’m sure you’ll take comfort in the fact that I most likely am.

Dead or Alive II: Tobosha

Posted by Josh Samford On August - 15 - 2008
Plot Outline: Two hitmen, both in search of something other than the brutality of their everyday lives, set off to an island from their childhood. Along the way the two find each other, find a friendship both had almost forgotten, find themselves, and find their humanity. The two decide to take their jobs and start making money with the intentions of donating it all to starving children. Things don’t go as planned after they kill a gangster who’s wife sets three hitman out for revenge.


  

The Review: When most people think about Takashi Miike’s Dead or Alive they think of those high octane blood soaked first 6 minutes of film, or the ultra bizzaro ending. If you know Miike though, you should know to expect the unexpected. So I figured going into the sequel that it wasn’t going to be anything like the original, much less a continuance. How could it be? If you’ve seen the original you know what I mean. Instead of taking the film in the same direction as the original, Miike just made a sequel that followed it’s own path and created it’s own universe. When it comes down to it, I’m not entirely sure which is the better film. On one hand DOA1 helped to introduce the world to Miike and establish himself among the international community, but on the other hand DOA2 is a fresh and imaginative sequel that doesn’t suffer as much from the dragging pace of the original and is just a whole lot of fun.

If you ask anyone what was the thing they didn’t like most about the original DOA, they’ll likely tell you the center half of the film. The pace switches gears and tends to leave many dry. With DOA2 though, the pace may be slow, but it’s never on false pretenses. The film lets you know it’s slow in the first 3 minutes of the film. A magician, played by Miike favorite Shinya Tsukamoto, has a faux street fight with two packs of cigarettes on his desk. Each pack representing the two gangs he’s wanting to start a war between. The scene goes on for a few minutes, Shinya making all the sound effects for the dying cigarette gangsters as he smashes them into one another. The scene seems to go on forever, it’s hilarious, but it’s extremely drawn out. The whole scene strikes me as if it’s Miike’s way of telling the audience “you’re in for something different”, and that’s precisely what he delivers.

If you’re one of the people who kept getting a Takeshi Kitano feeling during the original DOA, like me, then DOA2 is just going to strike you as deja vu. The original film always seemed like a spoof of the Kitano class of gangster films, but DOA2 feels like something different. I would go so far as too say an ‘homage’ if it wasn’t for the fact that I read that Miike interview where he said he wasn’t all too familiar with kitano’s work. So, this film could be looked at as a spoof as well, but it just feels too serious for something like that. Too somber. I think this was just Miike experimenting, that or the writer blatantly wanted a Kitano-esque film. The film has many of Kitano’s quirks and trademarks. Yakuza, the beach, deliberately slow pace, overly long shots, bursts of violence from out of nowhere. There are points in the film that I feel sure that the untrained eye might mistake the film for Kitano himself, but Kitano would never have a children’s play in the midst of the film spliced with footage of an extremely brutal Yakuza gang war that also features a little necrophilia. Not to mention a gigantic dismembered and pixelated male reproductive organ. Miike isn’t just all about violence, no matter what the critics may say, Miike delves deeper into the surreal with this film, much more than I think any of his films have. In one of my favorite little moments, Sho Aikawa actually floats into the shot from off screen. The little touch adds nothing really, but it lets you know what you’re in for fairly early on in the film.

The latter twenty or thirty minutes of the film relies heavily on symbolism and utter surrealism. Some might say it’s overindulgent, but I just think it’s fun. For the most part the symbolism is fairly easy to understand, the scene on the rooftop standing out as the most concise, but the film is full of all kinds of puzzles. For a filmmaker who claims not to put much thought into his films when he makes them, Miike stands as one of the most challenging filmmakers of modern times. This film, to me, is actually one of his most daring moments. He takes the expectations of others and buries them. Rather than live up to expectations he paves his own way, that’s why I love this guy. Now I suppose I should move on to the acting, something I feel fairly talkative about. The first thing that struck when I watched DOA2, was that both Sho Aikawa and Ricky Takeuichi seem to play completely opposite characters than they did in the first film. Sure Ricki still grimaces half the time but even he is a polar opposite of the brute he played in the original. Ricki actually cries while reminiscing on his youth in one scene. He plays around as a tiger in the play for the children, and seems to have a much meatier role in this sequel. As for Sho, Sho’s just all over the place! Displaying a charisma I would have never guessed him to have. The camera just loves the guy, and the blonde hair actually makes him seem a lot younger than the uptight detective in the first film.

I don’t think I can recommend this film without the first. The films may not be tied together by themes or story, but to see one without the other seems like a disservice. Same goes for the third film as well. Whether you’ll like/love this film is entirely up to your tastes, if you don’t mind watching a film that might not tie completely together or just an out-and-out bizarre film, DOA2 might be up your alley. Like many of the films I review on this site, this is for a niche audience. If you like it though, chances are you’ll love it. You just can’t go wrong with Miike.



Goodbye Uncle Tom

Posted by Josh Samford On August - 15 - 2008
The Plot: Goodbye Uncle Tom tells the story of the injustice of slavery from the youth of America through to modern times. Following slaves from Africa, and the horrifying boat rides that included using corks covered in material to stop the diarrhea of many future slaves – and the breaking of their front teeth to funnel water in for those who refused to drink. We watch from this brutal event to the next, as they arrive on shore and are thrown in mass pools with soap and disinfectant then are sold off to the highest bidder. We see the unbearable treatment of many slaves, including the rape of the females and the forced breeding in captivity. All of this through the eyes of a faux-documentary lens that seems all too real.




The Review: I’ve put off checking out Goodbye Uncle Tom for a while now. I can’t say precisely why, I’ve never read all too much about it. What I have read about it seemed to essentially cover some rather exploitative happenings during slavery period of the United States. Something about the idea worried me however, that someone halfway across the world would take up a camera, put a pen to paper and going through all of this elaborate work all in order to make an exploitative film about one of our greatest crimes in American history… well, what can the intention possibly be? Will it simply be a focus on the exploitation and a political tool for others to build their own self-esteem upon? The concept to most Americans, to go out and make such a film about another land, would be pretty bizarre. To go and make a movie about a dark element of European history that in no way directly related to the US, likely wouldn’t be made, since truthfully most Americans could care less what the Italians were up to a millennium ago. Stories of ancient Europe such as that of the Marquis De Sade, Braveheart and such are usually glazed over and certainly not made with the intention of pointing out wrongs of the government but more about making heroes of common people (or in the case of De Sade, making a hero of love out of a psychopath). The Germans unfortunately get hammered with World War II films; but those are usually stories focused on an American perspective. I worried before the film that this would turn out to be a two hour long lecture about the evils of America; past but also present. When I say all of this I don’t mean to gloss over slavery myself or put it off as anything more gentle than what is portrayed in this film. It is the most heinous of things any human being can do to one another, for anyone to have that much power over anyone is the most frightening thing I can imagine. What was bugging me about the film is why not cover many of the European countries just as guilty? If the target just so happens to be the most popular whipping boy – it makes me wonder if the intention is less about exposing the horrors of a terrible time and more political leverage for modern day events. My question was why this topic – from these filmmakers. Heaven knows that Rome and Italy have an extremely long and even more sordid past with the slave trade. From the ancient days to the Renaissance and beyond. They weren’t black slaves in those days, but Muslims or Jews. Equally as bizarre is to find out later that this film was shot in Haiti during the rule of Francois Duvalier, known psychotic dictator. He didn’t kill quite as many as someone like Idi Amin, but his crimes were nefarious and to think these people in this film portraying those being oppressed and brutalized were in fact quite oppressed and brutalized themselves – it makes one wonder where the feature film about these people are. The nail in the coffin on this subject is in the final credits where it has: “We thank his excellency the President of the Republic of Haiti Dr. Francois Duvalier for the hospitality and assistance offered to the troupe while filming in Haiti.” It seems painful that a film pointing out man’s inhumanity towards his brother, was ironically shot and helped by a dictatorship committing their own atrocities. However, I know that’s a lot of politics at play and I try not to get into that too much with my reviews – but Goodbye Uncle Tom is a film that asks it of you. These are also simply worries that I had BEFORE seeing the film, and not those based on my actual experience with the film itself.

Goodbye Uncle Tom may be the most brutally honest film depicting slavery as it once was. Showing the guts and terror of every worst possible situation the mind could fathom. There is no real direct narrative of the film told through characters and the things they go through. It is told in much the same documentary format that the filmmakers had made famous with their “mondo” series of films, only this one is obviously told through the use of actors and conventional film storytelling. However the one narrative link we have is that the film is told by someone who lays behind the camera. He asks the characters questions, interacts with the on-screen environment and serves as our guide through this horrid tale of debauchery and civilized society hiding a terrible sin right under their own feet. The film takes us on this bizarre journey as if through the eyes of these visitors who apparently have the modern sensibilities of we the viewer… I would suppose so, what with having a time machine to travel back to the early 1800s/late 1700s with a camera and such. The film feels like a modern and completely bizarre theatrical play, stretched out and put on display in as harrowing of detail as could possibly be with all the cinematic tools. At the two hour length however, one simply becomes so weary with all of the negativity and racism within the film. It begins to disturb the mind after a short amount of time. Near the halfway point it is already too much for sanity’s sake – but that’s essentially the point. To drive you crazy and burden you down with all of these horrors. The massive scope of the film and sheer technical brilliance of the film is just about the only thing that keeps it from seeming less like pure exploitative smut throughout, since it really is an absolutely stunning film full of such poetic and dancing camerawork that few films could hope to duplicate. There truly is some fantastic cinematography here, and even when looking at these screenshots and reading my words – you’ll more than likeely still be impressed with the visual proficiency of the film. The film never really takes place in any kind of geographical locations that look anything remotely like Louisiana however, as the closest any of us get to the sandy landscapes present in the film are when we visit the beach – and even then you’re surrounded by trees and folage.

There are moments in Goodbye Uncle Tom where the moral boundaries are crossed so far that the entire point of the film often seems distant or non-existant. Our time traveling man behind the camera who I at first assumed would be the representation of us the viewer, blows that away when he sleeps with the 13 year old slave girl… no, I’m not kidding. This literally happens, and don’t worry that’s not a spoiler since it takes place in only one of about a thousand different race related scenarios they take us on and it’s around the halfway point that it happens. Then there’s the point where our tour guides stop to speak to a slave who is actually happy with his situation and he explains he doesn’t care to be free, since all he sees from supposedly free slaves are those who have to work and break their back all day just to make enough to get by and such – which I started to wonder if maybe this would be the “point” of the film; but then our tour guide starts yelling and berating this slave and even calling him a disgrace to his race. Utterly bizarre, but that essentially describes everything in the film. The class structures are attacked within the film, with a couple of poor characters talking about how many slaves a rich plantation owner has and how neither he nor anyone he knew has a slave for themselves; and how the slaves have all but put them out of work. The subtext of the film is thick, but it often gets cluttered – but I think the ultimate goal of the film is simply to demonstrate all of these horrible things for the viewers to see. Much like with the previously mentioned Mondo series, the main goal is simply to get these things onscreen – but I will commend the filmmakers for coming up with an intriguing and highly original format in which to do it.

The musical accompaniment for the film by Riz Ortolani is certainly a strange mix, but it does work effectively well. It’s the usual upbeat and jivey soundtrack you would expect from the man responsible for the music in Cannibal Holocaust, and it may even be better. I am told the Oscar/Emmy nominated music for Mondo Cane, also from Riz Ortolani, featured the same upbeat musical theme; and although I absolutely love the music – it is a strange mix. To have such lively music with such downtrodden and horrible visuals. Such sweet and melodic music accompanying the memorable breeding farm segment is a good example, hearing this enchanting tune being played out while the visual side of things show us a completely disgusting truth of history where slaves were bread for best results. Like dogs or horses. The use of terms like “stallions” and women being in “heat” seem just too unbelievable to be true; but these were obviously strange and scary times. I also wonder just how much the filmmakers know about genetics with such segments, as they feature young black boys running around with obviously dyed blonde hair. I know quite a few friends with interracial parents; but never once have I seen such Kevin Randleman-esque (that’s an MMA reference most won’t get) results. I suppose modern genes just aren’t as strong as those old timey boys. Regardless, the conclusion to the film goes into a strange new direction in the much talked about Nat Turner sequence. For those who haven’t read about it, it is essentially a young black Priest reading The Confessions of Nat Turner, the story of a slave who rebelled and killed many whites alongside other slaves. The young man goes from just reading, to imagining the deaths in current day America, committed not by slaves but young black men with afros. The point of the sequence is lost on me, since this young man apparently wants to kill all the white people around him and fantasizes about it because they simply annoy him. The character is disillusioned with the progress America has made, but the violence hardly seems understandable. However, I can understand where the sequence is derived from.

I know this has went on possibly too long already and most quit reading after the first paragraph – but I will say that although it might seem like I am overly critical: I did like Goodbye Uncle Tom and respect its power. I would recommend it to those interested in the race issue and anyone who wants to see absolutely the most shocking slavery oriented film ever made. Shocking to our minds at least. Roots might be the more respectable and tasteful production based around the subject, but Goodbye Uncle Tom will definitely reach into your chest and rip your heart out by its intense and harrowing accounts of these horrible, horrible things. I give it a four out of five, because cinema is power and when a film takes that power and bends it to its own will – then it has done its job. As doubtful as some things, and as questioning I am about much of it and the limited respect I find for certain aspects of it morally – I am terribly glad to have seen it and would actually love to see it on the big screen.

Dead or Alive I: Hanzaisha

Posted by Josh Samford On August - 15 - 2008
Plot Outline: Ryuuichi and his gang of friends set out to take over the Japanese underworld. Detective Jojima, on the other side of the law, begins his quest to track him and his gang down. As they draw closer to one another, they both feel the draw of the inevitable battle that will take place between the two. Who will win, or better yet, who will survive?


  

The Review: I remember when I first saw the trailer for Dead or Alive, after hearing so much about it, but knowing very little of it, I finally found the trailer at some art house site. After sitting through the minute long series of chaos, I knew then and there that I had to own this film. I needed it like my body needs blood pumping through my veins. I breathed to see more Miike. Well, as any smart film geek does, I started snooping around. Trying to find out as much info as I possibly could. After reading a few reviews I soon realized this film may not be the blood soaked high octane yakuza massacre I was expecting. So, when the day finally came and it was my turn to finally see Miike’s classic gangster flick, I prepared myself. I was either going to walk out of it with more faith in Miike, or I would walk out of it not knowing what to expect or feel about this director I had already started growing to admire. Well, let’s just say my faith and pride in Miike hasn’t been diluted in the least, even ten or so films later.

No matter what review you read, it’s almost illegal not to mention the opening and ending sequences of DOA. trust me they deserve every amount of praise (or venom, depending on the reviewer) they’ve been given. I won’t go into the ending here, I actually had it spoiled for me a little in a review I read before watching the film. I will break down the introduction though. The whole film starts off with Riki Takeuchi and Sho Aikawa, our two leads, sitting on a dock overlooking some water, Sho looks to the camera and begins the countoff “1, 2, 1, 2, 3, 4″ and thus begins the insane, fuel injected, and adrenaline pumping 6 minute introduction. During this time we see many perversions and oddity’s that boggle the mind. Drugs, Rape, Murder, and just about anything else you can think of are all put on display in this extreme and perverse music video. Not to mention the thunderous rock soundtrack blazing over the insanity, shaking the screen with what is simply one of the greatest and most chaotic intros ever.

Then the unexpected happens, the film slows down. I’m talking SLOWS down. Miike lets us catch our breath, and we’re left wondering when the next bloodbath will ensue. This is what tends to throw most audience members off, the film never regains that speed or chaos. Instead we’re given a fairly formulaic cop drama with just a few hints at the bizarre world of Miike. Some scenes include simulated bestiality and someone being drowned in their own feces. This is only tastes of how strange things can and will get. The cop drama unfolds not entirely different than the average Takeshi Kitano film. I personally look at the film as a Kitano spoof of sorts. Miike said in an interview that he wasn’t/isn’t familiar with Kitano’s work and had only seen a couple of his films at the time, but watching DOA makes me think differently. DOA is often criticized for it’s dragging middle, but in my opinion it seems to be purposefully built that way. Miike likes to mess with people, and dragging the plot down like he did just makes the ultra bizzaro ending come even farther from left field. Don’t let me hype up the ending for you, it’s not too violent really, it’s just one of the most bizarre conclusions ever filmed.

When Dead or Alive was originally in production, the producers were basically hoping to make a “heat” style knock off. Miike being the outlaw that he is took the original 20+ scenes that introduced the characters and just went haywire in the editing room. Thus creating the insane beginning. The ending was completely changed as well, originally Ricki and Sho were to shoot at each other and fall down without knowing who wins. Miike’s spontaneously changing the ending of the film makes me love him all the more. This is what makes this guy so special. His pure boredom with the norm seems to drive him to try new things, that’s why the man has broke so much ground in cinema. Without Takashi Miike I think it’s fair to say I wouldn’t be into Asian cinema like I am today. The second Japanese film I ever saw was Audition, as I believe I’ve mentioned. For those who aren’t familiar with the director, Dead or Alive should introduce you to his style. Whether you like it or not will be something entirely up to you, but if Japanese cinema intrigues you, this is a must see.

Nothing much else to say. For those of you out there that think Japanese cinema died along with Akira Kurosawa, Takashi Miike stands before you. Miike is without a doubt my personal favorite director, just a bit higher than Orson Welles, Takeshi Kitano and David Lynch. You’ll either love him or hate him, but I doubt you’ll ever forget him.



Got Some New Stuff For Ya’ll!

Posted by Josh Samford On August - 8 - 2008

What up everybody! Got some new stuff, including a new user submitted review from Jon Jung – a guy who really knows his stuff when it comes to genre related cinema. His review for Lifeforce is also a great read so I highly recommend it to everybody. Hopefully you all have a good time and enjoy the latest!

NEW REVIEWS

Beast With A Gun – A classic bit of Italian Crime, as we take on an epic character study of two men who are aiming to destroy one another. One must go down, if they both don’t. That sort of thing. Fun, inventive and pushing the action from the very first scene until the end. Definitely check this one out!

Heat After Dark – Ryuhei Kitamura’s, director of Versus and Azumi, first feature film – and it’s pretty good! Kitamura is a director you’ll either really like or you won’t though, so if you didn’t like the style of Versus then this might not appeal to you. Features that same low budget “cool” that Versus did, only without the zombies or gore. However, if you’re a fan of his for his cinematic work and not just the wicked cool gore – you should dig on this.

Lifeforce (Reviewed by Jon Jung) – My good friend Jon provides his thoughts on this Tobe Hooper scifi classic. People are naked, there’s some crazy 80′s special FX work – why wouldn’t you want to check it out?

Mean Johnny Barrows – I am of the opinion that Fred “The Hammer” Williamson is one of the most underrated action stars of all time – right up there with Patrick Swayze (no, I’m not kidding on that) and I can’t help it but I really enjoyed this mafia yarnd – directed by the man himself.

OLD REVIEWS

Django – The Spaghetti Western classic is back on Varied Celluloid! I’m always happy to get my reviews back up for classic flicks such as this one. It has been a while since I read my review for it, so I may have slaughtered my chance at displaying how great of a film that it really is – but hopefully I did well enough in the eyes of the fans!

Demon, The (Reviewed By Prof. Aglaophotis) – I hope Aggy is doing well these days, haven’t heard from him in a while, sometimes its fun just to go back and read through some of his awesome reviews. The Demon is a flick that even Aglaophotis felt little sympathy for, and he’s a very fair guy so you know you screwed up when making it if Aggy says you did!

Detroit 9000 (Reviewed By Sebastian Haselbeck) – Sebastian from The Tarantino Archives submitted this review back in the day for this exploitation classic. Sebastian now helps out with both the Spaghetti Western Database as well as the Grindhouse Movie Database, so you can trust him!

Devonsville Terror, The (Reviewed by Prof. Aglaophotis) – With a name like The Devonsville Terror, do you even need a catchline or anything like that? It markets itself! Prof. Aglaophotis seems to enjoy it as well, so I’d definitely say it’s worth checking out some time!

So that looks like it will do it for another update. I’m trying out new features with wordpress right now, really looking for something to import IMDB information into the reviews so I can get a cast/writer/director feature going without having to manually put it all in for every review. It’st stuff like that on the old site that burned me out so bad. Anyway, hope all is cool and don’t forget to check out the forums!

– Josh Samford

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Varied Celluloid is a film website intent on delivering views on movies from all genres. Started in 2003, the website has been steadfast in its goal and features a database of over 500 lengthy reviews. If you would like to contact us about writing for the website or sending screeners, please visit the about page located here.

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