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Halloween: 25 Years of Terror (NR)Directed by Stefan Hutchinson_Anchor Bay EntertainmentIn 1978, the first real slasher film — the one that set the template for all others to follow— was released and changed the face of horror forever. Twenty-five years later, John Carpenter’s Halloween (and its subsequent sequels, good and bad) is just as relevant as ever. Thisis exemplified by Anchor Bay's two-disc documentary Halloween: 25 Years of Terror, probably the most seminal feature-length making-of film since Kevin Burns' Behind the Planet of the Apes. Every story and controversy behind each film (including, surprisingly, a segment on the Michael Myers-less Halloween III) is aided with rare footage and dozens upon dozens of interviews, providing an honest, warts-and-all depiction of the night he came home. Included are four-plus hours of bonus features— there's nothing but treats for Halloween fans here. — Louis Fowler06 ILet Me Die a Woman: Transgendered Edition (X)Directed by Doris Wishman_Synapse Films / *Under the RadarLet me die a woman! How many times a day do I shout that to the heavens? By last count, zero. But now that I've seen Doris Wishman's wonderfully grotesque 1978 sex change exploitation-doc masterpiece, I can honestly say that number's up to three. I can guarantee you have never seen a movie like this — Wishman, pretty much the female equivalent of Russ Meyer — helmed many '60s nudie-cuties and the notorious Chesty Morgan flicks, wherein the massively busty Morgan would smother enemies with her gigantic ... ummm, I'm sure you can guess. With Let Me Die a Woman, she veers off into extreme bizarre territory with graphic on-screen sex changes, hilariously outdated scientific findings and a group of the most unconvincing drag queens ever put together in one room. This is one of John Waters' fave flicks — isn't that recommendation enough? — Louis FowlerMetal Skin (R)Directed by Geoffrey WrightSubversive CinemaHow can a movie with a box that screams speeding cars, crazy women, devil worship not pique your interest? Australian filmmaker Geoffrey (Romper Stomper) Wright's second, Aussie-lensed feature is an angst-filled plunge into the depths of extreme loneliness and desperation. A group of post-high-school layabouts spirals, Shakespeare-style, into tragedy of the lowest common denominator. Mixing a believable and eclectic group of characters, from gearhead Psycho Joe and ladies' man Dazey to Satanic depressive Savina, Metal Skin depicts a realistic-yet-apocalyptic Melbourne, much like the outback pictured in the Mad Max films, filled with desolation and hopelessness, inverted by the pounding engines and screeching wheels of death that seem to be at every turn. Metal Skin is a stylishly brutal film that demands to be seen by an American audience. — Louis Fowler
Newspaper Details
Colorado Springs Independent
Colorado Springs, Colorado, US
Thu, Jul 27, 2006
Page 22
Full Page
Clipped by
Los A.
CA, USA 05 Jun 2024
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