Revisiting…Boyz n the Hood (1991)

Almost thirty years have passed since the release of John Singleton’s controversial drama, and the movie has lost none of its power. In fact, it is hard to imagine a film of its nature existing in today’s censored climate.

Back in 1991, the infamous L.A. riots were just around the corner, and rap was more than just a vehicle for cynical, white-collar marketing. Thanks to certain creative freedoms, the racially oppressed still had something of a mainstream voice, and movies were allowed to champion unpopular opinions.

Fast-forward three decades and the themes featured in Boyz n the Hood have been stylized to such a degree that its characters have been reduced to impotent stereotypes, its situations diluted beyond parody…

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Hollywood Chainsaw Hookers (1988)

I have to be honest; this is not what I was expecting at all.

On the surface it is everything you would imagine it to be. It is a movie about chainsaw wielding nutjobs masquerading as barfly hookers. It is grainy filters and sordid, neon-lit streets, a visual scattergun that would leave the likes of Tarantino creaming themselves as buckets of blood and viscera splash against sopping pairs of heaving bosoms. It is B-movie acting, porn star extras, and enough sleaze to leave you slick with delight…

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Revisiting…The Naked Gun Trilogy

Airplane will always be the original Zucker/Abrahams absurdity, and there were a few other notable efforts in-between, but for me The Naked Gun is the pinnacle of their deadpan genius, and there is nothing you can suggest that will ever change my mind.

There are perhaps a number of reasons for my particular bias, but the most telling is the fact that I saw The Naked Gun long before I did its puerile predecessor, and by the time I got around to finally seeing Airplane – of which I had acquired lofty expectations – the comedy seemed just a little watered down by comparison…

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Intruder (1989)

Intruder is something of an anomaly.

Made at the tail-end of the 1980s, it was released long after the MPAA had stepped in to curtail the wanton bloodlust of the slasher boom, an imposition on civil liberties that would lead to years of the kind of tepid horror that would turn the genre stale. Just as Jason Voorhees was setting sail for Manhattan in perhaps the most censored of an ever-diluting formula, director Scott Spiegel let rip with his supermarket splatterfest of ingeniously depraved proportions…

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VHS Revival’s Quotes which Define Characters 3

Whenever we speak fondly of a particular character, what is it that immediately comes to mind?

Sometimes it might be an action or an expression or some other physical detail that sets them apart, but more often than not it is the words that they use and how they use them. Dialogue is everything to a character, because for most of us words are the primary source of communication, and through them we are able to further understand a subject’s personality and motives; we are able to communicate with them on a whole other level…

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The Evolution of Indiana Jones – Family Matters

Despite a mixed critical reception for the culturally offensive ‘Temple of Doom’, audiences’ lapped up the experience of a third Indiana Jones movie.

After a brief hiatus to focus on more serious fare in the form of The Colour Purple, Empire of the Sun and Always, a third instalment was always going to be an irresistible draw for Spielberg, Lucas, Ford, and an audience hungry for more…

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Poltergeist II: The Other Side (1986)

Back in 1982 Tobe Hooper directed Poltergeist, a movie that was written and produced by Stephen Spielberg, and in all honesty it may as well have been him behind the camera. Everything about that movie screamed Spielberg, from its familial tone and grandiose set pieces to its high profile marketing strategy and tantilsing teaser poster. The grisly touch of Hooper – a wonderful director in his own right – was nowhere to be found.

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