Posts Tagged ‘blow job

14
Mar
13

Brain Damage (1988): Just Say “Aylmer!”

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a Primal Root review

edited by Bootsie Kidd

“Whenever you want the pain to stop, I’ll be here. Whenever you want to stop hurting, you come to me.” -Aylmer, Brain Damage

Let’s take a moment to discuss the Reagan Administration’s poorly schemed “War on Drugs”, shall we? On October 13th, 1982, President Ronald Reagan declared illicit drugs to be an imminent threat to U.S. National Security, while First Lady Nancy Reagan promptly flooded the talk show circuit advising the children of our nation to “Just say NO!”. Because, you know, becoming addicted to narcotics or not is as simple as just saying “no” to your local pusher. Obviously, Nancy Reagan and the War on Drugs, itself, were more than a tad naive when it came to the nature of addiction and its beginnings.

Thankfully, 1986’s “Brain Damage”, Frank Henenlotter’s stellar follow-up to his classic 1982 debut,”Basket Case”, doesn’t cut corners when it  comes to the discussion of drug use. From its depiction of the initial orgasmic rush that launches its user into a life bent around being steeped in a state of euphoria where problems are forgotten, to the sudden meteoric plummet that follows once the high is wears thin. In his usual brilliant insight, Henenlotter creatively portrays to viewers how addiction winds up taking its toll not only on users, but those closest to them, as well. Despite the laughable oddity of the seductor, Aylmer, ‘Brain Damage’ manages to tell it to us straight with a dark, horrifying, even often comical story in the realm of fantasy-horror providing a truly masterful message film about the dangers of drug use and the nature of addiction.

We meet Brian, a nice enough average guy who lives with his brother Mike in an apartment in New York. Brian even has a caring, sweet-natured, if mildly bland girlfriend he’s dating named Barbara. One evening while sick in bed, Brian blind-sided by seemingly inexplicable visions of a blood-shot eyeball where his ceiling light used to be experiencing, pulsating bright lights, blue water flooding his bedroom, and a powerful feeling of euphoria. It’s a feeling the young man has never encountered before, and as you might imagine, and one he’s eager to experience again. Only thing is, he soon discovers that what he felt was due to a small, slimy, blue-hued, phallic, turd-like creature named Aylmer (or Elmer), but, bizarrely enough, that doesn’t seem to throw Bryan as much as you might think it would.

The precise origins of Aylmer are unknown, though it is revealed through its previous users that Aylmer has a sordid centuries-old past that can be traced back to countless now-fallen civilizations. Aylmer, a creature with friendly, sleepy eyes and palsy voice of John Zacherle (yep, the host of Shock Theater, Zacherley, himself) is quite willing to inject Brian with a mysterious bright blue fluid procured from a syringe-like appendage protruding from Aylmer’s enormous, sharp tooth-filled gob. Aylmer simply jacks his juice directly into Brian’s brain stem, injecting a little “Aylmer juice” which allows Brain to, once again, experience the unique pleasure of becoming unattached from the world and embracing visions of glorious lights in junk heaps, all the while laughing his ass off in chemically-induced glee. If Aylmer is anything, he is one helluva saleman, as he perfectly pitches to Bryan saying, “This is the start of your new life Brian, a life full of colors, music,light and euphoria. A life without pain, or hurt or suffering.” I mean, really, what could possibly be the drawback?…

Artwork by Marc Palm

Aylmer artwork by Marc Palm

Well, turns out Aylmer feeds on brains. Sure, animal brains are okay, but to become powerful he must munch on the human persuasion. So, the deal becomes clear to Brian after several night’s of blacking out under the influence, and waking to find blood stains in some pretty alarming locations on his person, that for each “fix” he must pay by hooking Aylmer up with a human brain to scarf down. And let me just say, Aylmer is one very sloppy eater and NO ONE has a quick and painless death at this parasite’s merciless bite. There’s no discrimination here, either. Folks of all race, gender, and class have their skulls bitten open and brains sucked out by Aylmer. From the security guard at the junk yard, to the man taking a dump in a bathroom stall, even the slutty girl with the enormous knockers ends up getting an Aylmer down the hatch in a disturbingly violent, yet rather hilarious sequence that has since been dubbed “The Blow Job Scene”. Trust me, it’s a must-see, classic, Trash Cinema moment.  And as Brian’s dependency on Aylmer grows, so does the threat to his family and friends. No one is safe from the destruction Aylmer can cause.

Henenlotter handles Brain Damage’s odyssey of a boy and his parasite with a great sense of grotesque comedy to lighten the load of an otherwise deeply dark and unsettling cautionary tale. There is one sequence in particular that is both hysterically funny and soul crushingly bleak as Brian has finally realized the dire cost of his  addiction. He decides he needs to pack up Aylmer and hold up in a derelict hotel room where he can quit Aylmer long enough to think straight and come up with some sort of solution to his problem. In short, he tries to quit Aylmer cold turkey. The sequence features Brian clinging to a radiator, quivering, practically swimming in his sweat, puking and sobbing as Aylmer laughs and cracks jokes at his host’s expense. For good measure, Brian even has a grotesque nightmare wherein he picks meaty, gore glazed chunks of his own brain out of his ear and horrified reaches for more and begins pulling a long, drippy, unending piece of tissue and literally unravelling his brain. No joke, this scene will have your stomach churning while you laugh at this graphic, gory take on the classic magician’s gag. Finally, Brian is reduced to a convulsing, filth-and-sweat-drenched shadow of his former self lying on the hotel room’s concrete floor in the fetal position. The pain of withdrawal is too intense for the young man to bear. And in desperation, in tears, Brian agrees to Aylmer’s demands. Someone must die so that Brian can get his fix. Aylmer chuckles with delight. He has won.

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Again, it’s that perfect blend of humor and downbeat terror which gives ‘Brain Damage’ its substantial power to both entertain and completely repulse. By the film’s end many people have fallen the voracious hunger of Aylmer, and Brian’s need to satiate his own need for Aylmer’s juice, including people Brian loves and cares for.  And in ‘Brain Damage”s pitch perfect, unconventional, ending, we are left with one of the most haunting and surrealistic images from Trash Cinema, as Brian’s glazed over eyes look through us, the screen fills with the brightest white light and crackles with electricity. It’s an audacious ending  and one that still gives me chills to this very day. I have often called Brain Damage the “Requiem for a Dream” of the Trash Cinema genre. I still feel this is an appropriate description of this film’s nature and intent. This is one example of how powerful Trash Cinema can be, and in my opinion, this is Henenlotter’s masterpiece.

‘Brain Damage’ is the kind of sleazy, down trodden horror film that’s unafraid to point the mirror back at society and has an eagerness to push buttons, tackle difficult subjects and shove your nose into the down and dirty details. It’s unabashedly gross, over the top, and even silly at times. But the core to ‘Brain Damage’ is one that steeped the horrors of our own world. The darkness of despair and the nightmare of addiction. The unsettling, dreadful feeling that you cannot function normally without first feeding this need that has become more powerful than your common sense, rational thought, even your own sex drive. It’s more important to you than your loved ones and their well being. Suddenly, this stuff is your drive. This is what keeps you alive. This is what gives your life meaning.

Gang, I can think of few things more horrifying. And Brain Damage handles the subject with creativity and respect.

Stay Trashy!

-Root

22
Dec
12

Silent Night: Dreaming of a Schlock Christmas

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a Primal Root review

If you know me, you know my stance on remakes. It’s not something I am incredibly fond of but I will always give them a fair shot as from time to time I find myself surprised and impressed. This is why I gave the remake of one of the best slasher films ever made, ‘Silent Night, Deadly Night’, a run for it’s money. Would it be as heartfelt, tragic, disturbing and filled with campy, inappropriate jet black humor as it’s original source material? I had my doubts. I took a deep breath, popped this sucker in my DVD player and braced for impact.

. Seeing as the movie has little to nothing in common with it’s source material outside of it’s organizing principle (Christmas) the killer’s disguise (Santa Claus) and two of the original film’s most notorious and popular set pieces this thing hardly registers as a remake. It’s more of a springboard for an altogether new slasher film.  ‘Silent Night’ adopts the narrative structure of Wes Craven’s ‘Scream’ franchise with a “Who-done-it?” premise and written in the often imitated style of one of cinema’s most acclaimed screenwriters, Rob Zombie. We are introduced to a crazed killer dressing up as Santa Claus in a urine soaked, filth caked bathroom as he puts together his Santa Claus mask and clips his finger nails, which I assumed at the time would be some clue to the killer’s identity and kept looking for some with well manicured nails. By the film;s end  realized this shit had nothing to do with anything, really.

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Our killer takes care of business, dispatching of a screaming woman in an adjoining bedroom and then unceremoniously electrocuting a man tied to a lawn chair with festive Christmas lights down in the basement. The guy shakes, screams, his eyes explode in geysers of blood…and our movie begins. Who were those people? Why should I care that they’re dead?  Next thing you know, it’s Christmas Eve morning and it turns out the guy who just got electrocuted in the previous scene was the local deputy and a young woman is called in to work his shift by the over confident small town America British crime Sheriff, Malcolm McDowell, who plays his character for laughs and it just doesn’t work.

As bitchy, spoiled little girls are butchered, men are stabbed in the testicles and large breasted, half naked women are sent slowly through wood chippers, this crack team of police investigators zero in on large people in Santa suits, this being Christmas Eve, the town is overrun by fellows in Santa suits and several of them are disgruntled assholes and violent offenders, so they have their work cut out for them. Why do they not bring in some outside help? Because the Sheriff wants to solve this on his own. Eh, stupid is as stupid does, I suppose.

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Just about every character we encounter is brutally slaughtered which I am sure will send us gore hounds off to bed with visions of woodchippered meaty chunks of nude photography models dancing in our heads.  There’s not much of a moral compass present in this new Christmas slasher, but I guess that’s just fine fo0r the approach they;re taking. It’s a full speed ahead train of pain where buying a ticket insures a perversely gruesome ride.  Mean spirited and full of self interested slime balls, ‘Silent Night’ is actually a fairly good modern Christmas horror, even if it pains me a little to admit it.

Jaime King as Deputy Sheriff Audrey Bradimore does a damn fine job of trying to give her character the gravity she deserves, but it’s  all for not, as ‘Silent Night’ has other fish to fry and body parts to hack off. The rest of the cast play this film as the hamfisted piece of garbage it is and yuk it up with a wink and a nudge as they await their paychecks. You can literally feel the apathy these performers bring to the film.

The film even cherry picks two of the original ”Silent Night, Deadly Night”s most memorable moments. you know, the one where loony bin Grandpa warns his Grandson that ‘Christmas Eve is the scariest damn night of the year!”, only this time Grandpa’s voice turns demonic and is delivering this warning to a character who only has one other scene…where he receives some obligatory Holy Night oral before having his head pulped by one well placed whack of an axe. Also, extracted from the original ‘Silent night, Deadly Night; is the notorious ‘Antler Kill’, which seems puzzlingly less effective here. Oh yeah, and there’s a reference to it being “Garbage Day”. WOKA, WOKA, WOKA!

This is Santa, reminding you to stay warm this holiday season.

All in all, ‘Silent Night’ delivers the sloppy, gooshy, gory goodies but severely lacks the underlying message and heart that made ‘Silent Night, Deadly Night’ such a memorable and dare I say, classic of the 80’s slasher period. As I have mentioned in The Primal Root’s Rotten Review for ‘Silent Night, Deadly Night;, it is a film about the cycle of violence, the lack of care for the mentally ill, and the failure of our system and religious fundamentalism.  Is it shocking? yes. Violent? Of course. Over the top? Most certainly! But it was all for a purpose as opposed to this remake which is happy to deliver nothing but carnage. Gore drenched kills and a town populated by halfwits, unapologetic assholes and sociopaths that serve no purpose other than axe fodder.

‘Silent Night’ is a bloody hot mess of a stocking stuffer.  If you can get passed the annoying, unlikable cast of characters, there’s a wonderful mix of nasty kills (including one little cuntface of a child!) and gratuitous Tits and Ass  for the old schooler purists.  It’s trashy to the core and about as dumb as a box of coal but just might make a good stocking stuffer for the gore hound on your Christmas list.

Stay Trashy!

-Root

27
Jun
10

The Primal Root’s Rotten Reviews presents Neon Maniacs

a Primal Root Rotten Review

Hey Gang,

Your old pal The Primal Root here, bringing you the bizarre best of the strange, forgotten and dismissed here on the Rotten Reviews. And boy, this month do I have one Hell of a movie to show you.

We’re taking a look at 1986’s multiple killer slasher oddity, Neon Maniacs, a film so epic and expansive they couldn’t even be bothered to explain anything. It features 12 creatures dressed like Village People rejects who trot around down town San Francisco after dark to kill people…cause apparently that’s all they do.

Neon Maniacs features a great cast of obscure slasher film actors and actresses that only those truly devoted to Trash Cinema (aka: geeks-like myself) would get excited over. Two of which are from the Friday the 13th series! SCORE!

And make sure to stick around for the old Neon Maniacs Safety Training video left over from the 50’s I managed to track down. It sheds some light on how to deal with these blood sucking freaks. Hey, you can never be too careful.

So enjoy this latest Rotten Review with someone you love. Make sure to keep a beverage handy as well.

Stay Trashy!
– Root

 

When in Tallahassee Florida make sure to visit Bird’s Aphrodisiac Oyster Shack! Salty Love on the Half Shell, the friendliest staff in town, and always a guaranteed good time. 😀




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