Posts Tagged ‘handicapped

26
Jan
14

Ms. 45 (1981): Vengeance be a Lady or Bullets Over Ballsack

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a Primal Root written review

In the late 70’s and early 80’s horror and exploitation cinema saw a rise in the popularity of the “rape/revenge” sub-genre. In a film of this nature, a woman or man is raped and violated followed by the person violated, or someone close to them, going on a roaring rampage of blood soaked revenge against those who have so violently attacked them or those they love.  Movies like “I Spit on your Grave”,  “Deliverance”, “Last House on the Left”, “Straw Dogs” and countless others were all part of this trend towards vigilante revenge fantasy films, where innocence is raped and the victim must seek their vengeance.  My own idea why this sort of sub-genre sprung up and became so popular were the crime statistics of the time and the general unease in society that the system, and those sworn to protect us, weren’t up to the task and that the only way for us to survive was to take matters into our own hands. The rape/revenge film taps into that deep, dark, fantasy where the victim gets the last laugh against the low lives who savaged them.  In most cases there is a clear line between good and evil and the vengeance is always righteous and well justified in the viewers eye. This evil redneck sodomized this young woman for an hour, so she cuts his dick off and lets him bleed to death in her lovely Airbnb log cabin rentals art deco bathroom. You get to cheer on these folks as they fight fire with fire and watch with glee as the wicked are punished.  It’s a very base, primal formula and story.

Enter Abel Ferrara’s 1981 “Ms. 45″ (aka: Angel of Vengeance”), the story of Thana, a young, mute seamstress working for an up and coming fashion designer and living in New York City where there just so happens to be a constant single file line of sleazeballs and scum bags garnishing the streets, ogling women, and serenading them with wolf whistles and cat calls as they walk by. We get to experience this uncomfortable, sexist deluge through the female POV came of those unlucky ladies having to ignore and endure this harassment and MAN is it effective.  As Thana makes her way home from work she is accosted and raped at gun point in broad daylight down an alleyway by a man in a Halloween mask. Before departing, the man threatens that he’ll be back before booking it off into the sunset and surely haunting Thana’s every waking moment for the rest of her life. And in one terrifying moment, actually does appear as a nightmarish phantom hallucination to Thana as she tries to undress and take a shower after the attack.

Zoe-Tamerlis-in-Ms-45-remembering-zoe-tamerlis-lund-12109019-800-534

Thana, in shock, makes her way back to her apartment only to find a burglar has broken in and is waiting for her. Again, she is raped at gunpoint…but this time she strikes back and bashes her assailant’s skull in with an iron. As she begins disposing of attackers dead body, which she has sawed into several pieces and begun depositing all over New York City wrapped in shopping bags, she’s chased on foot by a young man that has mistaken one of these bags as something she accidentally dropped and is trying to give back to her. For his trouble, Thana shoots this poor sucker in the face.

Before you know it, Thana is a woman on a mission. As she gains confidence and a thirst for vengeance she transforms from a mousy young woman to a deadly black widow. Dressing more provocatively, wearing makeup and pulling her hair back, Thana takes to the night time streets of New York to murder as many abusive, rapey, evil men as she can find. She ends up blowing away a pimp seen beating a hooker, a gang of would be rapists and a man in a limousine who tries to offer her cash for sex. It’s a blast watching Thana take out these sleazy, violent cocksmiths. One can clearly see how Thana perceives these men as threats  and you cannot help but cheer as she delivers hot, blood spattering, genital mutilating vengeance from the barrel of her gun. I must admit a certain feeling of satisfaction witnessing this carnage.

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But “Ms. 45”  is a more complex film than your typical black and white, Good vs. Evil rape/revenge film.  “Ms.45” exists in a more realistic world painted in varying shades of grey.  Thana pursues the advances of a creepy, aggressive photographer. The man comes on to her in a restaurant, follows her down the sidewalk yapping her ear off until she agrees to go to his studio. Once there, she guns this guy down in cold blood. The man was obviously a creeper, treated Thana as subhuman, another conquest to stick his teeny weenie in, but did the slimy bastard deserve to die? He never actually succeeded in harming Thana or actually proved he had any intention to.  He was gross, nasty and aggressive…but he never actually hurt anyone during his time on screen.  As a viewer, I sure as shit didn’t want to spend any time with this guy, but did he earn the bullet riddled dose of death he received?

For Thana, it steadily grows from a quest for vengeance to a gender specific killing spree as she begins targeting anyone with the offending genitals. she stalks down a young, Asian man who she eyed making out with his girlfriend. The man was just kissing the woman he is attracted to and it’s completely mutual! No force, no rape, but Thana no longer seems capable of  discerning what is right or wrong, healthy or unhealthy, and in her bloody quest for revenge has found herself becoming a monster herself.

“Ms. 45” reaches it’s climax at her fashion designer bosses’ Halloween party. Thana dresses up as a nun, attends the party as her bosses’ date, and packs some heat below her garter. In a chilling, horrifying, slow motion finale Thana opens fire on every man at the Halloween party. The crowd screams, begins panicking and trying to escape the barrage of gun fire.  This woman we were once rooting for has blurred the line so completely between good and evil that she is willing to kill any man at all because she sees every man as a threat. It isn’t until a friend of Thana’s,  one of her female co-workers, grabs a butcher knife, sneaks up behind Thana holding the blade at crotch level, making the phallic symbolism unmistakable, and then plunges it into Thana’s back, that the killing finally stops. Thana turns, her eyes widen in shock as she realizes it was a fellow woman who has killed her, sliding the phallic knife into her. The mute Thana then whispers her one and only line, her dying word, “sister” and falls to the ground dead.

Ms45

Abel Farrara created one of the most unique, disturbing and thought provoking films in this sub-genre of horror, and incidentally, one of the more interesting of the 1980’s. The film seeks to bring the idea of blind vengeance into the discussion of rape and revenge. When does  revenge simply start becoming mindless killing? Is it ever justified? When does the hero become the villain? These are questions few films within this sub-genre take the time to ask . In “Ms. 45” we are given plenty of time and opportunity to meditate on just what has happened to Thana, where Thana finds herself at the end of the movie, and the mechanics of our own reaction to the steps in her journey from victim, to vigilante to victimizer.  This very well might be why “Ms. 45” is so effective, so chilling and so infinitely open for debate and discussion.

Thana is a voiceless woman in a city overrun with outspoken, sexually aggressive men. Once irrevocably turned into a victim she finds an artificial voice in violence, in the firing of her gun and the killing of others. She cannot scream for anyone to stop, but her gun has the power to scream and stop her tormentors.  It isn’t until the end, when she is stabbed to death by another woman, that she finds her true voice, and in my opinion, opens her eyes to the horror of what she has begun. She is no longer an angel of vengeance but a demon of destruction. By the evil of others, she herself, has become an evil doer.

Of course, this is just The Primal Root’s take on the movie. I would love for you to check it out sometime and share your thoughts on the “Ms. 45” and just what you took away from this flick.

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Also, let me just say Zoë Tamerlis Lund, who played Thana, is remarkable. with only one line of dialogue in the course of the film, Zoë manages to make Thana into a fully fleshed out,  believable, human character.  Zoë was one remarkable, creative talent and a natural beauty with screen presence to spare. She even went on to co-write Abel Ferrara’s notorious “Bad Lieutenant” starring Harvey Keitel.   Sadly, Zoë was a long time heroin addict and died of drug related heart failure in 1999. she was 37 years old.  For more on Zoë I highly recommend http://www.zoelund.com/ which is run by Robert Lund.

I forgot to mention, there is also a subplot featuring Thana’s obnoxious landlady and her yapping mutt. At one point Thana takes her land ladies’ dog for a walk intent on killing it. She ties the dog to a pole, and draws her gun ofn the cornered mutt. We never see Thana kill the pooch but it’s assumed that she did only to have the poor little guy return home right before the credits roll. It’s an interesting note to end the movie on, that Thana so easily can kill a man, ANY man, before she could kill a dog.

Certainly not a feel good movie, and surely as shit, it ain’t for everyone, “Ms. 45” is an excellent piece of exploitation, horror, Trash Cinema. It’s well worth checking out and deserving of it’s Cult Classic status.  I’m giving “Ms. 45” FIVE out of FIVE Dumpster Nuggets.

Stay Trashy!

-Root

08
Apr
12

Castle Freak: Inherit Madness

a Primal Root review

Inheriting a castle in Italy has to be pretty dang cool. Finding out you’re descended from royalty? That’s the icing on top of the hoity-toity cake to which so many aspire. Yeah, it all seems great on paper until you take your horrendously dysfunctional family there to assess the situation and sell that hunk of junk off to the highest bidder.  It’s drafty, dull, dusty and, making matters worse,  your wife hates your guts no matter where you take her and the one surviving kid is still blind and your single digit son is still pavement pizza due to your dumb, alcoholic ass driving the family mini…vehicle over a small hill and flipping the vehicle at 25 MPH.  Or 85 MPH in sped up film time…

And then, of course, there’s a horrifying, psychotic, mutilated freak chained up in the castle’s basement. Buyer beware.

TOUCHDOWN!

Castle freak is, at it’s very core, the story of a family dealing with a heart crushingly tragic incident where the family patriarch and reformed alcoholic, John Riley (played pitch perfectly by Gordon collaborator Jeffery Combs) managed to get completely shit-faced before picking up his teenage daughter and 5 year old son during a torrential down pour and then swerving off road resulting in the death of the son and blinding daughter,  Rebecca (played by a very game and sympathetic Jessica Dollarhide).  Of course, there are some resentment issues between John and his gorgeous wife, Susan (always reliable Barbara Crampton) who apparently lives to torture and be spiteful towards John every second of every single day therefore turning his life into a Hell on Earth of guilt, regret, and shame.

As you can tell, the story is already pretty dreadful before there’s even a freak for the family to contend with.

The Reilly’s  move into their new castle after the old woman who was living there died in her bed from a heart attack after beating the chained up freak in the basement within and inch of it’s life which looked to have been a long standing supper time tradition and Casa de le Freak.  This poor creature has obviously never known affection, love or humanity living a life of agony chained up and naked down in the dank bowels of The Reilly castle. Much like John Reilly himself, who is living a life of pain due to his past mistakes and the fact his wife reminds him about it on a near minute by minute basis that he’s responsible for the death of their son.

Castle Freak is a far cry from the what we’ve come to expect from a Gordon, Combs, Crampton, collaboration. Typically fun,m over the top and colorful, Castle Freak is drastically different. Thee pacing takes it’s time, and the whole story is just gruelingly sad. This is not Re-Animator or From Beyond by a long shot. In fact, it’s a very dark and honest look at redemption, forgiveness and family as John must defend his family from what could be seen as his horrific doppelganger, his id or symbolizing the young Reilly boy whose memory they still cling to and is tearing the whole family apart.  There are no laughs to be found here and  no easy outs in Castle Freak.  This is straight ahead horror dealing with some pretty real issues. Only these real issues are set against the backdrop of an Italian castle with a freak looking to molest your cute little blind teenage daughter and frame you for the murder of a hooker and your housekeeper. For a freak, this guy is surprisingly crafty.

Castle Freak Foreplay: Not nearly as fun as you'd imagine.

One night, after Susan gives John a particularly vindictive verbal thrashing, John heads to a local watering hole where he quickly jumps off the wagon. And who can really blame the guy? He takes shot, after shot of some kind of counterfeit rot gut and ends up taking a whore back to his castle’s wine seller where he eagerly chows down on her bowl of “Down South” spaghetti.Again, you can totally understand his need to feel the touch and connection to another person.  Trouble is, he happens to be performing in front of a captive audience as the Castle Freak studies John’s moves like he’s preparing for the S.A.T.’s.  And you know castle freaks, they are more than happy to go after the sloppy seconds…

As our hooker goes to leave the castle, it’s resident freak abducts her, chains her up and has his way with her including a graphic nipple eating and a sickening reveal of the Freak’s genital region that’s sure to make your stomach churn. In fact, the film seems to focus quite liberally on the Freak’s disturbing genitals which, I suppose, does make some sense since that is kind of the Freak’s motivating factor. Looking for affection, someone to be close and have sex with.  Or, director Stuart Gordon could have simply just wanted to showcase a little something for the ladies. Soak it in, girls! Still, even though the Freak, in my estimation, is only looking for compassion, tenderness and a connection to another living creature, he can;t for the life of him understand how to give these things. Remember, this is a person whose entire life since birth has been spend locked away, abused and mutilated only ever understanding violence and pain.  How Freak goes about violently raping the hooker, yet mimicking what he witnessed John do to her, furthers this point. That violence begets violence.

Feel the Excitement!

But, I digress, at the threat of spoiling the whole sleazy, blood encrusted, drippy scrotum flopping affair, let’s just say Castle Freak is a one sad, violent, and effective story of redemption. The story of one man’s quest to find meaning and forgiveness in a world that refuses to see past his mistakes and misdeeds and see the man who is in need of compassion and just wants to feel human again. Now, am I talking about John or the Castle Freak of our title or both?

Stuart Gordon’s Castle Freak pulls off an impressive feat in capturing some very deep, dark, human situations and maintaining a fairly well paced and interesting story. As a viewer you grow to like most of the characters, and even the unlikable few are at the very least, you can understand where they’re coming from.  And for a film made in a creepy castle with a miniscule budget, Castle Freak works thanks to some spot on performances, creative shot compositions, great make-up/gore effects and also gains a lot of atmosphere from the genuine Italian castle where the action is set. Which just happens to be owned by the president of Full Moon Pictures.

Castle Freak isn’t exactly a fun, crowd pleasing movie experience but is still a fine piece of trash cinema. One that will certainly speak to anyone who has ever made a grievous mistake and feels they are destined to pay for it the rest of their lives.  Even if we can;t directly relate viewers will empathize and come to understand that there really are a number of fates that can feel worse than death. Only through love, forgiveness and understanding can we ever truly regain what makes us human.

And a good bit of reconstructive surgery and upper plate dental work in the case of The Castle Freak…

Love may be blind but she can still smell you, Freak.

Stay Trashy!

-Root

25
Feb
11

My Soul to Take…eh, you can keep it.

A film as inspired as it's poster art...

a Primal Root written review
Man, oh, man, do I remember a time when Wes Craven was the man. When he was the sick hippie sadist who brought us flicks like the brutal rape/revenge classic Last House on the Left and the road-trip mutant fiasco film, The Hills Have Eyes. He created (althoughRobert Englund deserves just as much credit) the most iconic and important boogieman of the last 30 years in hideously scarred, murderous, dreamstalker, Freddy Krueger… He even brought the slasher film back for a post-modern rebirth with the Kevin Williamson-penned Scream franchise. But then something went horribly wrong. Scream 3 sucked. As did his werewolf flick, Cursed…Red Eye was really his last decent film before he went into producer mode and got on board the remake wagon to oversee the re-imaginings of some of his beloved earlier works with varying degrees of success…
And then, in 2010, Wes Craven came back with a new and original horror film in 2010! One that would prove once again why he is considered a Master of Horror! A supernatural horror film about schizophrenia, possession, soul collecting, California Condors, superstition, urban legend, prayer, pregnancy, blow jobs and two male leads who have terrible hair look like they smell even worse. Oh yes, here comes My Soul to Take…IN 3D!!!
As a horror fan I try to defend Wes to the best of my ability. The guy has seriously made some fantastic films, many of which he penned himself. He’s created memorable, timeless horror classics that are still viewed, still entertaining and still discussed today. He once upon a time proved that truly memorable horror didn’t just go after your guts, but after your mind as well. Sure, you can gross people out but if you really want your audience to be thinking about your movie when they go to bed the best place to attack is upstairs where their deepest, darkest fears live.
My Soul to Take was the last straw.
Our film begins with a grizzly killing spree in which a husband and father has the revelation that he is “The Ripper”, a serial killer that’s been going around town gutting folks with his super cool knife he must have ordered from swordsofmight.com. See, this fellow didn’t realize he was “The Ripper” because he’s schizophrenic…*sigh*. He calls his shrink but it’s already too late because he’s already slashed up and killed his pregnant wife. When the police arrive he has stabbed himself multiple time and is about to hack up his tiny daughter when the cops blow him away. But not very well. Because this asshole wakes up for approximately a dozen goddamn jump scares that are far more hilarious than they are shocking. The film’s prologue ends with an ambulance explosion, about five more dead bodies and three critically injured…and the killer somehow crawls off the gurney and is never heard from again…
SIXTEEN YEARS LATER!

Turns out on the night The Ripper was killed SEVEN children were born. That’s right, seven kids in this small community were born on the night The Ripper died. And on their collective birthday these kids go down to the river and perform some kind of passion play where they invoke The Ripper’s spirit and then knock over a puppet…I dunno. The cops show up just as all our stock characters are listed off. Several of them gather behind a fallen log o spend what feels like 20 fucking minutes discussing the myths and urban legend surrounding The Ripper. See, we already know everything that happened. We just saw it at the very beginning of the film. So to hear all these stories surrounding The Ripper is mind numbingly tedious.

What't the blind character looking at over there?

 

We’ve all seen Wes Craven’s magnum opus, A Nightmare on Elm Street. Remember how well Freddy’s back story was handled? It was always kept in the shadows. It was whispered about and the audience learned along with our hero Nancy just who her nemesis was. This added to our interest as an audience and gave the whole film a veil of mystery and suspense. When you show your audience from the outset what the back story of your villain is there’s not much left to reveal. But, then again, we still haven’t gotten to the California Condor/ Soul Collector shit yet…
Once My Soul to Take’s opening gore soaked hilarity comes to an end and our 7 possibly evil teens are introduced the pacing slows down to a snail’s pace. After one teen is dispatched in a relatively well handled murder sequence the film, once again, takes detour into Expositionville, where it spends the majority of its running time. We get a little taste of all 6 (sorry, one dies early on) of these kids’ lives but none of them are developed. Even our lead red herring, Bug, is never clearly defined. We know he makes really cool puppets and costumes, speaks in creepy voices,  likes the blonde girl but is only liked by the red headed uber-christian…I dunno, he’s the lead and I can’t tell you anything more about him than this without revealing any of the twists you’ll guess right from the beginning. Still, I will try to be a gentleman and let you figure it out on your own.
It’s apparent that the creative force behind My Soul to Take has no clear grip on what it is to be a teenager in America.  All the typical Breakfast Club characters are present. The pretty one, the outcast, the nerd, the unbelievably violent jock…with the added bonus of an asian weho has 5 minutes screen time, a blind black kid who has 10 and a very attractive red head fire and brimstone religious fanatic. Do any of these character or their clichéd traits add anything of significance to the story? Are you kidding?! Of course not. They all end up as lunch meat and do little more than walk around uttering mundane, ridiculous dialog that you would never hear come out of a teenager’s mouth.
Our teeny-boppers attend a droll and disturbingly empty high school. Really, the school is gigantic yet the only people we ever see in the halls or out in the courtyard are our key players. There’s no hustle or bustle between classes and even the gigantic hallways remain empty as our teen protagonists trade off meaningless, vapid dialog for endless, yawn educing stretches.
And The Ripper himself (Which is my nickname every time I eat a helping of baked beans) is little more than a dreary, watered down potty mouthed amalgam of Freddy and Horace Pinker dressed up in a zombie Bob Marley costume.  There’s also shades of Ghostface from the Scream franchise because The Ripper can’t just stalk and kill these kids. He has to give them taunting cell phone calls beforehand.

I suppose you can guess the fate of 'Blow-Job Gil' if you examine this photo. The Farter, er, The Ripper comes in from behind! Murder? Or surprise butt sex? See the movie...

Come to think of it, it’s almost as if Wes Craven put a handful of his films (Shocker, Scream, A Nightmare on Elm Street) in a blender and hit puree.  Hell, there’s even elements from the lesser Nightmare films to be found. Remember that lame plot device Renny Harlin used in Nightmare on Elm Street Part 4: The Dream Master? The one where Alice absorbed the souls of her friends when they died and she could utilize the one character trait that made them unique (i.e. karate, strength training, um, the power to plug things into outlets and press the power button…) and used those abilities to defeat Freddy in the end? Well, a certain character in My Soul to Take  has the same ability. He’s called the keeper of souls *face palm* only he doesn’t use any of their unique characteristics to defeat The Ripper, I mean what would he use? Blindness? Faith in God? Extreme Bitchiness? Constant Requests for blow jobs? These are not the weapons one needs to defeat a possibly supernatural monster intent on ripping out your lower intestine and using it as a jump rope.
No, this time around the souls help him figure out probability equations…to figure out the identity of the killer. Could it be one of the 7 kids (obviously not that one that dies in the beginning) or is it The Ripper returned from the grave? Or did The Ripper never die? The answer to this question is a lot lamer than you might initially think.
My Soul to Take is  a film chock full of ideas, not good ones, but ideas nonetheless. Craven just can’t seem to find a way to incorporate all of them and leave space to realistically develop his characters or give them understandable motivations and instead just gives them endless scenes where they try and explain to the audience just what in the name of Hell is even happening. I just watched this film and I couldn’t even tell you what the sentiment was. Did Craven have anything to say?  Near the conclusion of the film one characters whines out a line similar to, “People shouldn’t kill eachother all the time!”  Yeah…what a message.

I swear the lead actor is channeling Jesse from A Nightmare on Elm Street part 2 through the entire film. His sister ain't half bad on the left there...

 

Well, My Soul to Take is a hunk of complete crap.  I have to cut this review short because I could go one for another 2,000 words laying out every gripe I have with this flick. And this is coming from a guy who loves Trash Cinema.  Maybe one day I will be able to laugh at this failure, but in the hands of Wes Craven, I expect more. I expect better.

With Scream 4 on the horizon let us all hope Wes Craven can regain some of the edge he once had and bring us something worth our time. I hope Craven can redeem himself. He’s an intelligent and talented man who should know what works in the genre by now. But after watching My Soul to Take, I cannot help but sense a sense of sadness and dread that one of the best  lost his touch. Over a decade ago.

My Soul to Take. Your time to waste.

Stay Trashy,
-The Primal Root

29
Oct
09

The Primal Root’s Halloween Special Part 2 – Halloween 5: The Revenge of Michael Myers

Halloween 05

Hey Gang!

Well, the big day is almost here and just in time for Halloween we have our second Halloween Special Rotten Review!

In this installment we are taking a look at a pretty notoriously bad piece of Halloween Trash Cinema. I’s the fifth film in the beleaguer Halloween franchise. That’s right, we’re taking a look at Halloween 5: The Revenge of Michael Myers.

Prepare yourself for obnoxious overacting middle aged teenyboppers, insane child therapists, shacks that time forgot, grizzled pirates, the bogeyman floating the Illinois rapids, young children getting run over, adults abandoning troubled children to PAR-TAY, the most painful condom in history, sex with pants on, cowboys from hell, and slightly homo-erotic doctor/patient death scene.

John Carpenter redefined not only horror, but the culture of Halloween in America back in 1978 with the release of Halloween. And man, they’ve been trying to destroy what he created ever since. With the ill conceived 5th entry Switzerland born filmmaker Dominique Othenin-Girard managed to kill off the franchise once again for about 5 years.

Join The Primal Root as he explores one of the worst sequels to any franchise ever made and get into the Halloween spirit! Trust me, we manage to turn this nastiest of tricks into quite a treat.

Stay Trashy!

– Root

<p><a href=”http://vimeo.com/85776056″>(NSFW) Halloween 5: The Revenge of Michael Myers (1989) The Primal Root’s Rotten Reviews Episode 7</a> from <a href=”http://vimeo.com/user24396091″>Kevin Cole</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>




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