Posts Tagged ‘pizza

12
Sep
15

The Last American Virgin (1982) or The Heartbreak Kid (NSFW)

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a Primal Root written review

“I’ll take a rocky road!” – Diane Franklin as Karen in The Last American Virgin

Like so many of my peers I spent my pre-teen years glued to the late night cable every Friday and Saturday night hoping to get a glimpse pf some nekkid female flesh. And you know as well as I do that typically the best place to find bouncing, glorious, nekkid young ladies beside slasher movies was the pot o’ gold known as the “Teen Sex Comedy” aka: Teenspolitation. You know the kind, Porky’s, My Tutor, The Cheerleaders, Screw Balls, Private School, etc. where a group of guys, typically three dudes, are on a quest to get laid and/or see naked women and sometimes end up learning a little something about themselves and the nature of mature, adult love along the way. Watching these films as a kid in the cover of darkness in my living room I imagined that this was exactly what was in store for me in the years to come. Sexual escapades, peep holes in the locker room, girls getting naked and attacking me while I slept.

Of course, now I am in my thirties. I am thrilled to be married to the love of my life, and I have a bit of experience under my belt (pun intended) that I will be sure to pass on to our future spawnage one day as they discover the wonderful realm of the opposite sex and Teensploitation. I will do my damnedest to make sure The Last American Virgin is their introduction to the Teen Sex Comedy genre of Trash Cinema. Because it starts out fun and stupid, but becomes something far more honest and dark by the time the credits roll.

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The Last American Virgin tells the story of Gary  (Lawrence Monson of Friday the 13th:The Final Chapter …uh, fame), a young high school pizza delivery guy and the last last American virgin of our film’s title. Gary appears to spend every waking moment when he’s not delivering pizza getting into bizarre, awkwardly comical, borderline criminal sexual misadventures with his two best buds, lady killer and local stud Rick (Steve Antin, that kid who gets propelled off of a toilet while taking a dump in The Goonies) whose hair gel must have cost half the budget of the film and David (Joe Rubbo in his first of only three acting rolls) as the very natural and truly funny overweight comic relief. These three promise the girls cocaine to get them in the sack at Gary’s place, and then under the gun, feed them lines of Sweet & Lo with a side of “Crispy Chips” before Gary’s parent’s show up and discover a bunch of topless teenage girls stomping around the house and nearly leads to Gary’s Mom getting sexually assaulted by David. If they’re not lying to blossoming teenage girls in order to fuck them or trying to fuck one another’s Mothers, they can be counted on to be having a hardon measuring contest in the high school locker room, “The guy with the biggest tool wins the pool!” or waiting in line at the apartment of one of Gary’s horny pizza delivery clients in order to run a train on her, or attempting to drown their recently acquired crabs in a public pool.  Yeah, it’s typical Teen Sex Comedy stuff, but it has a bit of a darker, edgier feel than most.

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Gary happens to be absolutely smitten with a new girl in school, the gorgeous Karen (Diane Franklin, from Terror Vision, Amityville Horror II: The Possession, Better Off Dead and Bill and Ted’s Excellent Adventure) whose first line, as she orders a scoop of ice cream and the local teen hangout, foretells not only her story, but Gary’s, “I’ll take a rocky road.” In fact, Gary orders the same thing. Maybe I am reading too much into these character’s ice cream preferences, but after watching this movie a couple times, I can’t help but think this is am excellent use of ominous ice cream flavors by the screen writer in order to drop a hint as to where this movie is going to end up drop kicking you to.

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Gary is so creepily in love with Karen he deflates the tire on her bicycle one morning in order to drive by in his “Pink Pizza” car and offer her a ride to school. This is straight up stalker behavior. We’re supposed to empathize with Gary as he offers her help, then a ride to school and is then rejected when he asks her out on a date before she heads off to class. But Gary is kind of a creeper. Karen claims she can’t go out with Gary to a party because she has something else to do. What is this other thing she has to do? Well, turns out she is attending the exact same party but is hanging all over Rick, the local high school cherry buster and go-to fuck buddy. As expected, Gary is heart broken, ends up drinking an entire bottle of Jack Daniels before acting like an idiot an being sent home where he embarrasses himself further by trying to fuck one of his Mom’s friends.

Typical life of a teenage, man.

Also, I just want to state that Karen’s best friend is played by none other than Kimmy Robertson from TV’s Twin Peaks. I think she’s supposed to be playing the annoying nerdy friend, but man is she cute. Plus she looks absolutely fetching in her tiny bikini by the pool. Just sayin,’ I don’t see why no one wants to date her in the movie.

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See, turns out Karen is a virgin just like Gary and he wants to date Karen, and be good to her, treat her right and romantically, gently lose their virginity to one another in his warm or her parent;s warm bed. What is it with people wanting to fuck int heir parent’s bed in teen sex movies? I guess it’s bigger than their own bed? Still, the lack of space of my own bed would be preferable to getting it on in the bed my parents presumably do on a regular basis. ESPECIALLY if I;m popping a girls cherry. How in the Hell do you explain the blood stains to your folks? They go away for the weekend and come home to think their son is an axe murderer who seduces women and then chops them to pieces between the sheets. Is it worth the risk?  I mean, if it were my kid I would laugh my ass off and perhaps take the ruined sheets and have it sewn into a commemorative flag and have it framed for them before hanging it in their room.

Sorry, got side tracked there, Gary know that if Karen dated Rick she will end up unceremoniously getting her fresh virgin pussy torn up by a guy who has any number of STD’s and honestly doesn’t really give a shit about her beyond the fact that she is female and looks to be an easy lay. Quite a bit of The Last American Virgin‘s run time is devoted to Gary trying to keep Rick from busting out Karen. Now, this is a pretty standard, undignified stereotype of a guy coveting a young lady as a thing as opposed to a fellow human being. Something of a trophy to be had. Gary is supposed to be a good guy, but he is so wrapped up in trying to get Karen to do exactly what HE wants as opposed to what SHE wants even though it is apparent to the viewer that she is making the decision to fuck a jerk, but that is HER decision to make, even if it’s a pretty lame one. Hey, girls can fuck whoever they want to, too, Gang. So lay the fuck off. As if Gary would be any better a decision. This guy has possessive “Nice Guy” written all over him. Sure, he would be sweet at first, but I guarantee you he will want to know exactly where you are at all times, what you;re doing and photographic evidence and eye witness testimony  if you are out of his eye sight for more than ten minutes.

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 ****SPOILERS AHOY!****

So, despite Gary’s best efforts, Karen gets fucked by Rick in the announcement booth at the high school football stadium under cover of darkness. It’s actually a pretty great scene as Karen gets mounted by Rick, makes that little *gasp* as she gets tagged all the while sad sack Gary hangs out just below under the bleachers and gently weeps that the girl he wants is getting deflowered at that very moment just a hundred feet or so over his crying eyes. It’s a fantastically sexy/sad moment and the two moments, one of sexual arousal and one of deep self pity is fucking amazing. Few teen sex movies ever go after this kind of emotional punch and it works splendidly well. It’s an emotional place I;m sure most of us have been before. Sure, it;s selfish, it’s probably a little lame, but it’s honest and it’s real. The person we want to be with so much refuses to give you the time of day and enjoys to the company and genitals of some other person who seems to so easily always get their way. It’s rough, and you hate feeling bad for yourself, but you can’t deny these stupid fucking emotions.

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Now, if this were the only scene of such raw emotional content, I would consider The Last American Virgin to be a resounding success. But this film is not satisfied with having us relive one of the darkest moments of our adolescents, no. The Last American Virgin is not done with us yet. See, fast forward after that moment of pleasure in the nicotine stained, B.O. scented announcer’s booth, Rick wants nothing to do with Karen anymore. Why is this? Because it’s almost Christmas break and he wants to go skiing and bang some other random chicks. But more importantly, Karen is pregnant. Gary finds out while trying to comfort an obviously deeply hurt and upset Karen and promptly attacks Rick in the school’s library. Gary claims Karen is a slut and that the baby could be anyone’s before piling into a VW van with a bunch of hot to trot teenage horn dogs and leaving all the responsibility for his actions behind him. Rick, what a guy!

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Well, “Nice Guy” Gary ends up taking care of Karen and paying for her abortion. Yes, he pays for the abortion Karen wants of the baby she and Rick made. In one brilliantly conceived, acted, shot and edited montage we watch as Gary takes Karen to the clinic and then goes around town scraping up cash to pay for the procedure, $250 to be exact. He pawns his stero equipment, raids his parents rainy day fund, and even begs his boss at Pink Pizza for some cash. Gary works his ass off to get the money together and all this is intercut with scenes of Karen undressing, the doctor snapping on rubber gloves, her legs being spread and bound down as she is prepared for the abortion. There is one shot during this montage that haunts me. It’s a shot that lasts no longer than maybe ten seconds, yet speaks volumes. The shot begins on Karen’s panties as she begins to slowly take them off in the doctor’s office. We see her pubic hair peek over the top of her panties as the camera pans up across her belly past her beautiful breasts and up to her lovely face as she begins to cry. Mother fucker, THIS is one incredible moment in teensploitation! This is cause and effect! We are instantly titillated, as we have been programmed to be, we see the objectification, crotch, sexy belly, a lovely rack, and then we see the face of this beautiful young woman in absolute agony. We register the pain, regret and the horror. It’s a shot of dark, brutal reality applied directly to your trashy, jaded little heart and it stings, man. It stings bad. Because the point is made abundantly clear, simply, efficiently. That these moments of pleasure, these brash decisions we follow in the sake of fleeting passion, these fucking choices have consequences! Again, it;s an ingenious moment of juxtaposition unlike anything I’ve ever witnessed in a movie of this ilk. Sure, Fast Times at Ridgement High has an abortion take place, but it was off screen and no one ever really looked all that torn up about it. The Last American Virgin fucking guts it’s audience, breaking the conventions of the teensploitation form, and shows us that the teenage quest to get laid is a fools quest, that if you are irresponsible, if you rush into things you are not yet ready for, you will face the horribly consequences and be faced with some serious choices. Wrap it up EVERY TIME, kiddos! Did I mention this fucking montage is set to U2’s I Will Follow? I will never hear this sone the same way again…

Well, after these harrowing events, Karen and Gary bond a bit during her recovery and Gary buys her a ring he is going to present to her at a party, he assumes he has finally won Karen;s heart by showing he’s responsible, caring, non-judgmental and will to lie, beg and steal in order to resolve Karen’s bad decisions. Gary  shows up to the party and finds Karen making out with Rick, her aborted fetus’s Daddy, who is back from his Christmas Ski and Fuck Fest Gary splits, understandably devastated. The final shot of the film is of Gary as he drives off into the dark night in tears and the credits roll over his sopping wet face. Still a virgin, forever alone. Ever been kicked in the balls with a steel toed boot? Well, get ready to experience the cinematic equivalent.

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The Last American Virgin is one excruciatingly dark story. Unapologetically honest, brutally raw in it’s depiction of the wages of teen sex, The Last American Virgin is a phenomenal flick. It’s like the Requiem for a Dream of Teen Sex Comedies. Sure, the first half is a lot of laughs and whacky sexual hijinks, but that last half sure busts up that party pretty fast. I’ve never seen a flick like The Last American Virgin. I mean is this a feminist film? The “Nice Guy” manifesto? I think this film is far beyond either, really. It drop these conventions, these labels, and portrays these teens as inexperienced, often times selfish, often irresponsible human beings where the typical teen movie creates nothing more than characatures of tired, old stereotypes. There are no easy answers in The Last American Virgin. Like life itself, so many of these moments that shape us, the traumas that make us who we are go without any closure or reconciliation. The Last American Virgin captures this perfectly. Sure, it starts out as a bit of goofy, escapist tits and ass fueled teen sex comedy, but by the end you will feel like you you got whacked in the but by a sledgehammer as reality rears it’s ugly head.

The Last American Virgin is a classic and I cannot recommend it enough.

FIVE out of FIVE Dumpster Nuggets!

The Primal Root says you gotta see this one.

Stay Trashy!

-Root

10
Mar
14

Funland (1987) Dancing with the Angel of Death

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a Primal Root written review

As a lifelong Floridian, with The Magic Kingdom and Universal Studios close by,  you grow up having a special kind of understanding of the amusement park business.  I’m sure to those who travel hundreds or thousands of miles and spend entire fortunes to come visit our state’s economic clit ticklers still feel the magic when walking down main street while wearing your short Dad shorts and fanny pack  in the skull liquifying summer heat or  watching film legend Brendan Frasier mug for the camera as they are thrown around on the indoor roller coaster based on the contemporary cinematic classic, “The Mummy Returns”, but for those of us in Florida who take a stroll through these parks on an almost annual basis, we can tell you there’s some shady shit going on just beneath the fairy tale surface…

This just might be why 1987’s bizarre, skit heavy, amusement park centered comedy/psychological drama “Funland” holds a special place in my rotten, filthy, heart.  “Funland” is one very strange, very off kilter film filled with a dozen or so ideas of which only about a half of them ever take root and really make an impression.

Funland is preparing for another season of family friendly fun and attractions, with hundreds of new recruits just chomping at the bit to press the “START” button on the park’s rides,  clean brat puke off the sidewalks or sell concessions at the ridiculously racist “Fresh Watermelon” stand! Most excited of all is Bruce Burger (David L. Lander, Squiggy from Lavern and Shirley), the clown mascot of “Funland” who was once the head accountant before suffering a complete mental breakdown that left him believing he is the actual incarnation of the parks clown mascot, Bruce Burger. See, the park’s owner, Angus (William Windom) believes in loyalty over profits, and keeps this mentally unstable man on board as Bruce Burger.  It’s a sweet, home spun gesture, but Angus soon meets his end the way most decent men do,  found dead face down in a body of water under mysterious circumstances.  his wife soon after sells the entire business to the mob who are only concerned about the bottom line an begin filling the park with less family friendly attractions like the Celebrity Death and Disease exhibit and dismantling the musical showcase in order to replace it with strippers.. In all honesty, I might actually go to an amusment park with these kind of attractions.

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The mob also decides to fire Bruce Burger and brings in the “National” Bruce Burger whose played by a  classically trained actor who constantly complains about his job and reminisces about his thespian history ad nauseam.  Bruce takes refuge in the recently closed down wax museum and finds solace in long conversations with a hallucination of Humphrey Bogart  (Robert Sacchi, who pulls off an excellent impression of bogie) and a sausage puppet. Bruce continues living at the park and dressing the part, but his hallucinations and psychosis continue to grow worse, culminating in a strange moment in the Funland cafeteria when the gentleman behind the lunch counter begin rapping, The Angel of Death appears briefly, never to be seen again, and the entire crowd drops what they’re doing and start moving and a groovin’. Once this hallucinatory episode comes an end  the ghost of Angus shows up to grab a bite to eat with Bruce and to divulge the horrible truth, he was murdered. So, it is decided over a game of poker between Bruce and his three most prominent hallucinations  to take action. Bruce steals a mafioso’s gun, heads to the top of the theme parks clock tower and opens fire over the strenuous objections of the talking sausage puppet.

“Funland” is among the most bizarre Trash Cinema videos I’ve ever watched.  David L. Lander as Bruce Burger does a damn fine job portraying the gradual mental collapse of Bruce Burger, a man already teetering ont he edge of total insanity. to the film’s credit, Bruce’s steady decline is hardly ever played for laughs. If the awkward, out of place gags featured in “Funland” were edited out you’d have a far darker film on your hands. but, in a way, all the attempts at levity give the movie an even more disturbing quality. One stand out sequence features the aforementioned “Fresh Watermelon” stand where a white junior manager is giving instructions to the four black men who will be working the stand.  The junior manager asks “Is anyone good with knives” and all the black men back away in fear. Can someone tell me just what the Hell this means? What are these guys afraid of? Was there a scene missing where the junior manager stabs a man to death?

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When it’s all said and done, “Funland” is far from a  perfect film, but it is the kind of film that you want to watch to the bitter end simply because it’s so unpredictable, so looney and has so many goddamn plot elements you’ll be dying to see how it all gels together. Seldom do you come across a film that manages to undercut it’s amateur execution and redeem it by way of own it’s twisted, surreal  logic.  It’s constantly quirky and strange making all the logical sense of a fever dream.  To my own amazement, this works in the films favor and makes for an enjoyable, head scratcher of a flick.  For fans of unique, one of a kind, absolutely bonkers trash cinema, “Funland” is one you should really check out.

I give “Funland” Four and a Half out of Five Dumpster Nuggets

Stay Trashy!

-Root

15
Sep
13

The Texas Chainsaw Massacre: The Next Generation (1994)

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a Primal Root written review

The Texas Chainsaw Massacre family dynamic has certainly changed over the years and decades since they first made their teenager  barbecuing debut back in Tobe Hooper’s 1974 cinematic milestone.  They were originally a disorganized banned of blood thirsty, cannibalistic psychopaths trying to stay alive after being put out of jobs over at the slaughterhouse. In Hooper’s 1986 sequel “The Texas Chainsaw Massacre part 2” the clan had adjusted to Reagan era politics, yuppie America and capitalism and even managed to run their own award winning barbecue catering company. By 19990’s “Leatherface: The Texas Chainsaw Massacre part III” they had gone back to the part of Texas that looks like Los Angeles where the family looks to be expanding a bit and then, by the mid 90’s, Kim Henkel, the was part of the creative force behind the original, steps forward with possibly the strangest and most loathed entry in the entire franchise.

The movie centers on a young, bespectacled girl named Jenny (Bridget Jones herself, Renee Zellweger) who meet as she is getting ready for prom night before being unceremoniously assaulted and nearly raped by her Stepfather. This is in the first five minutes of The Texas Chainsaw Massacre: The Next Generation and we never see Jenny’s Stepfather or oblivious Mother again.  It’s an unnerving note to begin such a story on and has you feeling apprehensive from the get-go. You get that feeling this is to set up that moment where you have that revelation while Leatherface is biting some nubile teenage girl’s well manicured fingers from her hands and another family member smears shit all over his upper torso and you think to yourself, “Ya know, this family isn’t all that different from any other!” Makes you think, don’t it?

Renee Zellweger harnessing her inner Lisa Loeb.

Renee Zellweger harnessing her inner Lisa Loeb.

Well, before anyone gets the chance to twerk to “You Look Wonderful Tonight”, Jenny and three of her fellow prom goers end up lost down a backwoods dirt road after a hit and run fender bender. “People don;t know how to build roads!” one idiotic piece of chainsaw fodder declares as they motor towards their meat hook hanging destinies. Then…THEY GET IN ANOTHER WRECK! One that puts their car out of commission and leaves the driver of the other vehicle unconscious laying in the dirt. Jenny and two of her fellow airheaded teens head off into the night to find help while Jenny’s date stays behind to make sure the young man steadily bleeding to death in the mud isn’t ripped apart by voracious raccoons or something.

After a mile of walking and none stop whining, Jenny and her buddies come across the mobile home offices of Darla, who runs a construction business. She seems friendly enough and enjoys flashing her ample bosoms at anyone who throws a rock through her window (…the Hell?) and phones someone to go check on the wreck out in the middle of nowhere and give these kids a “lift.” This mysterious someone is Vilmer Slaughter, a tow truck driving, greased up lunatic with a remote controlled mechanical leg and penchant for screaming like a frat boy at the homecoming game. Vilmer is brought to life by a scene stealing and completely convincing Matthew McConaughey, and watching him play beside Zellweger it’s clear to see where the real talent in Texas resides.

Old Fashioned Texas Nostril Flare Fighting!

Old Fashioned Texas Nostril Flare Fighting!

BUT I DIGRESS! Vilmer shows up to the scene of the crash, kills the coma boy on the ground and proceeds to chase down Jenny’s lover boy and repeatedly run over him, grinding his quivering teenage corpse into bloody, raw, hamburger meat beneath his Goodyears while listening to 90’s “Alternative” rock on the tape deck and howling like a hyena on PCP.  Sorry, but this I fell in love with Vilmer immediately. We need to get this guy and Chop-Top from The Texas Chainsaw MAssacre part 2 together and make a sitcom.

Well, Jenny ends up walking back to the scene of the accident to meet her beau and finds a whole lot of nothing, at which point, she decides to sit in the dirt until her two other pals, who have gone off in a different direction, end up dead and her character becomes relevant again.  While she sits the next fifteen to twenty minutes of the film out, her two friends manage to make their way to the home of these lunatics and run into a camouflage wearing, mullet headed Leatherface who screams like a woman whose teacup chihuahua just got run over by a lawnmower for the majority of his screen time. It gives the impression that Leatherface is just as terrified of these kids as they are of him and, in fact, I have a feeling that might just be the case. Either that or these are psychotic screams of redneck frustration. I suppose you can draw your own conclusions.  All I know is that later, once  all the protagonist men have had their skulls bashed in and Jenny’s been thoroughly chased about the Chainsaw clan’s property and is finally tossed into the dining room in a brand new, and very sparkly, evening dress, Leatherface dresses up in drag and, dare I say it, looks rather lovely.  In brain damaged, blood thirsty redneck wearing a hideous female suit of skin kind of way…

"I'd fuck me."

“I’d fuck me.”

The evening devolves into a dinner scene of near epic surrealism as Vilmer continues to go nuts over his take out pizza, dry humping his sister, Darla, and pouring lighter fluid on his captives and then setting them on fire only to stomp their heads into pickled relish all over the dining room floor. And that’s the moderately normal stuff happening in this house!  The family is visited by some mysterious shadow organization manager who apparently has the Chainsaw clan on their payroll as merchants of fear. The clan is paid to pick up and terrorize unsuspecting young people and, from what I can gather, allow the leaders of this shadow group lick ever bead of sweat and smudge of filth off the captives face while showcasing their own strange abdominal mutilations. When did was this deal struck between the carnage minded Chainsaw clan and some strange Illuminati style group that secretly controls the destiny of society? I have no clue. but it is a strange and intriguing idea to stick within a damn Texas Chainsaw Massacre movie. Just don;t expect an explanation, ’cause there isn’t one coming.

The Texas Chainsaw Massacre: The Next Generation reaches it’s absurd climax as Jenny escapes with Vilmer and Leatherface in a lovely black satin robe, in hot pursuit. Jenny manages to ruin an elderly couples vacation by putting them in the middle of the action and the chase is cut short by a crop dusting airplane. Yeah, if you want to see the visual representation of the term “cluster fuck” this would suffice.

Dear Ms. Zellweger, could you please wear this dress to The Oscars one year? Love, -The Primal Root

Dear Ms. Zellweger, could you please wear this dress to The Oscars one year? Love, – Root

All in all, The Texas Chainsaw Massacre: The Next Generation was a bold attempt to do something a little different with a very stale franchise.  In their attempt to infuse the proceedings with a healthy dose of mid 1990’s alternative rock, MTV culture (every chase seen is punctuated by some shitty alt rock/grunge track) and strange conspiracy theories (The Chainsaw clan working for the government?) it feels as if this entry in the Texas Chainsaw franchise kind of get lost under the weight of it’s own absurdity. There’s no consistent tone, only one strange,m off the wall set piece after another. And, although, McConaughey does his damnedest to make this thing lively as Hell, and he does pretty much run the show in this entry even if Zellweger never rises up the remarkable level of both Marilyn Burns and Caroline Williams in the first two entries of the series, the movie itself never really takes off.  It has all the elements it needs to be a great Texas Chainsaw Massacre flick, but at some point it starts puttering and finally just stalls out and drifts into the ditch.

I give this flick TWO Dumpster Nuggets out of FIVE!

Stay Trashy!

-Root

12
Jan
13

Killer Joe: White Trash Armageddon

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a Primal Root review

Hey Gang,

Recently I had the pleasure of seeing one of the most outrageously over the top, gratuitously violent, creepiest, high octane, no holds barred, psychotic and unstable films I’ve sat down to witness in a main stream googaplex since…well, since I can remember. The film is William Friedkin’s 2012 deep black crime flick ‘Killer Joe’. Adapted by Tracy Lett’s from a stage play of his, ‘Killer Joe’ is one sick, blood caked, homage to complete and utter white trash stupidity. The violence is abrupt and shocking, the sex is dirty and perverse, and the outlook is utterly bleak.

Killer Joe might be among the best and funniest movies I’ve seen in years.

But this isn’t your typical dark comedy. No, when you buy your ticket for this sucker you have no idea the depths of depravity and nastiness you are in for. I sure as Hell didn’t. But I also hadn’t prepared myself for how much I laughed through the whole damn thing. Sure I was aghast  at what I was seeing on screen, but the brilliant performances, the direction of Friedkin and Letts’ amazing, genre bending screenplay make this one exhilarating dive down to the bottom of the lives our nation’s dumpster dwellers.

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Alright, the set up is that dim witted dope dealer named Chris (Emil Hirsch, making the best of a thankless role) finds his life on the line when he falls into horrendous debt with his supplier. What’s the scheme Chris comes up with? Kill his Mother and collect the insurance money! He enlists the help of his father and his mother’s ex-husband, getter dweller and resident numbskull, Ansel (played to perfection by Thomas Haden Church), gains the approval of his attractive and mysterious sister Dottie (the always game Juno Temple) whose mental state and past are always in question and even his ultra skanky step mother, Sharla (Gina Gershon, who deserves a medal of valor for her performance). Of course, everyone demands a cut of the inheritance.

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Chris and Ansel decide to hire the services of the local Texas legend, contract killer “Killer Joe” who happens to be a police detective full time. Killer Joe is played with full on demented, murderous, calculated glee by that always underrated Mathew McConaughey, who in a perfect world would be getting an Oscar for his blistering, in your face performance here. The man brings Killer Joe’s calm, sociopath personality to life and it really is a sight to behold. Every time the man enters frame he manages to be likable. He comes off relatively nice (as far as far as killers for hire go) if a little bit quirky…but even in these early scenes we feel a sense of dread. There’s much more to this guy than meets the eye.  Once all the cards are out on the table, things get pretty goddamn crazy, pretty goddamn quickly.

Chris and Ansel meet with Killer Joe, and seeing as the two nimrods don;t have a dime between them, they cannot hire Killer Joe’s services. However, Killer Joe comes up with an alternative plan, a retainer. If they give Killer Joe Dottie until they can get the money to pay him off, he will carry out the family wish of killing of Mommy dearest. Being complete fuck stick, Chris and Ansel agree and over a dinner of tuna casserole, Killer Joe and Dottie get…formally acquainted.

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The LAST thing I want to do is spoil Killer Joe for you. But what I can say is that there is a proverbial buffet of loathsomeness on display here. From burned out trailer courts, to grease stained double wide interiors and bankrupt businesses boarded up and left for dead. Killer Joe inhabits middle America and the small towns crushed and left to rot on the side lines.  It’s a desperate world these characters inhabit and it’s a place we know all too well.

Still, these people seem to have really adapted to their trashy surroundings and have, in effect, become total trash themselves. Filthy, brain dead, greedy scum suckers willing to kill family and use them as collateral just so they can make some cash and survive. Is this what it’s come to  when we live in a land where there’s no one to turn to?

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Sure, the underlying concept of the surroundings in Killer Joe are disheartening and disturbing enough with what they insinuate. But the actions our cast of characters take against one another is on another level entirely. I’ve, honest to Cthulhu, never seen anything like Killer Joe’s last twenty minutes. Much has been made of the fried chicken moment, Hell, it’s even a centerpiece of the ad campaign, but there is much more going on here and so much more to be had as a viewer.

And yes, I laughed. I laughed out loud hard and frequently. But every time I did, I kept questioning myself. “Should I be laughing at this?” It’s so ridiculously depraved and dirty, I couldn’t help myself. I laughed at the character’s stupidity,  the grandiose skeeziness, the sudden violence, the allusions of incest…it’s a perfect concoction of pitch black humor. But I don’t expect everyone to have the same reaction I did.

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Now, keep in mind, the NC-17 rated crime film (now available unrated on DVD and Blu-Ray) will not be for everyone. This is not an easily digested, cookie cutter, vanilla puddin’ pop kind of movie. This is some heavily fucked up Trash Cinema and for those who know they can handle such things. Either you will really enjoy Killer Joe or you will end up turning it off and barfing across the commode. It seems to have very little middle ground.

Killer Joe is disturbing and exhilarating and unlike anything I have seen in American mainstream cinema in a very long time.Needless to say, I had a blast watching it and Killer Joe just might be my favorite movie of 2012.

Stay Trashy!

-Root

Heads up! Below trailer contains a ton of plot spoilers!

 




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