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Monday 31 May 2021

All the Horror You Need to Stream in June 2021

Welcome to Horrorscope, a monthly column keeping horror nerds and initiates up to date on all the horror content coming to and leaving from your favorite streaming services. Here’s a guide to all the essential horror streaming in June 2021:


Time to put away all your seasonal doom and gloom, it’s finally June!

Flowers! Sunshine! Pollen allergies! The glorious cusp of summer is the best part of the shoulder season. Warmer days are here, but that doesn’t mean the discerning horror fan is left in the lurch! This June brings all manner of streamable ghoulish goodies, from modern Queer Fear classics (it’s Pride Month, after all) to newly restored “lost” offerings from horror greats. Among this month’s highlighted selections we’ve also got a demonic kaiju trilogy that’s criminally underseen in the West, as well as an expressionist international offering that puts the “monk” in “monk-abre” … okay, we’ll see ourselves out.

Be sure to peruse the complete list below, calendar in hand, for a full picture of what horror flicks are coming and going from your favorite streaming services in June.


Pick of the Month: Jennifer’s Body (2009)

Jennifer's Body Squat

Synopsis: High school is hard enough without demonic possessions. When Jennifer’s titular body is taken over by a nefarious presence, she sets her sights (and stomach) on the hordes of teenage boys tripping over themselves for a chance with her. But when Jennifer’s dour friend Needy finds out about Jennifer’s vicious case of the munchies, she resolves to put an end to her former BFF’s carnage.

When Karyn Kusama and Diablo Cody kicked contemporary horror’s door down in 2009, even they couldn’t have known the life that their teen slasher flick would go on to have. After a middling reception among cowards at the time, Jennifer’s Body has become ubiquitous as a rare example of a legitimate modern cult classic. Following Needy Lesnicki (Amanda Seyfried) in her plight to take down her demonic boy-eating bestie, the film suffers, perhaps, from its own cleverness. Maybe the tongue-in-cheek vernacular of its characters came across as too desperate to be quotable. Maybe the film’s recognition of Megan Fox as a skilled performer looking to take control of her own celebrity was lost on those who wanted her to be a silent pin-up.

But as the legions of teen fans — those who saw themselves in the characters’ angsty, semi-romantic frenemy relationship and in the surging rage against a culture all too eager to exploit adolescent girls — grew up, their love for Jennifer’s Body has elevated the film to new heights. It’s now regarded as a noughties gem, a must-watch for Pride month, and a film that delivers as much raucous, feminist entertainment as it does fake blood.

Available on Hulu on June 1st.

A lost (and found) flick from George A. Romero

The Amusement Park Romero

Synopsis: An elderly man embarks on a casual day at an amusement park only to find himself in a nightmarish hellhole. Forced to reckon with the disorienting and isolating horrors, pains, and humiliations of aging in America, the man spirals as he makes his way through the chaotic, cloying crowds. Finally, an answer to the eternal question: “will there be corndogs in Hell?” Turns out: yes!

You read that right folks. It’s 2021, and we’re getting a new film from legendary horror director George A. Romero. Okay, so The Amusement Park isn’t “new” in the strictest sense of the word. The film was originally produced in 1973, commissioned by the Lutheran Society as an educational parable about elder abuse and ageism. Unsurprisingly, Romero’s final product was a little too disturbing for their taste, and the Lutherans refused to release it. Until its discovery in 2018, the film was believed to have been lost. As Scout Tafoya astutely remarks at RogerEbert.com, in a cinematic landscape kinder to provocative artists like Romero, this rediscovery would be “an event on par with the restoration of Orson Welles’ The Other Side of the Wind. But for that to be the case, the world would have to care a lot more about what horror films have to say.”

Shot in Pennsylvania’s now derelict West View Park, the film stars Lincoln Maazel, whom Romero buffs might remember as the creepy elderly cousin in the director’s 1977 vampiric serial killer movie Martin. Restored in 4K by the New York City-based IndieCollect, The Amusement Park is described in Shudder’s press release as “perhaps Romero’s wildest and most imaginative movie, an allegory about the nightmarish realities of growing older…an alluring snapshot of the filmmaker’s early artistic capacity and style and would go on to inform his ensuing filmography.”

Arriving on Shudder on June 8th.

Possessed mad monks? Oh, brother!

Dos Monjes

Synopsis: Set in the cavernous halls of a Gothic monastery, an ailing monk, Brother Javier, hasn’t been himself lately. Fearing that he has been possessed by demonic forces, the prior commands the monastery’s newest monk, Brother Juan, to tend to him. But when Juan enters Javier’s cell, something unexpected happens: they recognize each other. A chase ensues, and Javier attempts to bludgeon Juan with a crucifix. When the pair are questioned, they recount two very different versions of their intertwined dark past.

You can barely throw a bible at the horror genre without hitting a depraved piece of nunsploitation. But 1934’s Dos monjes (Two Monks) is for the boys. Intense, brooding, and hauntingly existential, Juan Bustillo Oro’s early Mexican sound melodrama is an unforgettable atmospheric tale of vengeance, heartache, and the devil working in mysterious ways.

Preceding Rashomon by sixteen years, the film implements an audacious flashback structure, recounting the two men’s tragic shared past from each of their perspectives, one right after the other. The jagged visual language of German Expressionism underscores the contradictions in their accounts. Recently restored by The Film Foundation’s World Cinema Project, Dos monjes was added to the Criterion Collection last year.

Arriving on The Criterion Channel on June 1st.

A remarkably overlooked Japanese cult monster trilogy

Daimajin

Synopsis: This wildly under-seen kaiju trilogy follows the titular towering god through the oppressive landscape of feudal Japan as the ginormous stone warrior dishes out divine retribution wherever he sees fit.

Not every horror fanatic is in agreement that kaiju films belong in the genre. But to that I say: big things are scary! Especially if they’re a giant animated stone demon god possessed with the furious and righteous purpose of crushing local warlords.

ARROW is bringing its subscribers an opportunity to get acquainted with a staggering kaiju trilogy that has been remarkably overlooked in the WestDaimajin (1966), Return of Daimajin (1966), and Wrath of Daimajin (1966). No, your eyes are not playing tricks on you: all three films were released in the same year, with three different directors, and more-or-less the same crew.

In Daimajin, directed by Kimiyoshi Yasuda, the two children of a benevolent leader flee to the mountains when their parents are murdered by a treacherous usurper. A decade later, the aged priestess protecting the siblings is also killed, an act that rouses the wrath of the ancient, slumbering god. In Return of Daimajin (directed by Lone Wolf and Cub‘s Kenji Misumi), the wrathful deity is summoned once again by the violent acts of yet another blood-thirsty warlord. In his third outing, Wrath of Daimajin, period drama veteran Kazuo Mori tells of a group of children who entreat the towering god to avenge their families, who have been enslaved by a brutish tyrant.

Featuring lavish historical detail and jaw-dropping special effects, the Daimajin trilogy is the most fun you can have watching a terrifying stone demon unleashing divine fury on deserving warmongerers.

Arriving on ARROW on June 1st.

Streamable Horror Incoming This Month

Fresh blood: A list of all the horror content coming to streaming services in June 2021.
Streaming Service Movie Date
Amazon Prime Video An American Werewolf In London (1981) June 1
ARROW Daimajin (1966) June 1
ARROW Return of Daimajin (1966) June 1
ARROW Wrath of Daimajin (1966) June 1
ARROW Dachra (2018) June 1
ARROW The Quiet Earth (1985) June 1
ARROW Xtro 3: Watch the Skies (1995) June 1
ARROW Deathdream (1974) June 7
ARROW Alchemia - Short film (2020)
June 7
ARROW Reptile House - Short film (2020) June 7
ARROW Attention - Short film (2020) June 7
ARROW Unsafe Spaces - Short film (2021) June 7
ARROW Bedbug - Short film (date unclear) June 7
ARROW Ticks - Short film (2019) June 7
ARROW Bloodhound - Short film (2020) June 7
ARROW The Curse - Short film (2021) June 7
ARROW Mausoleum (1983) June 18
ARROW The Drone (2019) June 21
The Criterion Channel Dos monjes (1934) June 1
The Criterion Channel The Fall of the House of Usher - Short film (1942) June 1
The Criterion Channel Usher - Short film (2000) June 1
The Criterion Channel Poison (1991) June 1
HBO Max Bless The Child (2000) June 1
HBO Max The Conjuring 2 (2016) June 1
HBO Max Doctor Sleep - Director’s Cut (2019) June 1
HBO Max Mindhunters (2005) June 1
HBO Max Tim Burton's Corpse Bride (2005) June 1
HBO Max Conjuring: The Devil Made Me Do It (2021) June 4
Hulu Anacondas: The Hunt For The Blood Orchid (2004) June 1
Hulu Anaconda 3: Offspring (2008) June 1
Hulu Anacondas: Trail Of Blood (2009) June 1
Hulu Arachnophobia (1990) June 1
Hulu The Blair Witch Project (1999) June 1
Hulu The Blair Witch Project: Book of Shadows (2000) June 1
Hulu Jennifer's Body (2009) June 1
Hulu The Last House on the Left (2009) June 1
Hulu Soul Survivors (2001) June 1
Hulu Sweeney Todd (2007)
June 1
Hulu Come True (2020) June 11
Hulu Willy's Wonderland (2021) June 13
Hulu Phobias (2021) June 17
Hulu An American Haunting (2006) June 24
Hulu False Positive (2021) June 25
Hulu Hansel & Gretel: Witch Hunters (2013) June 30
IMDb TV Black Swan (2010) June 1
IMDb TV The Fourth Kind (2009) June 1
IMDb TV The Unborn (2009) June 1
IMDb TV The Guest (2014) June 1
IMDb TV Hellboy II: The Golden Army (2008) June 1
Netflix The Wind (2018) June 1
Netflix Vampire Academy (unclear which version) June 7
Netflix A Haunted House 2 (2014) June 10
Netflix The Devil Below (2021) June 13
Netflix The Seventh Day (2021) June 24
Shudder Ginger Snaps 2: Unleashed (2004) June 1
Shudder Ginger Snaps Back: The Beginning (2004) June 1
Shudder An American Werewolf in London (1981) June 1
Shudder Eve's Bayou (1997) June 1
Shudder Burn, Witch, Burn! (1962) June 1
Shudder Islands - Short film (2017) June 2
Shudder Terror, Sisters! - Short film (2019) June 2
Shudder Der Samurai (2014) June 2
Shudder Thirst (2009) June 2
Shudder Rift (2017) June 2
Shudder Caveat (2020) June 3
Shudder Night of the Living Dead (1968) June 7
Shudder Reunion (2020) June 7
Shudder Beyond the Door III (1989) June 7
Shudder The Amusement Park (2019) June 8
Shudder Monstrous (2020) June 14
Shudder The Retreat (2020) June 14
Shudder Evilspeak (1981) June 14
Shudder The Conspiracy (2012) June 15
Shudder Housebound (2014) June 15
Shudder The Similars (2015) June 15
Shudder Superdeep (2020) June 17
Shudder City of the Dead (1960) June 21
Shudder Homewrecker (2019) June 21
Shudder The Antenna (2019) June 21
Shudder An Unquiet Grave (2020) June 24
Tubi Eve’s Bayou (1997) June 1
Tubi American Psycho 2 (2002) June 1
Tubi #FollowFriday (2016) June 1
Tubi Ghost Ship (2002) June 1
Tubi House on Haunted Hill (1999) June 1
Tubi Isle of the Dead (2016) June 1
Tubi Silent Hill (2006) June 1
Tubi Urban Legends: The Final Cut (2000) June 1
Tubi Tim Burton’s Corpse Bride (2005) June 1
Tubi Virus (1999) June 1

Horror Titles Expiring from Streaming Soon

Streaming Service Movie Date
HBO Max Constantine (2005) June 30
HBO Max Day Of The Dead (1985) June 30
HBO Max Dreamscape (1984) June 30
HBO Max The Lost Boys (1987) June 30
HBO Max Scanners (1981) June 30
HBO Max Soylent Green (1973) June 30
HBO Max Underwater (2020) June 30
Hulu The Appearance (2018) June 5
Hulu 28 Days Later (2003) June 30
Hulu Bug (2006) June 30
Hulu Captain Kronos: Vampire Hunter (1974) June 30
Hulu I Am Legend (2007) June 30
Hulu The Man Who Could Cheat Death (1959) June 30
Hulu Pandorum (2009) June 30
Hulu Scary Movie 4 (2006) June 30
Hulu Thirst (2009) June 30
Netflix Dark Skies (2013) June 21
Netflix Gothika (2003) June 30
Netflix Jason X (2001) June 30
Netflix Leprechaun (1993) June 30

Box Office is Back Thanks to ‘A Quiet Place Part II’ and ‘World War Z’

Sixty-three weeks later, I’m finally back to bring you a new box office report. Moviegoing has returned! Following last week’s disappointing debut from Spiral, the latest and lowest-grossing entry of the Saw franchise (which is already hitting VOD this week), another horror sequel has made it known that Americans are, at last, ready to see movies on the big screen again in droves: John Krasinski’s A Quiet Place Part II opened with a reported $48.4 million over its first three days, with another estimated $10.1 million being added on Memorial Day for a holiday weekend total of about $58.5 million.

The follow-up to Krasinski’s own 2018 original, A Quiet Place, easily had the best domestic opening of the year so far, and it is already the second-highest-grossing movie of 2021 — Godzilla vs. Kong retains the throne for now. But the best evidence that A Quiet Place Part II is the movie to signal a real return of moviegoing is that the sequel grossed nearly the same amount as the first A Quiet Place did in its opening three years ago. Over its first three days in early April 2018, the original did $50.2 million. And while it’s not necessarily comparable given the lack of a holiday, the movie grossed just $54.4 million in its first four days.

With the average ticket price being $9.11 for the year 2018, that means about 5.5 million tickets were sold over the first three days of A Quiet Place‘s run compared to about 5.3 million ticket buyers for A Quiet Place Part II, from Friday through Sunday. This is based on The Numbers claiming the current average ticket price is still $9.16, the same as it’s been for the past couple of years. Over four days, A Quiet Place brought in about 6 million people versus A Quiet Place Part II‘s 6.4 million people over its initial four days — again, that’s with the first Monday being a holiday for the latter film’s release.

A Quiet Place Part II also had a better opening day box office gross ($19.3 million) than the first movie ($18.9 million), and that is even true when we look at ticket sales. The sequel sold an estimated 2.11 million on Friday versus A Quiet Place selling an estimated 2.07 million on its first Friday. And after dropping far below the original’s second-day gross, A Quiet Place Part II also had a better first Sunday with 1.5 million tickets sold versus the original’s 1.3 million. I won’t bother pointing out the difference in fourth-day figures, though, because of the holiday.

Not everything is totally back to normal, however, as the world of box office continues to be a strange one as the COVID-19 pandemic wanes in concern due to widespread vaccination. Case in point: rounding out the top ten highest-grossing movies of the weekend is World War Z. That’s right, the 2013 zombie-apocalypse action movie starring Brad Pitt, which never topped the charts in its original run and only spent five weekends in the top ten. World War Z reportedly grossed $347,000 over the weekend ($448,000 if we include Memorial Day), beating such recent releases as Mortal Kombat and Nobody.

Attendance-wise, the figures for World War Z are not as easy to analyze since the movie was part of a double-feature with A Quiet Place Part II at eighty drive-in locations across the country. If we broke it down based on the average ticket price, that’d be about 38,000 people over three days (and 49,000 over four days), but we can’t assume that sort of breakdown with a double-feature price point, which typically offers two movies for the price of one and can vary tremendously among those eighty drive-ins. And I admit, I’m not sure how that ticket price is divided among the new and old releases to determine World War Z‘s gross.

What about the other big new release of the weekend? Disney’s Cruella grossed $21.3 million over three days and $26.5 million for the holiday weekend, which is about 2.3 million tickets sold through Sunday and 2.9 million through Monday. That’s pretty good considering the live-action One Hundred and One Dalmatians prequel was also available day-and-date on Disney+, albeit for a surcharge of $29.99. The previous Disney release to have a similar strategy was the animated feature Raya and the Last Dragon, which opened with just $8.5 million, yet that was also from a little more than half as many screens.

Compared to other movies in the Dalmatians franchise, Cruella has nothing on the 1996 live-action remake 101 Dalmatians, which sold about 7.6 million tickets over its opening weekend, or even the lesser 2000 sequel, 102 Dalmatians, which still brought in an attendance of about 3.7 million. There are no opening weekend figures for the original 1961 release of the animated One Hundred and One Dalmatians nor the 1969 nor 1979 re-releases, but in 1985, the movie opened to an estimated attendance of just 673,000. Yet the 1991 re-release actually drew 2.4 million for its opening.

Cruella‘s debut did fall short of Variety’s claim that the movie could gross more than $30 million for the four-day weekend, but Box Office Pro had forecast the movie’s gross being just $22 million through Monday (they did have the higher amount in their long-range forecast last month). They also had A Quiet Place Part II down for only $51 million, so the site’s experts were low-balling all around, which is understandable in these times. The only losers were the Angelina Jolie vehicle Those Who Wish Me Dead, which dropped so significantly as to fall short of Box Office Pro’s prediction by nearly half, and Mortal Kombat, which both fell short and failed to make the top ten chart at all, thanks to World War Z.

Memorial Day weekend is traditionally seen as the start of “summer,” including the summer movie season, so we’re off to a good start for any year and especially for the end-ish of the pandemic year-plus frame. We’ll see if another horror sequel (The Conjuring: The Devil Made Me Do It) and another family film (the animated franchise installment Spirit Untamed) can keep the momentum going next weekend. Or even if A Quiet Place Part II and Cruella hold steady after this past weekend’s numbers influence more movie fans to return to theaters — if they feel safe and comfortable doing so.

Here’s this week’s top ten movie releases by estimated ticket sales (with four-day amounts in parentheses [and totals in brackets]):

1. A Quiet Place Part II: 5.3 million (6.4 million)
2. Cruella: 2.3 million (2.9 million)
3. Spiral: 0.25 million (0.32 million)
4. Wrath of Man: 0.23 million (0.30 million)
5. Raya and the Last Dragon: 0.22 million (0.28 million)
6. Godzilla vs. Kong: 0.093 million (0.11 million)
7. Demon Slayer: Mugen Train: 0.091 million (0.17 million)
8. Dream Horse: 0.07 million (0.09 million)
9. Those Who Wish Me Dead: 0.06 million (0.07 million)
10. World War Z: 0.04 million (0.05 million)

All box office gross figures sourced from Box Office Mojo, The Numbers, and Box Office Pro. 

Bluffs, Tells, and Martinis: An Analysis of the ‘Casino Royale’ Poker Scene

Welcome to The Queue — your daily distraction of curated video content sourced from across the web. Today, we’re watching a video essay that looks at what makes the poker scene in Casino Royale so captivating.


Casino Royale contains some of the most blood-pumping set-pieces in James Bond’s long and illustrious cinematic run. There’s the scene where Bond (Daniel Craig) flips his Aston Martin, rolling the out-of-control vehicle down a dark windy road. In another scene, 007 pursues a bomb maker over the rooftops of Madagascar, jumping, scrambling, and maneuvering through laundry lines and scaffolding. This is to say nothing of the final sequence in the film, where a Venetian house sinks (!) into the sea. 

And yet, in my opinion, for all its action-packed thrills, the most captivating, edge-of-your-seat scene in the film is the central, high-stakes poker game. The critical narrative puzzle piece of the film sees Bond enter a Texas hold ’em tournament at the titular Casino Royale in Montenegro. His mission: to beat the villainous, weepy-eyed Le Chiffre (Mads Mikkelsen), forcing the terrorist-assisting banker to seek asylum with the British government in exchange for information about his clients.

The sequence, which is broken up into three distinct scenes, is as dramatically engaging and bombastic as the rest of Bond’s sweatier, high-octane exploits. For my money, it’s the highlight of the film, and a real tour-de-force from director Martin Campbell and cinematographer Phil Meheux on how to turn a simple card game into thrilling cinema, regardless of the audience’s understanding of, oh I don’t know, how Texas hold ’em actually works.

The video essay below breaks down how each poker scene’s distinct visual language keeps us captivated while continually raising the stakes. By using staples of visual storytelling like movement, framing, and average shot length, Campbell and Meheux keep us engaged in the pivotal game.

Watch “James Bond & the Casino Royale Poker Scene — How to Turn a Simple Card Game into Gripping Cinema:

Who made this?

This video about the Casino Royale poker scene was created by StudioBinder, a production management software creator that also happens to produce wildly informative video essays. They tend to focus on the mechanics of filmmaking itself, from staging to pitches and directorial techniques. You can check out their YouTube account here.

More Videos Like This

Saturday 29 May 2021

The Movies That Made: ‘Cruella’

Welcome to Movie DNA, a column that recognizes the direct and indirect cinematic roots of both new and classic movies. Learn some film history, become a more well-rounded viewer, and enjoy like-minded works of the past. This entry highlights the movies that inspired or otherwise contributed to the making of Disney’s Cruella.


Do you know the origins of the 2021 Disney movie Cruella? In 1956, from June through September, Women’s Day magazine published a serialized fiction story by Dodie Smith (with illustrations by William Pene Dubois) called “The Great Dog Robbery,” introducing the fur-obsessed, black-and-white-haired character Cruella de Vil. Later that same year, the UK company Heinemann released the same story, retitled The Hundred and One Dalmatians, in book form with new illustrations by twin sisters Janet and Anne Grahame Johnstone. Viking Press handled the US publication the following year, at which time Walt Disney read the children’s novel (which in magazine form was called “a novel for dogs”) and immediately sought the rights for its adaptation.

The resulting movie, an animated feature, retitled again as One Hundred and One Dalmatians, opened in theaters in January 1961 with the now furrier-husband-less and Persian-cat-less Cruella de Vil making her cinematic debut as the studio’s reigning new queen of villainy (New York Times critic Howard Thompson said she “makes the Snow White witch seem like Pollyanna“; thirty years later, reviewing the film’s re-release, Roger Ebert wrote, “she’s in a league with the Wicked Stepmother and the other great Disney villainesses). Disney remade the movie in live-action form, retitled again as 101 Dalmatians, which was released in 1996 with Glenn Close portraying Cruella, now essentially the focal character. A sequel, 102 Dalmatians, followed in 2000.

Twenty-five years later, Disney spotlights Cruella de Vil again with the live-action Cruella, a prequel loosely connected to both the animated original and the 1996 version that reimagines the iconic baddie as an orphan turned thief turned fashion designer in 1970s London. With the character’s origin story now presented on screen and that movie’s most literal origin story laid out easily above, I still want to highlight and recommend more of the specifically cinematic heritage of Cruella beyond the obvious. From acknowledged influences to unofficial yet certain precursors with regards to character traits, scenes and set pieces, plot points, tropes, and more, these are the movies that inspired and/or generated the Disney Villain showcase.


Snow White and the Seven Dwarfs (1937)

Snow White Huntsman Disney

Disney’s original animated feature has as much influence on Cruella as the new movie’s literal source material. As recognized in the New York Times quote above, the Evil Queen had long been, and somewhat remains to this day, the archetype for Disney Villains. But even if the animated Cruella de Vil was understandably compared to Snow White’s nemesis, who happened to be her stepmother, she wasn’t that similar to the earlier baddie. In Cruella, however, The Baroness (Emma Thompson) has traces of the Evil Queen in the way she orders the death of her own child due to her narcissistic jealousy. And she has a henchman who can’t carry through with killing the girl. In the original fairytale, the Evil Queen was actually Snow White’s biological mother.

Available to stream on Disney+. 


Lifeboat (1944)

Lifeboat

Another quote from Howard Thompson’s New York Times review of One Hundred and One Dalmatians likens the animated Cruella de Vil to “a sadistic Auntie Mame, drawn by Charles Addams and with a Tallulah Bankhead bass.” As it turns out, Bankhead was one of the literal inspirations for the look of the character, according to Marc Davis, the animator responsible for her design — Bette Davis and Rosalind Russell were two others, though the official model was character actress Mary Wickes.

But Cruella’s voice may have been coincidentally like Bankhead’s due to actual Cruella voice actor Betty Lou Gerson being raised in Alabama, same as Bankhead. “We both had phony English accents on top of our Southern accents and a great deal of flair. So our voices came out that way,” Gerson told the Los Angeles Times in 1991. Still, Cruella pays homage to the myth of Bankhead being a vocal inspiration by having Emma Stone’s incarnation of the character see Bankhead laughing in Alfred Hitchcock’s Lifeboat on television and emulating it.

Available to rent.


All About Eve (1950)

All About Eve

As previously mentioned, the animated Cruella de Vil was also inspired by Rosalind Russell, apparently specifically in the 1958 adaptation of Auntie Mame, and Bette Davis, apparently specifically in All About Eve. I can’t really find more than a fan wiki source for those films being involved with the inspiration for Marc Davis’ characterization of the One Hundred and One Dalmatians villain, but All About Eve does have two connections worthy of mention. The first is that Tallulah Bankhead believed Davis’ character, Margo Channing, was based on her in the original short story (“The Wisdom of Eve”) and that Davis was purposefully imitating her as well in the portrayal. Neither is certain, but Bankhead did also play the role in a 1952 radio play.

The other connection is the presumed influence of All About Eve on the screenplay for Cruella, which creates a back story for the titular villain in which she’s the fan turned mentee of a famous fashion designer but then becomes the industry veteran’s rival and eventual successor. It’s a loose parallel to the story of All About Eve, in which a young actress is mentored by her idol, a Broadway star (Davis’ Margo Channing), before becoming her rival and then surpassing her in notoriety. There are plenty of other movies inspired by All About Eve worth checking out as a bridge to Cruella as well, such as Showgirls (1996), Love Crime (2010), and The Neon Demon (2016), which is set in the fashion world but focused on models rather than designers.

Available to rent.


Star Wars (1977) and Superman (1978)

Star Wars

These two highly influential blockbuster movies arrived toward the end of the 1970s (the presumed time period of Cruella), and they clearly continue to inform Hollywood storytelling today. With Star Wars, you have the orphan hero who believes the Big Bad killed his parent but (as is revealed later in its sequel, 1980’s The Empire Strikes Back), it turns out the Big Bad is in fact their true biological parent. In both Star Wars and Cruella, the orphan hero’s adoptive parent(s) is/are murdered through the command of the villain, too. Having young Estella/Cruella witness her “mother’s” death as intentionally caused by the Baroness also evokes the scene in Star Wars where Luke Skywalker sees his mentor, Obi-Wan Kenobi struck down by Darth Vader.

As for Superman, the prototypical superhero movie starring Christopher Reeve as the titular DC Comics character is felt in the duality of Cruella and the silly but allowed manner in which nobody, not even those very close to her, recognizes Cruella as being Estella in barely a veiled difference in appearance. The whole Superman/Clark Kent dynamic isn’t specific to this movie, of course, as it’s an element of the comic books and had already been an element of previous screen versions of the character. And the way that Cruella/Estella has a connection at a newspaper is as much akin to Spider-Man as it is to Superman given that Anita Darling is a photojournalist taking pics of the mysterious Cruella as well as a columnist. But given the timing, the movie fits.

Available to stream on Disney+ and HBO Max, respectively.


Jubilee (1978) and Death Is Their Destiny (1978)

Jubilee inspired Cruella

There’s no telling when precisely Cruella is supposed to take place, but the setting is somewhat informed by the UK punk rock scene of the 1970s, as centered around London’s King’s Road. By 1978, the punk movement was already getting too big and trendy, and Derek Jarman’s provocative cult classic Jubilee arrived at the time to showcase and also critically exploit the scene, featuring real punk icons as well as characters allegedly based on others, including punk fashion designer Vivienne Westwood. Jubilee spawned a lifelong feud between Jarman and Westwood, who also definitely inspired the main character’s portrayal in Cruella. Westwood famously slammed the film through fashion, which is surely something Cruella would have done, too.

Westwood herself makes an appearance in the short documentary Death Is Their Destiny, which has become a significant historical record of the King’s Road punk scene at the time. It features Super 8 footage shot by Philip Munnoch, a.k.a. Captain Zip, who also made the more fashion-focused punk films Don’t Dream It – See It (1978) and We’re No Angels (1979) as he continued these punk rock home movies for a few years. I could go on and on about other relevant chronicles of the scene and the music, from 1977’s Punk in London and Julien Temple’s many early Sex Pistols docs to Don Letts’ The Punk Rock Movie (1978) and beyond. But you can find the most essential recommendations in a comprehensive BFI list published in 2016.

Jubilee is available to stream on HBO Max and The Criterion Channel. Death Is Their Destiny is available to stream on the BFI Player in the UK.


The Terminator (1984) and Hook (1991)

Hoskins Hook inspired Cruella

Two more major Hollywood studio movies that have nothing in common except for Cruella having nods to both. The Terminator is not an acknowledged homage, but despite the fact that these things sometimes happen in real life, Cruella driving a garbage truck into the front of a police station is just too reminiscent of the similar crash attack by the T-1000 in James Cameron’s sci-fi thriller to not be intentional. As for Hook, Steven Spielberg’s live-action fantasy film — set after the events of the Peter Pan story as depicted in a Disney animated film, so it’s like the opposite of what the prequel Cruella is doing — has been named in connection to Paul Walter Hauser‘s portrayal of Horace. Specifically, he says he modeled his accent on Bob Hoskins as Smee.

“I studied Bob Hoskins quite a bit in preparation for this role,” Hauser told The Hollywood Reporter in a recent interview. “I was given two options by the dialect coach Neil Swain; he said to me, ‘Do you want to go for a Bob Hoskins or a Ray Winstone?’… and I couldn’t shake Bob Hoskins as Smee from the movie Hook. I just felt like that was dead on and what I had to do. So I studied that, I did it and I’m happy really, really happy with how it turned out. I don’t think it’s perfect, but it’ll fool some people who don’t know my work very well.”

Available to stream on Amazon Prime and Netflix, respectively.

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Ocean’s Eleven (2001)

Oceans Eleven inspired Cruella

Steven Soderbergh’s Ocean’s Eleven is one of the few movies that Cruella director Craig Gillespie looked at while making his new movie. “I actually gravitated toward the Ocean’s Eleven look with the heist stuff,” he told Slashfilm, “and how to tell that story in a film and how much the audience needs to understand what the plot is or be ahead of or behind it…I didn’t do much in the way of research outside of the plot design of Ocean’s Eleven on this.” He even goes so far as to mention the movie again as the only thing he can think of to watch alongside Cruella. But you could also very well add the female-centric spinoff Ocean’s Eight (2018) since one of its main characters is a fashion designer and its heist is at a major fashion event: the Met Gala.

Available to stream on HBO Max.


The Devil Wears Prada (2006) and Alice in Wonderland (2010)

Devil Wears Prada inspired cruella

The most obvious and common movie referenced in comparison to Cruella, since our very first look at the Disney feature through its reviews and audience reactions is The Devil Wears Prada. Emma Thompson’s Baroness is the Miranda Priestly (played by Meryl Streep and based on Vogue editor Anna Wintour) to Cruella’s Andy Sachs (Anne Hathaway, portraying the character based on the source material’s author, Lauren Weisberger) in a similar story about an extremely difficult and oppressive boss in the fashion world. Gillespie has even admitted the influence, telling Radio Times that Cruella is “sort of like the Joker, Devil Meet Prada [sic] and Ocean’s Eleven, sort of all tied up together!”

Okay, but maybe you need to also watch Tim Burton’s Alice in Wonderland afterward. Not because it’s another Disney live-action reimagining of the studio’s own animated classics (that began the current trend even) but because it features Hathaway in perhaps a more Cruella-like role than Andy’s meeker Estella type. While it’s not something I’d necessarily think of, Hathaway claimed of her take on the non-villain White Queen, “She is a punk-rock, vegan pacifist. So I listened to a lot of Blondie, I watched a lot of Greta Garbo movies…then a little bit of Norma Desmond got thrown in there, too.” Punk, Debbie Harry, and Old Hollywood film actresses? Sounds like the recipe for Emma Stone’s Cruella.

Available to stream on Amazon Prime and Disney+, respectively.


Maleficent (2014)

Maleficent

I could highlight a number of the Disney live-action remakes in relation to Cruella. Emma Thompson was previously in Beauty and the Beast (2017), and Cate Blanchett’s Lady Tremaine in Cinderella (2015) is similarly inspired by Old Hollywood divas. But while Disney had already done the villain-is-the-star thing with the live-action 101 Dalmatians, the Sleeping Beauty-based Maleficent was the precursor to Cruella‘s idea to do a Disney Villain origin story in which the audience is made to empathize with this misunderstood and wronged woman who had been exaggerated and misrepresented as pure evil in cartoon form. Cruella is not quite let off the hook as Angelina Jolie’s Maleficent is, even if teases of future canicide can be taken as dark humor.

Available to stream on SyFy.


I, Tonya (2017) and The Favourite (2018)

Tonya

Typically, I like to avoid the inclusion of previous works by cast and crew of the movie in focus because past experiences of any kind are always going to directly influence present experiences, consciously or not. But these two movies are just too significant to ignore. I, Tonya is Craig Gillespie’s prior feature as a director, and it’s also an empathetic portrait of a woman with a villainous reputation. The difference is that its main character, figure skater Tonya Harding, is a real person, infamously remembered for her rivalry with Nancy Kerrigan and her association with the men who attacked Kerrigan in 1994. I, Tonya is also notable for giving Cruella co-star Paul Walter Hauser his breakout role, as Harding cohort (almost her own Horace) Shawn Eckardt.

The Favourite is the prior feature co-scripted by Tony McNamara, who is one of five writers who contributed to (and one of two credited with authoring) the Cruella screenplay. The 18th-century-set historical comedy also stars Emma Stone in an Oscar-nominated role as a servant to a powerful yet irrational royal pain. She also develops a rivalry with another woman in her place of work. The parallels between the two films aren’t striking, but there are some relatable character dynamics for sure. I’ve seen it said that Stone’s work in The Favourite proved she was apt for the part in Cruella, which is a shame since the former is one-hundred-and-one-times the better film. Cruella hair and makeup designer Nadia Stacey also worked on The Favorite.

Available to stream on Hulu and to rent, respectively.


Westwood: Punk, Icon, Activist (2018) and McQueen (2018)

Mcqueen Tribeca Bleecker Street

Two of the biggest inspirations for the look of Cruella, specifically Jenny Beavan‘s scene-stealing costume design, were fashion designers Vivienne Westwood and Alexander McQueen. Coincidentally, both of them had great documentary features released in the summer of the same year. Lorna Tucker’s Westwood: Punk, Icon, Activist offers something of a biographical primer on its subject, though Westwood herself is not a fan of the film as a representation of her life and work (especially the “activist” part of the title). Ian Bonhôte and Peter Ettedgui’s McQueen is a more fascinating and compelling and cinematic documentary about its late subject. And possibly even more relevant.

“From a character standpoint it was Alexander McQueen for me,” Gillespie told the Los Angeles Times. “His rebellion against the establishment and the shock value of his shows and the creative outrageousness of some of his work. I felt like that was very much in character with what Cruella was trying to do. It’s obviously not like anything that he was doing, but the aggressiveness of the pop-up [fashion shows] she does throughout the film is similar. And being able to create her own narrative with the press was something I took inspiration from with McQueen.”

Available to stream on Kanopy and Hulu, respectively.


Joker (2018) and Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (2020)

Joker

Everyone had jokes about how Cruella looked like Disney’s take on Joker, but as seen in a quote from a Radio Times interview above, Craig Gillespie acknowledges the likeness if not the influence. Why wouldn’t someone want to be compared to the DC Comics villain origin story anyway, given that it was nominated for eleven Oscars, including Best Picture, and won two, including Best Actor for star Joaquin Phoenix? Disney rarely seems to care about awards recognition, but I don’t think they’d mind one of their live-action redos having that sort of respect from the industry. Alas, Cruella can only really expect nominations for costumes and makeup/hair. How funny/sad would it be, though, if Stone won an Oscar for playing Cruella de Vil instead of Glenn Close?

You could think of other DC movies as precursors to Cruella, too, since she has a bit of the Bruce Wayne/Batman complex of revolving her life’s work around the death of her parent and taking on a double life as a mysterious figure — one who makes cool clothes and causes a bit of competitive mischief rather than one who makes cool clothes and gadgets and goes after criminals vigilante-style. Burton’s Batman (1989) also has the coincidence of the main villain being the one who killed the parent. But last year’s Birds of Prey makes the most sense since Margot Robbie’s Harley Quinn is an easy antihero model for Cruella, from her voiceover narration to her rebellious personality to her fashion sense. It’s like Cruella is the Joker and Harley’s love child.

Available to stream on HBO Max.

How ‘Polyester’ Showed Divine’s Incredible Acting Range

Acting is an art form, and behind every iconic character is an artist expressing themselves. Welcome to The Great Performances, a bi-weekly column exploring the art behind some of cinema’s best roles. In this entry, we examine Divine’s performance as Francine in John Waters’ Polyester.


There are a lot of masters of the midnight movie, but arguably none are more accessible than John Waters. His films have a way of tapping into our carnal desire to revel in the grotesque underbelly of suburbia in a way that feels both authentic and strangely relatable. Waters gets under our skin through his emphasis on the trashiest extremes of society, but we enjoy his films because he injects his bizarro-world Baltimore with outrageously endearing characters in love with shag carpets, macramé, and the incandescent aroma of polyester.

Like other cult movie directors, Waters employs a dedicated company of eccentric character actors — called Dreamlanders — who’ve worked with him consistently throughout his career. And while most of the Dreamlanders, from Mink Stole to Edith Massey, perfectly understood the tone and mood that Waters strived for in his narratives, no one embodied his aesthetic quite so purely as Divine.

Despite appearing in almost all of Waters’ films up to his untimely death in 1988, Divine’s brand of full-throated performances is always boiled down to one singular scene from Waters’ “exercise in poor taste,” Pink Flamingos

Towards the end of the 1972 film, after Divine’s character, Babs Johnson, murders a couple trying to usurp her title as “the filthiest person alive,” she proves herself worthy of the moniker by scooping up a fresh piece of dog poop, popping it into her mouth, and smiling slyly at the camera as Waters’ narration declares Divine “the world’s filthiest actress.” 

It was a moment that instantly burned into cinephiles minds, and inarguably made Divine an overnight cult sensation as Pink Flamingos ran on the midnight movie circuit. While this scene beautifully illustrates Divine’s brazen dedication to his craft, it also eclipses the nuances he layers into the outer extremes of every character he played.

That’s why Divine’s character, Francine, in Waters’ 1981 film Polyester is such an important moment in his career. He channeled the grotesqueness of his previous roles into an uncharacteristically restrained performance that manages to both fit perfectly in Waters’ garish aesthetic and act as a subtle commentary on the evolution of the American Dream. 

Divine was born Harris Glenn Milstead in Baltimore, Maryland, in 1945. His parents, Harris and Frances Milstead, had worked for a Black & Decker factory through World War II, amassing considerable wealth that they lavished on their son. They were quick to cater to his whims, endlessly funding his expensive taste in clothing and cars, regardless of how steep of a bill he’d rack up. As he once said, “I was an only child in, I guess, your upper-middle-class American family. I was probably your American spoilt brat.”

Divine lived off of his parents’ wealth, but he found a calling in hairdressing, wowing stylists with his ability to expertly coiff beehives and updos. He worked in salons and even held hairdressing parties after hours at his home. Following one of these parties in 1964, his friend Sally was found murdered, with Divine being the primary suspect in what local papers referred to as “The Hairdressing Party Mystery.” He was eventually cleared of any wrongdoing, but it gave Divine his first taste of something that would fuel the rest of his career: notoriety.

The incongruity of his humble suburban upbringing with his emerging sexuality and embrace of Baltimore counterculture are at the heart of what makes his performance as Francine come to life. Divine uniquely understood how repressive the traditional middle-class family could be, and he wanted to explore that in a comedy that lampooned the ideals of the American Dream. 

In Polyester, Francine exists as the paragon of the traditional American Dream. She has a husband with a steady job, two children, and a house filled with creature comforts. Within that outward appearance, however, lies a web of deception, murderous intentions, and abject sexual depravity that is at odds with Francine’s desires to live a normal life. 

Rather than Divine being the driving force for Polyester’s shocking comedy, he uses Francine to embody the antithesis of what he had been known for in Waters’ past films. Divine still fills Francine with plenty of crass, but his performance isn’t built around his character’s grotesqueries like Multiple Maniacs or Pink Flamingos. We root for Francine because she is the victim of the story, not the victimizer.

He plays Francine simply as a woman trying to navigate a world stacked against her. All she wants is love and stability, and she’s willing to do anything for it. And it’s in this emotional headspace that Divine, with a painted-on smile, finds Francine’s joy. Because despite all the vulgar things that happen to her, she has this resilient spirit that is completely enchanting. 

Even though Francine is unique because of the tenderness Divine imbues into her, none of that warmth would work if it wasn’t contrasted by the exquisitely crafted camp layered into his character’s most manic moments.

Much of Polyester’s humor comes from it being a satire of female-focused exploitation films from the 1950s that were centered on disillusioned housewives indulging in the sins of life. Throughout the film, we watch Francine hit rock bottom after rock bottom, abusing alcohol to help her cope with living with a verbally abusive husband, a delinquent daughter, and a foot-stomping son. 

As her life spins further out of control, Divine ratchets up his commitment to dynamically expressing Francine’s manic mood swings. In the film’s finale, after Francine discovers that her new husband, Todd, is sleeping with her mother, she has a complete nervous breakdown, manically stroking her hair as she sinks to the ground, blubbering nonsense as she’s forced to become a human footstool. It’s over the top in the way you’d expect from a performer like Divine, but we can appreciate this moment’s hilariously overwrought melodrama even more because he humanized Francine so well in the film’s opening acts.

Before his death in 1988, Divine desperately wanted to be taken seriously as an actor, especially in male roles. He only had the chance to play three male characters in his career, two of which were for John Waters — in Female Trouble and Hairspray — and the last, Out of the Dark, was released posthumously in 1989. But I think Divine heartily proved himself as a serious actor with his work in Polyester.

Francine allowed audiences to clearly see the true range he possessed, removed from much of the debauchery and garishness that he had been known for. Polyester is still filled with Waters’ signature brand of shock, but regardless of the high camp baked into Divine’s performance, he still manages to break our hearts in a way the actresses he was satirizing never could.

Divine may have been known for absurd characters, but it’s really his genuine love of relishing in the outrageous that makes him such an incredibly fun actor to watch. With his performance in Polyester, we were treated to a different dimension of his talent. One that proved he was so much more than the stomach-churning extremes to which he was willing to go.  

Jovan Adepo’s Extraordinary Everymen

Welcome to Filmographiesa column for completists. Every edition brings a working actor’s resumé into focus as we learn about what makes them so compelling. In this entry, we spotlight the filmography of Jovan Adepo.


Jovan Adepo has hit a sweet spot as an omnipresent performer. Perhaps some of his early stuff feels serendipitous — it’s not like we haven’t seen that occur before with the most precocious of rising stars. However, Adepo stands out precisely because of how well he blends into the fictional worlds he inhabits. A study of his filmography makes one thing clear: Eschewing showiness and mawkishness despite the Hollywood prestige of his big- and small-screen roles alike, the chameleonic actor charms his audiences with understated sincerity, ensuring that his memorable moments of bravado are thoroughly earned.


The Youth (2015)

Before Jovan Adepo’s big breakout in film and TV, his resumé comprised a number of fairly elusive short films. The most accessible and substantive of these efforts is Dehanza Rogers’s The Youth. The fifteen-minute drama tells the story of a disillusioned college graduate whose thirst for purpose fuels a vehement desire to enact extreme change in his life.

The short sees Adepo playing a young man named Sahal, who is childhood best friends with the narrative’s protagonist, Said. He has returned to his old college town on “business,” and the friends seemingly run into one another by happenstance. Although Sahal first carries himself with a warm, easygoing demeanor, he expresses lofty goals of self-determination and hopes that Said feels the same.

The Youth relies heavily on its actors’ thoughtfulness and significance to bolster the complexities buried between the lines of the screenplay. Thankfully, of the little that we know about Sahal, Adepo’s calm lucidity juxtaposes the perilous ramifications of his character’s influence over the short’s lead. Despite the film’s weighty themes of cultural displacement and identity posing more questions than answers, Adepo is thoroughly convincing with his eerily unwavering belief.


The Leftovers (2015-2017)

Jovan Adepo channels more wholesome aspects of faith in his role in Damon Lindelof’s inexplicably beautiful mystery drama The Leftovers. The critically acclaimed series that ran for three seasons on HBO focuses on several families and communities affected by the Sudden Departure, a global event in which two percent of the world’s population abruptly vanishes.

Appearing in the show’s second and third seasons, Adepo portrays Michael, the reserved, devoutly religious teenage son of the Murphy clan. Native to a small town boasting zero Departures, he lives contently with strong-willed parents (played by Kevin Carroll and Regina King) and his twin sister Evie (Jasmin Savoy Brown). But when Evie goes missing in a Departure-like event, Michael must grapple with his view on spirituality and adjust to this new, traumatizing reality.

Within the large ensemble of The Leftovers, Adepo can often be found on the fringes of the ambitious, mind-bending narrative. That said, this isn’t necessarily a detriment to the series, given its holistic nature and its complicated take on loss. When Adepo does show up, he starkly represents as well as interrogates the ideals and foundations of religion.

Sometimes, these frankly pure qualities are even desirable amid the emotional chaos of the rest of the series. For sure, Michael undergoes his own reckoning as he matures over time, and grief, pain, and disillusionment touch him too. But there is a sweetness to him because of Adepo’s persistent genuineness and keen, quiet observations of those around him.


Fences (2016)

Jovan Adepo’s feature film debut arrived in the form of Denzel Washington’s Fences, marking a breakout of epic proportions for any up-and-comer. The cinematic adaptation of August Wilson’s eponymous stage play — penned by Wilson himself — follows the tumultuous daily life of the Maxsons, an African-American family building a life in 1950s Pittsburgh. This includes Washington’s patriarch Troy, Viola Davis’s matriarch Rose, and their teenage son: Adepo’s idealistic Cory.

Fences dissects the conflicts found within these intersecting relationships, revealing them to be the dispiriting result of generational and racial trauma. Cory’s dreams of becoming a star football player in college are as much affected by Troy’s incessant disdain for his dreams as they are by Rose’s bountiful love for them. Moreover, the social conditions of the story’s setting perpetuate worrisome patterns of oppression for the youngest Maxson that were once felt by his father.

However, Adepo fights back, fully embodying Cory’s yearning for personal agency. He so deftly suppresses the character’s explosive feelings that even his silence is poignant and loaded, making his various tête-à-têtes with Washington thoroughly satisfying. Adepo may appear less frequently in the film compared to his famous co-stars, but he takes a memorable stance for free will.


Overlord (2018)

Horror notably crops up several times across Adepo’s resumé. A supporting appearance in Darren Aronofsky’s psychological drama mother! (2017) initially allows him to dip his toes into the unnerving genre. Jovan Adepo’s discomfitingly discourteous role as Cupbearer feels more cameo-esque than the material handed to mother!‘s star-studded main cast. Regardless, this wildly controversial movie kept him on everyone’s radar.

Rather, Adepo’s starring role in Julius Avery’s action flick Overlord is his most prominent early contribution to horror and indeed one of his most remarkable projects overall. The film tracks a squadron of American paratroopers tasked to infiltrate Nazi-occupied France a day before D-Day. What initially seems like a straightforward mission to take out a vital communications tower devolves into a nightmare of guts and gore when the group discovers a secret lab full of human experiments.

Adepo steps into the shoes of Overlord‘s protagonist, Private Boyce. Compared to the no-nonsense attitude of the squadron’s leader, and against a backdrop of perpetual taunts from fellow soldiers, he seems too soft to be in battle. We often see Boyce opting out of violence, displaying a natural inclination to be empathetic. As such, he certainly represents the most human element of the film by acting as his team’s moral compass — whether they want one or not. Boyce further forms a camaraderie not only with his skeptical squadmates but with oppressed locals of the region as well, raising the stakes of the movie considerably.

Ultimately, Boyce’s more timid reservations give way to good-hearted gallantry when innocent lives are threatened. Of course, this storyline can easily be expected from a gleefully bloody genre movie about kicking Nazi ass. Nevertheless, Adepo impresses upon us the actual extent of the anxieties and dangers of the operation at hand, maintaining the film’s heroic spirit as we stumble through sheer terror with him. We couldn’t ask for a more entertaining film with which to establish him as a leading man.


Sorry for Your Loss (2018-2019)

In comparison, the Facebook Watch series Sorry for Your Loss sits on another end of the dramatic spectrum. That is to say, where Overlord is a heightened reimagining of the Normandy landings during World War II, Kit Steinkellner’s sadly short-lived, underrated family drama tackles the topics of bereavement and recovery in an unmistakably grounded way.

Sorry for Your Loss spotlights a widow named Leigh as she bleakly goes through the motions in the aftermath of losing her husband Matt (an ethereal Mamoudou Athie). Jovan Adepo is part of the show’s powerhouse ensemble as Danny, Matt’s abrasive, argumentative brother who also struggles to come to terms with his brother’s passing, especially regarding the relationships that Matt leaves behind.

Which certainly makes Danny one of the most complex characters of the entire series. I’ve made a case for Sorry for Your Loss when gushing about Athie’s brilliance in the past. To this day, I continue to champion the show’s authentic portrayal of pain in all its messiness and bittersweet beauty. In Danny’s case, the loss of Matt hits harder than he prefers to let on. During rare moments of explosive vulnerability, in-universe characters and viewers alike are gravely reminded that he “can’t just get another brother” and this present-day trauma only compounds pre-existing issues from the siblings’ shared life as children.

Adepo turns in one of his most electric performances to date when he sinks his teeth into Danny. More often than not, the character isn’t even very likable. He regularly falls prey to melodramatic circumstances due to his fierce, magnetic connection to both Leigh and Matt. However, Adepo makes us stew in the discomfort of his emotional disarray, ensuring that the closed-off, frequently antagonistic Danny is fully seen and heard. When we get to know the complicated depths of his inner turmoil, we can only wish for more seasons that Facebook robbed us of when it canceled the show.

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‘All-American Murder’ Could Be the Funniest Movie You’ll Watch This Year

Vinegar Syndrome remains one of the great indie home video labels, and each month they bring forgotten genre gems and old favorites back to life on Blu-ray. Their latest releases include All-American Murder with Christopher Walken, Kevin Tenney’s The Cellar, and a three-film set called Home Grown Horrors: Volume One. Keep reading for our look at all three titles!


All-American Murder (1991)

All American MurderArtie Logan (Charlie Schlatter) is an anti-social young man with a taste for snakes and fire, but he’s a good guy all the same. When his latest on-campus antics land him in jail his high-profile father finagles a spot for him at a prestigious college known for taking no bullshit. Artie hits it off with a co-ed, but when she’s murdered — burned alive! — he winds up the number one suspect with just twenty-four hours to prove his innocence. If only all the other suspects would stop turning up dead.

It boggles the mind how All-American Murder could be marketed as a serious thriller — every mention on IMDB and even on this Blu-ray calls it horror, mystery, thriller, giallo — because it is hilarious. Like, legitimately funny as hell. I’m not entirely convinced it’s all intentional, but it’s difficult to argue with the end result, and you’re definitely laughing with the film not at it. The tone is a blend of tough talk and sarcasm, the dialogue is endlessly entertaining, and some of the story turns are just weird. All of that said, the film still delivers a fun, satisfying murder mystery as a gloved killer proceeds to knock off numerous supporting characters alongside gore beats, T&A, and big dollops of entertainment. They’re all potential suspects, and as the pool of possibilities grows ever more shallow the guessing game grows more intense. Again, you can’t take any of it seriously, but since when is that a requirement in cinema? Seek out All-American Murder if you enjoy good times.

The other big draw here is the great Christopher Walken as a detective investigating the murders. He’s suitably ridiculous himself as he shoots his gun while his other hand sits in his pocket, he gives the prime suspect a day to prove his innocence even as people keep ending up dead in his presence, and he drops zinger after zinger as if everyone was having a ball. His presence (he’s a supporting player only around for thirteen of the film’s twenty-two days filming) pops throughout as his every expression and utterance is pitch perfect, and he helps lift All-American Murder even higher.

Vinegar Syndrome’s new disc of All-American Murder features a 2K scan and restoration of the interpositive, a reversible cover, and the following extras.

  • Commentary track with The Hysteria Continues!
  • Being on a Team [15:08] – Actor Charlie Schlatter recalls the All-American Murder production and shares some fun anecdotes involving Christopher Walken.
  • A Valuable Experience [14:47] – Cinematographer Geoffrey Schaaf talks about working with Anson Williams, taking the initiative to storyboard upcoming scenes, and how the entire All-American Murder shoot was structured around Christopher Walken.

The Cellar (1989)

The CellarWhen life in the big city gets too big, one family takes the plunge and moves to a remote house in rural Texas. It’s a fixer-upper, but unfortunately it also comes with a monster in the basement. Little Willy is the first to discover the beast, but no one believes him. Maybe the wise old Native American living nearby can shed some light on the situation…

Originally planned as a directorial debut for John Woodward, the hopeful filmmaker was fired just five days into production for already being three days over. Kevin Tenney (Night of the Demons, 1988) was brought on board to shoot the film instead, but even his version ended up being hacked up and modified by producers before release. The film’s troubled history is evident when comparing the two cuts here, but while Tenney’s is the preferred version the released one has its semi-serious charms.

Neither version of The Cellar is necessarily all that good, though. It’s a refreshing change seeing Patrick Kilpatrick as a lead protagonist, but too many of the elements feel overly basic on the horror front when they’re not being unnecessarily dramatic. The physical creature effects, limited as they are by budget, are mildly entertaining and work best as a reminder of simpler pre-CG days. It’s clear the script’s approach to the Native elements wasn’t as well thought out as it should have been as well. Ultimately, The Cellar is a simple little creature feature that never wows — making it a good thing that this new Blu-ray does a better job on that front.

Vinegar Syndrome’s new disc features a 2K scan and restoration, two versions of the film — original theatrical cut [1:25:51] and director’s cut [1:24:19] — director introduction, and the following special features.

  • Commentaries on both the director’s cut and producer’s cut
  • From Chicken Shit to Chicken Salad [46:12] – Director Kevin Tenney, along with members of the cast and crew, talk about how the first director was fired, how Tenney turned a train wreck into a mediocre movie, and how the leads found their way into The Cellar.

Home Grown Horrors: Volume One

Home Made HorrorsThis new box-set from Vinegar Syndrome brings together three regional horror efforts made with lots of love and very little money — Beyond Dream’s Door, Fatal Exam, and the glorious cult favorite that is Winterbeast. Each film comes in its own snapcase, has been lovingly restored in 2K, and is loaded with new and old special features. They’re not available individually and only come in a snug, fully-illustrated, top-loading box.

We’re tackling them in chronological order.

Beyond Dream’s Door (1989)

Sleep should be a time of rest and peace, but for Ben it’s nothing but nightmares and misery. He dreams about monsters, imaginary brothers, and some gruesome and bloody deaths. His efforts to explain and hopefully stop the nightmares leads him to seek help from his university professor and TAs (obviously), but any answers come with real world ramifications.

The first of this box-set’s three super low-budget slices of regional horror makes it immediately clear what those labels mean. Various elements can feel rough at times, from the look to the editing to the performances, but unlike the film immediately below its narrative focus is clear. Well, maybe not clear exactly, but writer/director Jay Woelfel knows what he’s aiming for here and mostly succeeds budget be damned.

The story grows to involve the forgotten truths behind the shared nature of dreams, undead women with knives, books with teeth, and more. The practical effects are low budget affairs, obviously, but there’s talent and enthusiasm on display all the same. At a fast-moving eighty minutes, Beyond Dreams Door takes a pretty fresh approach to dream-related horror ensuring you won’t find yourself bored throughout. Once you’ve seen and enjoyed the movie, the disc offers a ton of extras for you to dig into for a behind the scenes look at its production.

Vinegar Syndrome’s new disc features a 2K scan and restoration, trailers, a reversible cover, and the following special features:

  • *NEW* Where Horror Lies: The Making of Beyond Dream’s Door [41:04]
  • *NEW* Commentary track with director Jay Woelfel, cinematographer Scott Spears, and actors Nick Baldasare & Rick Kesler
  • *NEW* Commentary track with actor Nick Baldasare, moderated by Dave Parker
  • Behind Dream’s Door [34:21]
  • Getting Monstered [6:23]
  • Montage of unused and alternate takes [10:57]
  • Unused and alternate fx footage [5:24]
  • Bloopers and behind the scenes footage [5:54]
  • Local news coverage [4:07]
  • Deleted scenes [2:13]
  • “Beyond Dream’s Door” [20:52] – The original short film complete with its own commentary track, making-of featurette [7:47], and raw footage [4:29].
  • “At the Door of Darkness” [7:31] – Short film with its own commentary track.
  • “Come to Me Softly” [8:10] – Short film with its own commentary track and Rick Kessler interview [1:34].
  • Commentary track with director Jay Woelfel, cinematographer Scott Spears, and actors Nick Baldasare & Rick Kesler
  • Commentary track with director Jay Woelfel

Fatal Exam (1990)

Look, the only thing more boring than college classes are the weekends in between, but one professor has the answer. He invites his class to join him, without the promise of extra credit, for a weekend in a supposedly haunted house. Who could say no?! Things start out a bit spooky despite no one quite buying the impending terror, but that changes when robed, scythe-carrying killers start roaming the halls. Forget a passing grade… these students will be lucky just to survive.

As should be expected with these Home Grown Horrors titles, Fatal Exam is as indie budgeted a film as you’re likely to see on Blu-ray. Director Jack Snyder gives it his all with an ensemble cast, a suitably creepy house, and an evolving mystery, but its independent roots — and a lack of self control — make for a somewhat tiring affair. There is *so much* talking here across the film’s unnecessary 114-minute running time, and while dialogue can be great it’s used here at every turn. Exposition, conversation pointing out the obvious, and details poured over the most innocuous and irrelevant topics too often slow things to a crawl.

Things pick up briefly (and too late) with some stop-motion demon shenanigans, but on the whole the film struggles to chug along. Better than the film is the included making-of doc exploring the motivations and intentions of those involved. They stole shooting time at a school, built sets in garages, made due with four of their five cameras being silent — hence the ADR that’s at times rough and flat — and yes, of course John Carpenter’s The Thing (1982) was an inspiration.

Vinegar Syndrome’s new disc features a 2K scan and restoration, a reversible cover, and the following special features:

  • Commentary track with members of cast and crew
  • Fatal Examination [47:40] – Cast and crew reflect back on the film’s 16mm production, making friends while making a “no-budget” indie, and how certain players had little to no faith that it would ever actually be completed. “Looking at the film now I realize I needed several more drafts of the script,” laughs writer/director Jack Snyder.

Winterbeast (1992)

The woods can be a spooky place, and that’s even more of a possibility when they’re home to Native American curses, monsters, missing people, and murder. Local authorities are tasked with investigating the odd happenings, but answers aren’t easily forthcoming.

While both of the other films in this set have their own charms, it’s Winterbeast that makes this purchase a requirement for fun-loving genre fans. From its bonkers opening to everything that follows, it’s a no-budget gem comprised of energetic sequences, wild characters, stop-motion monster madness, and some pretty fascinating choices.

The story tips its hat to Jaws (1975) with an unforgettable lodge owner in a plaid jacket who refuses to acknowledge the body count for fear of hurting his tourist business, and it finds more character in the supporting cast of straight men, scared women, and absolute weirdos. It’s eminently enjoyable, and it only grows more so when stop-motion creatures appear to kill and maim and claymation human they can get their mitts on. Native American curses (always popular in horror movies), monsters, flesh-tearing zombies (maybe?), and more make for a wild time. Grab a few drinks, invite some friends, and settle in for a mesmerizing time.

Vinegar Syndrome’s new disc is newly scanned and restored in 2K and features the following special features.

  • *NEW* Commentary with producer Mark Frizzell
  • Commentary with director Christopher Thies, producer Mark Frizzell, and cinematographer Craig Mathieson
  • *NEW* It Came from Lone Peak [1:13:22] – The unfinished early workprint is a rough blend of silent scenes and inexplicable turns, but even in its incomplete state it’s a must-watch for fans of the feature.
  • *NEW* Sweat & Persistence [27:39] – An interview with producer Mark Frizzell on his introduction into filmmaking through a love for Ray Harryhausen, his work as a filmmaker, and the process of bringing this movie to the screen.
  • *NEW* I Saw it in a Dream [10:35] – Actor Charles Majka recalls what brought him to the film, all while wearing a homemade Winterbeast t-shirt in front of a wicked Winterbeast movie poster.
  • *NEW* My First Career [13:36] – Actor David Majka talks about meeting Mark Frizzell, his all-purpose presence on the film set, and says “you know” roughly one hundred and forty-three times.
  • *NEW* So Bad It’s Good [10:19] – Actor Dori May Kelly seems surprised to be talking about the film as she gets into her early career on stage and the odd production of this movie.
  • *NEW* He Wears Sunglasses at Night [14:15] – Actor Mike Magri has aged exactly as you’d expect from the film’s funniest character and still has the same grin.
  • *NEW* A Movie for Filmmakers [18:44] – Fan/filmmaker Simon Barrett talks about his love for the film starting with his first rental in the 90s and how he “couldn’t understand anything about it.” Multiple rewatches would follow over the years along with conversations and attempts at understanding its plot — something he’s yet to succeed at. His breakdown of the story is delightful.
  • Oh Dear, What Can the Matter Be? [19:36] – An archival making-of documentary.
  • Deleted scenes [13:00]
  • Audio interview with composer Michael Perilstein [3:44]
  • “Soap opera” footage [11:49]

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