Class of 1999 trailer

They filmed parts of this movie at the Lincoln High building in Wallingford in 1989 (or thereabouts). I was going to grade school a few blocks away from there at the time and it was a big deal that they were filming a movie in our neighborhood.

I’m watching it for the first time right now. Even if it totally sucks, it’s cool to see the building where I used to go do P.E. as a kid turned into a war zone. Oh, and Pam Grier is in it, so I’ll be able to watch it no matter what. 

The Slender Thread

Shot in Seattle in 1965. There are some cool shots of the Seattle Center, Ballard/Interbay, and the U-District in this clip. (The whole thing is on YouTube, albeit in 10 minute segments.)

I just scored a copy of this at Half Price Books. It’s about to get weird in here.

I just scored a copy of this at Half Price Books. It’s about to get weird in here.

The Rapture (trailer)

I remember this movie not being very good.

Schoolly D - “King of New York”

Three things:

  1. I had the Cassingle.
  2. This is how I found out about Mandrill.
  3. LOL @ Larry Fishburne.

Hausu (aka House)

This is a nightmare-hallucination-DMT-freakout of a film. I’m not giving anything away by stating that it’s about a house that eats girls. But it’s so much more!

The Criterion edition is available from Netflix. The extras are worth watching if only to get the backstory as to how a film like this got made in what was an otherwise conservative Japanese film industry in the 70s.  

Dirty Three - “The Restless Waves”

This video is made up of outtakes from the movie Dutch Harbor: Where the Sea Breaks Its Back. Sometime in 1997, I bought the soundtrack to said film on a whim. The score was an improvised affair done by Boxhead Ensemble, an ad hoc group of mostly Chicago post-rock dudes (Tortoise, Gastr del Sol, Ken Vandermark, Will Oldham, etc), and remains one of my all-time favorite albums.

D3’s Jim White and Mick Turner have both done time in touring versions of Boxhead Ensemble (see the awesome live record The Last Place to Go).

The film itself is gorgeous. Much like the accompanying soundtrack, the 16mm black & white film is solemn and meditative, documenting the rapid encroachment of consumer society into what had been an isolated frontier town. Thanks to shows like The Deadliest Catch, Dutch Harbor, AK and the surrounding areas have gotten a lot more attention, for better, or probably worse.

As far as I know, Dutch Harbor: Where the Sea Breaks Its Back hasn’t been released on DVD yet, and who knows if it ever will. I’m hanging on to my VHS copy - the going prices on Amazon right now are $35.00 - $45.00! 

Intro to JCVD

(Music: Baby Huey & the Babysitters - “Hard Times”)

JCVD is a strangely awesome film. I was never much of a fan of Jean-Claude Van Damme flicks, but this movie took the whole Muscles from Brussels franchise and turned it upside down.

OK, despite the fact that it appears to be a mashup of 28 Days Later, Dawn of the Dead, and every movie where a dude goes looking for his missing wife and child, I’m still excited to see it. I generally trust the shows AMC brings to the playing field, and this looks pretty sweet.

two movies:

Anybody who knows me well knows that I’m a apocalypse/zombie-apocalypse/end-of-the-world/disaster movie junkie. I watch a lot of them. Here are my reviews of two recently released DVDs, in the form of haiku:

Autumn

Autumn

No budget Canucks
Least scary zombies ever.
Steaming pile of dung.

The Book of Eli

The Book of Eli

Denzel Washington
The black David Carradine?
Better than Autumn.

OK, those haiku sucked, but sucky haiku are a good match for sucky movies. Autumn could have been cool in a z-grade genre sort of way, but the editing left a lot to be desired. There were long stretches where I had no clue what the hell was happening. Dream sequence? Sure! Awkward transition to a new location? Why not? I’ve watched (and enjoyed) some shitty movies, but I can’t recommend against watching this highly enough.

I did like The Book of Eli. Denzel Washington, playing a sort of warrior monk, wanders through a post-nuclear war made desert, trying to find a spot to drop off the last one of these bad boys. It seems pro-Christian on the surface, but I don’t think it would ever be used as a scare tactic recruting tool, like some of Kirk Cameron’s post-Growing Pains work.

One thing that really stood out to me about the film was the soundtrack. I thought it sounded like newer Nine Inch Nails. Turns out that the score was done by Atticus Ross, who co-wrote Ghosts I-IV, and has worked on the last four NIN records. Go figure.