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REMOTE CONTROL (1988)
Director: Jeff Lieberman

It's 1988 and you are the kid walking to the video store a few times a week to scour the shelves for the best video box art to take home with you and gamble another few bucks on what may be the best film ever made.

Those days are gone forever so it would seem. But maybe not?
"Remote Control" by cultish filmmaker Jeff Lieberman (Blue Sunshine) appears on the shelf one day back in 1988, and immediately you think "this could be it".

Well, it's not. And now that those days are seemingly over, only the memories remain.

What films were on heavy rotation back then? What kind of promotional cardboard stand ups were being given to the local mom and pop shops?

Remote Control, a sci fi film about videotapes from outer space brainwashing everyday renters like yourself, answers that question in spades.

Here's a movie that brings you right back to the scene. 60% of this film takes place inside of a video store and there certainly doesn't seem to be any copyright issues with displaying (blatantly) the titles that had been accrued on home video up until that point.


What about the movie itself, any good?


Yeah, it's not bad. The music really gives it a boost. Elmer Bernstein's son, Peter, is at the helm with a spooky and moody theramin soaked score throughout. Kevin Dillon, Deborah Goodrich (April Fool's Day), and Jennifer Tilly (Bound) are all about the fun and serious tone. Remote Control does take itself seriously. I'd imagine that if it were pure camp, it wouldn't have worked so well. The pace is a bit sluggish, and the acting ranges from melodramatic to silly, but the locations and story are interesting. It's basically nostalgia that knew it was nostalgia before it was even considered nostalgia.

Very clever little film.

I personally love this movie. It is a pitch perfect time capsule of that era and is now available on HD home video, where it belongs.

If it were on VHS still, that might be kind of dangerous.
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Could be interesting since it takes place in a video store. Never heard of it before.



Could be interesting since it takes place in a video store. Never heard of it before.
It is but I also wonder if I like it so much because I rented it back then. Curious to know someone's thoughts on it who has not seen it yet.



It is but I also wonder if I like it so much because I rented it back then. Curious to know someone's thoughts on it who has not seen it yet.
Probably. People tend to like things from the past just 'cause they experienced it in their pasts.



Surf Nazi's Must Die (1987)
Director: Peter George


1987, right in the middle of the VHS boom we had the Troma Film team serving up tasteless films about violence, sex and slapstick situation comedy. The Toxic Avenger, Class of Nukem' High, Redneck Zombies etc. Usually the Troma films were completely dedicated to mindless fun for exploitation freaks and Surf Nazi's isn't really that much of an exception. However, one notable difference between SNMD and other Troma offerings is the style in which SNMD displays.

It's a grungy looking film where you can almost hear the film soundtrack splitting between scene changes, but it fits in perfectly with the disjointed narrative of this overlooked movie.


We don't have the luxury of a great story here, but we do get some inspired ideas in the form of a mother hellbent on revenge for the death of her innocent son by the hands of these alleged Surf Nazi's.

In the not too distant future, we see punks on the beach following in the footsteps of that WW2 monster; spray painting walls, bullying for spare change, keeping to the beach, a way of life.

This rare occasion for Troma Films is that Peter George is a capable visualist, and utilizes a one of a kind synth score as well as some vigilante unlikliness, forging a new breed of action hero that we haven't seen much of: Momma.


There's a sexy undercurrent in Surf Nazi's Must Die, and if you ask any casual buff about the effect this film had on them, they're likely to tell you it was the worst of the Troma canon.

But these people would be wrong. Surf Nazi's stands very much away from the Troma catalog as an almost post apocalyptic art film on a shoestring budget that is very much in plain sight. There is something eerie and dirty about this movie. It's dull but so atmospheric that one can't help but nibble on it a little at a time. It's not photographed flawlessly, and they're aren't any color explosions. The look of the film is filthy. It's an ugly movie that has artistic merit, if only because it's so raw that it has no choice but to be authentically dank.




BACKCOUNTRY (2014)
Director: Adam MacDonald

The best thing you can do is to see Backcountry without reading anything about it. Just flop down and watch it. It's a very tight little film with a twisted story that will have you thinking about it for some time after it ends.

That's not to say that this movie is an intellectual titan of a film. It's not. It's pretty straightforward, but it does exactly what it sets out to do as far as I can tell.

It's so tense that I couldn't help but be reminded a bit of The Blair Witch Project. Difference being, Blair Witch didn't scare me nearly as much as this film did. Actually, Blair Witch was eh. First timer on that one. Anyway, getting off track.

I will not spoil anything. Again, just find this movie on Netflix right now and check it out. It's perfect for spending 90 minutes with a little thriller. You can easily spend 90 minutes shuffling through Netflix's library of trash. Type in "BACKCOUNTRY" and then proceed to watch it.

I really liked this movie a lot. The music is so good. I've heard a lot of experimental organic instrumental meshed with electronic synth and I have to say that the score for this movie really gives it a texture. Probably my favorite score since Craig Wedren did one back in 2002 for "Roger Dodger".

Anyway, that has nothing to do with this movie. I'm just thinking out loud. This isn't a real review. In fact, I don't think I have any real reviews here but, go ahead and nustle the fuchk on up in your lazee buoyy and check the cool wax on this joint of a nature trees woods freakout movie. You should like it. You don't have to like it, but I highly recommend that you do like it, please. Thanks.




I'm not big on Troma, but Surf Nazi's looks the most appealing out of what I haven't seen.

Backcountry looks cool. Bears are cool. Now on my radar.

Anyway, that has nothing to do with this movie. I'm just thinking out loud. This isn't a real review. In fact, I don't think I have any real reviews here but, go ahead and nustle the fuchk on up in your lazee buoyy and check the cool wax on this joint of a nature trees woods freakout movie. You should like it. You don't have to like it, but I highly recommend that you do like it, please. Thanks.
I hope you're here to stay, Joel.



I'm not big on Troma, but Surf Nazi's looks the most appealing out of what I haven't seen.

Backcountry looks cool. Bears are cool. Now on my radar.


I hope you're here to stay, Joel.
Surf Nazi's..it's the music that sets it apart I think.

Backcountry..good stuff.

"See you in an hourBACKGETIT!?!"




THE AMERICAN FRIEND (1977)
Director: Wim Wenders



We see a terminally ill man get involved with criminal activity dealing in fraudulent reproductions of valuable works, to pay for his treatment.

It's a bit of a confusing film and I suspect repeat viewings will answer some questions about the plot. That aside, it really doesn't seem to matter much that this movie has a complex way of unfolding. Wenders is known for his particular way in dealing with characters and their surroundings.

This is a beautifully shot film that somehow stitches different countries together with wild storefronts, landscapes, interior lighting, and oddball household items.

I found that the more this story went along, the better I felt about starting to watch it. There isn't much exposition that will bonk you upside the head, and of course, in the tradition of most art films, the resolve is left to the same universe as the body of study.

If you are in the market for a good piece to hang on your wall, I'd recommend this film to chase away the boredom of routine, and to fully dive into yet another Wim Wenders miniature masterpiece.




I thought Backcountry was mostly average, except the scenes that were supposed to be exciting, were just that.

I saw The American Friend a couple years ago and thought it was very good.



I thought Backcountry was mostly average, except the scenes that were supposed to be exciting, were just that.

I saw The American Friend a couple years ago and thought it was very good.
I agree that the story leading up to the horror of BACKCOUNTRY was average. I've pretty much given up on newer movies delivering any kind of real chemistry with lead actors. Long gone are the days of Annie Hall and My Dinner with Andre. (Well, not quite, A Master Builder is fairly recent). So, knowing I'm not gonna get any real charisma off of the leads, I just concentrate on the technique and genuine scares that the film gives me. The thrills. Without spoiling the movie I gotta say that that particular scene and the anticipation leading up it is among the best I've ever seen, and because I knew nothing about the story going in, the red herrings didn't really become obvious to me.



THE DISCOVERY (2017)
Director: Charlie McDowell

And now prepare yourself for one of the worst movies ever made. "The Discovery" has to be the absolute worst film I have ever seen in my life. The basic premise is that a scientist discovers that there is an afterlife, and after large numbers of people commit suicide to attain this guaranteed new plane of existence, it is further discovered that another plane of existence can now be recorded and broadcast onto a flat screen palm pilot or basic crt.

Awesome. So how could this be a bad premise?

I'll tell you. First of all, it's not interesting. Why? Because who gives a *****? Life is pain. You fight through it, and if you can't, you end it. As far as what is on the other side...wait for it. Whether or not you wait in vain is irrelevant. This hokey production not only wastes what little interest the subject matter holds on completely inept performances, but we even get to suffer through comic misfires that almost scrape up against dramatic moments, as if this film were the Titanic on top of the ice. That was a horrible analogy, but not as horrible as this movie is. I simply illustrated the tone of this film. Inconsistent. Not very funny, if ever it was to be funny.

I could not tell the accidents from intents. I mean, some of it was obviously meant to be funny. But it wasn't funny. Seeing a Zack Galifinakis clone playing through a loop station some very bad flange guitar a good comedy does not make.
And Redford. Jesus, what was he thinking? He could not have read the script, and if he did, someone really screwed him out of a movie. Badly.

This is just not interesting content. It cannot find its footing with tone at all. It's photographed like another typical seasick documentary, and the coloring is like "hey I've got a color wheel, let me just make the mid tones look like I forgot to set my white balance".
I'm tired of this piss poor aesthetic in modern cinema. OK, we get it. It's gloomy. How about setting the gloomy tone with some actual performance and music rather than subjecting us to this awful coloring job. What, was this filmed in Ontario/London/Fake Seattle? I don't get it. I thought this style went out a decade ago. Guess I wasn't paying attention.

Then you have our star, Jason Segel. This dude cannot act. Period. He belongs in Adam Sandler land, out of the discerning film lover eye, and in the realm of mediocrity for people who don't actually watch movies for anything other than to distract themselves from buying yellow cars and getting their ears stretched out like an African woman. I don't believe a word that comes out of his mouth. He looks like he's always on the verge of laughing. He stinks.

The Discovery goes plodding along like someone, I don't know, the writer or director(?), had just seen "The Master" and figured they could make a pile of trash movie with no timing, tone or special sauce and still get critical accolades for the material/story alone. WRONG! EHHH!! "The Master" only got critical praise because people still think Paul Thomas Anderson is a genius. He's still riding off of "Magnolia" and "Boogie Nights". He's actually a jokester that took the critics for a joyride. He pulled a prank, an April Fool's Joke on the world, and the world fell for it. Well, some of the world did, anyway.

But this guy, this director, this writer, this whole damned cast of characters who thought the finished product was a good idea to spring onto people's party list, these morons were mistaken. I don't buy it, and I highly doubt anyone else will, either.

This NetFLICK is a huge waste of time, and is so easy to spot, and such a flaming mess of a movie. It is essentially a handbook on how to royally screw up a film.
Hire the wrong cast. Write a story that no one cares about once it's established that there aren't many options for it to be thought provoking. Also, make sure to have your editor go crazy trying to fix the mess. No wait, scratch that, have the editor think he's doing God's work. Yeah. Yeah, that's it. Don't forget to hire the music guy who mixes typical ambient soundscapes with synth flutes. That's important. Synth flutes and cheesy arpeggiators. That should help the dramatic pacing and performances.

Seriously, there were actual scenes in this film that were no different than a sitcom. So, we literally have an attempted suicide chased by a sitcom moment in the style of line delivery and blocking. Atrocious film. Just the worst. And I stuck this out for so long, and waited for it to surprise me, twist into a revelation, and then...and then....ahhhh!!

So it's a mishmash of Eternal Sunshine of the Spotless Mind, Brainstorm and Flatliners wrapped around a mystery no one wants to see solved.

This movie should have been called "WHO CARES?!"

At least then they would have targeted the correct audience.



Dreadful.



Wow. Brutal.

I'm a sucker for high concept films, so I was pretty intrigued by this. I'll probably still watch it, but yeow, if that didn't dampen my enthusiasm! Good review, though.



You mean me? Kei's cousin?


BLUE THUNDER (1983)
Director: John Badham




Well...it's about a helicopter. A souped up military experiment chopper that can hear through walls with a telescopic microphone, a camera zoom range of thousands of feet, a thermograph that can see through walls, a database that acts as a personnel internet, and machine guns that can unload a thousand rounds per minute, not to mention back up 3/4" video capabilities tucked into the rear cab.

So, a salty cop with a track record for losing his ***** gets the job of taking her for a spin, this Blue Thunder, and along the way finds out his old war nemesis from Vietnam is helping spearhead the government operation that is still debugging the chopper. More intrigue and espionage (to use bigger words that reflect something much smaller scale) ensue and soon or a later, it's a showdown between one rogue cop and the city of Los Angeles police force.



I liked the writing for this film. It has little things thrown in to keep you interested in the characters. Daniel Stern is a rookie and often the butt of department jokes, but he eventually is allowed to stretch out a bit and show some personality, which makes us kind of care for his character. He's funny and sharp, but still kind of a dope, too.


Scheider rarely does bad work, and this is no exception. He carries the movie without a doubt. He has a very natural way of carrying on that is understated yet still manages to hit those power chords of macho riffing needed to keep a movie like this large and in charge.

Surprisingly, it's Malcolm McDowell who is the weakest link in Blue Thunder. He's not bad or anything. He plays his part as a snakey and annoying villian well enough, it's just that he feels cartoonish next to the rest of the cast, who all seem to have more invested in the picture, especially Candy Clark as Scheider's on-off again girlfriend and Warren Oates as the Lieutenant who keeps up Scheider's ass just enough to protect him because they have a history together.





The helicopter sequences are still exciting to this day, and even moreso because it's all REAL. There are no CGI backgrounds or maneuvers. If something needs an explosion, it gets one. There are some skyscraper city action shots that are some of the best I've seen, and the miniature work is phenomenal. Also a virtuoso display is the tight editing that keeps things moving and engaging. This film was shot with a great deal of care and it really shows, even to an untrained eye, you will pick up on the subtle yet effective aesthetic of Blue Thunder. It wants to be the color blue, and it picks its moments to be such. You'll see.






It's just a cool little movie with some expert care put into it.




Credit should also go to Don Jacoby writing most of the material and everyone's favorite nut job Dan O' Bannon who really is more an inspired character behind the pen than I have seen documented before. His sense of humor is ace. He knows his way around a script, as does Jacoby with his large contribution to the film as a whole. I believe O'Bannon's name was first but he contributed only outlines with Don Jacoby fleshing out many of the details and dialog.

John Badham used to make some damn fine movies back in the day, he really did.
Blue Thunder is among his best work.


This pleases me.



Wow. Brutal.

I'm a sucker for high concept films, so I was pretty intrigued by this. I'll probably still watch it, but yeow, if that didn't dampen my enthusiasm! Good review, though.
@Yoda. I always feel a little bad when I trash a movie that someone else likes. In this case I trashed two films for the price of one. Thanks!



Wow. Brutal.

I'm a sucker for high concept films, so I was pretty intrigued by this. I'll probably still watch it, but yeow, if that didn't dampen my enthusiasm! Good review, though.
Well, my review of that film was a bit different...



REMOTE CONTROL (1988)
Director: Jeff Lieberman
Watched this recently. Pretty awesome. The type of thing I'll be sure to watch with friends next time. Love the costumes and music too. I'll probably post a bit in the movie tab eventually.



Watched this recently. Pretty awesome. The type of thing I'll be sure to watch with friends next time. Love the costumes and music too. I'll probably post a bit in the movie tab eventually.
That's great that you dug it! I used to consider unwatched video movies with good cover art a cigarette or BJ equivalent before I got BJ's or started smoking. Got the butterflies on the way down to the rental shop, the whole 9. This movie sticks out as one of the best feelings finally seeing it after reading a page ad in Video Maker talking about its IVE VHS release.



HOUSE IV: HOME DEADLY HOME (1991)
Director: Lewis Abernathy

The fourth installment of the dramatically inconsistent House franchise is not nearly as bad as one might think it is. Yes, it uses cliche horror conventions and has cheesy dialog and is tonally all over the map, swinging from daytime soap melodrama to early Peter Jackson lunacy, but that's not a bad thing last time I checked.

This final chapter of the haunted house saga finds Roger Cobb (in newly penned life circumstances) a victim of imprisonment by the forces of a sacred spring buried underneath a family heirloom mansion that is supposed to protect and heal its worthy inhabitants. Things quickly escalate into strangeness when a no good brother in law wants to demolish the property to take a kickback for using the land to dump toxic waste.




That's really all you need to know, plot wise, since not much else makes a whole lot of sense. As the movie goes on, scenes get more weird and inspired until finally we are treated to one of the grossest gags ever put to film that will leave the viewer sick for years remembering it.

I will say that aside from the obvious shortcomings of a low budget project, this film does have some things going for it. The editing is top shelf. It's almost as if the editor knew the film was shoddy and made sure every scene was tight, efficient and had an acceptable rhythm. He left just enough room for the scene to resolve before making a cut. There is an energetic pace here that surprised me. The effects aren't half bad and can actually show some creativity once in a while, like a pizza. Just like a pizza. The humor is there, it knows it's a bad movie and once again in the tradition of camp, House IV goes for it.

The music score by Harry Manfredini, who has scored all of the House films, is back and this time a bit more adventurous with over the top synth drums and themes, while still maintaining his signature meanderings with cello and metal scrape sounds. The acting is pretty OK, too. Dialog seems forced at times and the director didn't seem to be able to decide whether to go for reality or fun but the undecided mix further cements this picture into cult territory. We love to see mistakes and failure in horror. It's part of the charm.

If you like weird movies that are entertaining then you could do so much worse than House IV. Worth a look if B-Movies are your bag.