“There is no monster in the world so treacherous as man.” So we are reminded at the beginning of Larry Buchanan’s Creature of Destruction and, just in case we forgot, at the end of the film as well. I like … Continue reading Creature of Destruction
My introduction to New York’s underground film scene came in the form of the “cinema of transgression,” as movement figurehead (eh, more or less) Nick Zedd dubbed it. Specifically, it came in the form of Richard Kern, whose crude, short … Continue reading Deadly Art of Survival
Genghis Khan is certainly one of the great figures in the history of the world. When you say “Mongolia,” he’s the first person of whom you’re likely to think. He conquered China, swept westward, and eventually had a chain of … Continue reading The Conqueror
Green Snake is set in a world between myth and reality. Zhao Wen-zhou stars as a young monk who spends his days hunting down demons and spirits who have crossed over from their own realm into the realm of mortals. … Continue reading Green Snake
There was a period, brief but never the less real, when we paid to see television shows in the theater instead of watching them for free on, you know, television. This started back when some crafty producer would take a … Continue reading Buck Rogers in the 25th Century
It’s difficult to freshen up a hoary old concept without losing the essence of what made that concept eventually become hoary. Reinterpretations of classical monsters often go so far afield from the original idea that they might as well be called something else — the werewolves in the Underworld series for example, or the vampires in the Twilight series. Every now and then, however, someone hits on just the right combination of innovative twist and respect for tradition that can liven up a well-worn genre without turning it into something unrecognizable. Screenwriter Karen Walton’s Ginger Snaps accomplished just that. It took the werewolf movie and turned it upside down without ever disrespecting it or feeling like it needed to distance itself from being a werewolf movie. It was a fantastic surprise of a film that pleased a lot of people. Equating lycanthropy to the struggles of pubescent high school girls also gave film critics a lot to write about. It’s always fun to stumble across a movie that is interesting to discuss.
This is another one of those fragmented movie memories for me, where the only thing I could remember about it was “Amanda Pays turns into a fish” — and even that I eventually convinced myself happened in Leviathan. But when I rewatched Leviathan and discovered that Amanda Pays does not turn into a fish at any point, protected as she was by the power of Peter Weller’s rolled bandana headband, I knew I had to figure out which film it was where she did turn into a fish. Luckily, you type “Amanda Pays turns” into Google, and the first auto-complete that comes up is “Amanda Pays turns into a fish.” Internet, you are truly a good friend. So anyway, it turns out it was The Kindred, and since I was on a fishy underwater monster movie kick and couldn’t remember anything about this one, I decided to track it down (surprisingly difficult) and see what else happens besides the woman who dated both The Flash and Max Headroom turning into a fish. Turns out not much.