• Housebound



    My ★★★★½ review of Housebound on Letterboxd boxd.it/1t1FDJ

    Been there, done that, but happy the Joe Bob audience gets to check it out.

    Cant agree with that ⭐⭐1/2 there, though, JB.

  • The Little Girl Who Lives Down the Lane

    The Little Girl Who Lives Down the Lane


    Kinda fucked up: but it's true...

    This is a childhood favorite where I come from
    (consult tags below).

  • The Aristocats

    The Aristocats


    NEW IN '22: #56:

    Die hard mouse-heads dog on this one for not being classic-standard Disney...

    But I think they're wrong.

    I like the jankey animation: especially with the human characters: it has that Ralph Bashki/Heavy Metal-vibe that I really dig...

    -The story alone is uber-charming: the best fairy tale I've never heard...

    -The music and songs are top-notch... shoutout to Maurice Chevalier (of all people!) for singing that impeccible theme song.

    🎶"Everybody wants to be a cat!...
    Because bein'…

  • Funny Farm

    Funny Farm


    The name of the fictional perfect country town in this film is Redbud, VT.

    I grew up in an actual not-so-perfect country town called Red Bud, IL.

    That tidbit alone; along with the the entire third act predicated on a town-wide scam that costs Chevy $50 for each man, woman and child living there; pretty much makes it a perfect comedy.

    Bonus points for Brad Sullivan; Dakin Matthews; Mike Starr; William Newman and Alice "Alice from Ghostbusters" Drummond.

    No one has a taste for testicles, anymore... sheep balls...

  • Black Sunday

    Black Sunday


    All aesthetics, and it's a gorgeous film:

    Lackadaisical in the pacing and storytelling departments, though.

    Dream logic or no dream logic...

  • The Night House

    The Night House


    NEW IN '22: #55:

    Big time kudos to Bruckner and his crew for not going full-tilt into the current dead horse of horror tropes: grief/loss = spooky shit.

    Instead, Night House straddles the line, delicately but perfectly between psychological and supernatural horror, combined with an inventive mystery element at its core that never takes the intelligence of the audience for granted. Supplanted with genuine thrills, shocks and scares to go with the clever twists.

    And, obviously: 👏Rebecca👏 godamned 👏 Hall.

    That's gonna be a performance for the books, ya'll. Truss'.

  • Anthropophagous



    NEW IN '22: #54:

    Almost gets a bonus 1/2 star for that wine barrel jump scare...

    But soooooooo slow, flat, long, drone-y and just dull...

    I actually dozed off. ... Twice.

    Eastman looks like he's having fun in all of his 7 minutes of screen time as the scabby cannibal maniac though.

    And all I could think of for the last 10 minutes was Mike Myer's "Fat Bastard" screaming how he ate a baby and singing the Chili's baby back ribs jingle.

    So yeah, thanks a fuckin' bunch for that, Joe D'Amato....

    Ehh.... crap.

  • Sliver



    NEW IN '22: #53:

    Sharon Stone (Cold Fox) returns to the pen of Eszterhas, adapting an Ira Levin novel with mixed results.

    A 90s erotic thriller that misses the mark on both: losing its potential as a trash classic in a sea of:

    -douche-chilling Enigma songs;

    -a perfectly good waste of Colleen Camp;

    -unflattering William Baldwin ass shots in mid-simulated cock thrusts;

    -Tom Berenger not fucking Sharon Stone;

    -Martin Landau not being revealed as the creepy voyeur;

    -and Phillip Noyce not being Paul Verhoven.

    At least the dumb-as-shit dialouge is hilarious, though...

  • Waking Sleeping Beauty

    Waking Sleeping Beauty


    NEW IN '22: #52:

    The fall-and-rise story of Disney's Animation Studio from their hard-luck days of The Fox and The Hound to the mega-behemoth days of The Lion King; told with first-person reminisce by all parties involved; primarily focusing on all the backstage venom of Eisner, Katzenberg and Roy Jr.'s trifecta of love-hate-"it's only business" relationships.

    Pretty fascinating stuff.

  • Teeth



    NEW IN '22: #52:

    Gnarly little indie horror-com that gets a little heavy handed with the sequel repression arc and the visual metaphors:

    ("Ohh, that tree looks like a labia... Ohhh, that cave opening has stalagtites that look like fangs... Ohhh, I get it...)

    However, Jess Weixler's facial expressions absolutely killed me.

  • Ben



    NEW IN '22: #51:

    Double feature watched the preceeding Willard, picking up exactly where we last left Ben, the black rat in charge of a horde of killer rats communicating through various attack-code squeaks. (Also, first instance of a direct sequel?... research pending.)

    Second time around our boy Ben befriends Danny, the neighbor kid down the street (played with precocious perfection by Burnt Offering's Lee Montgomery!) with a heart condition that keeps him out of school and spending more time…

  • Willard



    NEW IN '22: #50:

    Early 70s slow burn-killer rat jam with babyfaced-young Bruce Davison as the socially malajusted, dicked-out-of-his-inherited-father's business and perpetually crosshair-ed by a delightfully piggish and villanous Ernest Borgnine.

    Bonus points for Elsa Lanchester as Willard overbearing bed-ridden mother; and stone cold fox Sondra Locke as the cute new temp trying to break Willard out of his rat keepin' shell.

    Hilariously scored with an incongruent soundtrack from Alex North, completely misunderstanding the assignment: only adding to the weirdo…