THE TERMINATOR (1984) 40TH ANNIVERSARY BLOW-OUT!!!

THE TERMINATOR (1984) d. James Cameron (USA)
TERMINATOR 2: JUDGMENT DAY (1991) d. James Cameron (USA)
TERMINATOR 3: RISE OF THE MACHINES (2003) d. Jonathan Mostow (USA)
TERMINATOR: SALVATION (2009) d. McG (USA)
TERMINATOR: GENISYS (2015) d. Alan Taylor (USA)
TERMINATOR: DARK FATE (2018) d. Tim Miller (USA)

**CLICK HERE TO WATCH FULL YOUTUBE EPISODE**  

Released in 1984, The Terminator captivated critics and audiences alike with its mind-blowing special effects, intriguing characters, and well-written time-travel storyline. Pitting a relentless killer android from the future against two ordinary humans with the fate of mankind lying in the balance, this whirlwind tour-de-force combined horror and sci-fi elements with breathtaking action sequences. Not bad for a film with an unproven director and an actor known more for his bulging biceps than his acting chops.

THE FAN (1981) Blu-ray Review

The Fan (1981) d. Edward Bianchi (USA)

Douglas Breen (Michael Biehn) adores classic Hollywood and Broadway star Sally Ross (Lauren Bacall). He writes her personal letters, sends tokens of affection, and prides himself on being above all the shallow “fan club” adulation. Douglas has a deep, abiding connection to Sally and is comfortable in the knowledge that one day she will share his life, loving him with the same fervent ardor that he feels for her. The problem is… Sally doesn’t even know he exists, since his increasingly impassioned letters are received and responded to by her loyal assistant Belle (Maureen Stapleton), who tries to deter the misguided suitor’s attempts, only to find herself drawn into his web of madness.

THE DIVIDE (2011) review

Divide, The (2011) (1st viewing) d. Gens, Xavier (USA)

In the wake of a nuclear attack on the U.S., a disparate group of apartment dwellers take refuge in Michael Biehn’s basement shelter, creating a petri dish of human interaction. As one might imagine, things do not go smoothly: tempers flare, might makes right, and the thin veneer of social cordiality slips away as food and water rations dwindle.

The performances are strong across the board in an ensemble that also includes Courtney B. Vance, Lauren German, A History of Violence’s Ashton Holmes, Rosanna Arquette (in probably the most demanding, least glamorous role of her career) and breakout star Michael Eklund who should enjoy a bump in visibility following his charismatic villainous turn here. Unfortunately, there are gaping logistical holes in Karl Mueller and Eron Sheean’s script, and much of the characters’ behavior does not ring true considering the circumstances – one of those many occurences where people only act the way they would if they were in a movie. Not to say that humanity’s ugly side wouldn’t show its face; if anything, it seems to take far too long for things to head south with this particular grouping of individuals.

If you’re able to switch off your brain and simply revel in the theatre of human cruelty and degradation, there are rewards to be had, but only if.

HIDDEN IN THE WOODS (2012) review

Hidden in the Woods (2012) d. Valladares, Patricio (Chile)

An assault on the senses and the soul, one whose curtain-raiser features a father raping his daughter, then dropping the ensuing infant into a bucket nine months later and feeding it raw meat.

Exploitation nightmare logic holds sway over cohesive storytelling, presenting a dark fable where destitute chainsaw-wielding psychopaths outrun and outgun gun-toting police officers, where runaway waifs turn cannibal, where one’s own shattered brachioradialis (aka the forearm bone) becomes a lethal weapon, where everyone’s dark side is their only side.

Director Valladares co-wrote the “based on true events” script with Andrea Cavaletto and while there’s little denying his power of savage visual imagery and social commentary, he constantly sabotages himself, breaking his own brutal spell every time our synapses choke on the narrative action’s implausibility. The results are raw, rough, rude…and ultimately ridiculous; a batshit crazy flick too dark to be considered "fun," too outrageous to be taken seriously.

Note: Apparently, Michael Biehn’s production company has purchased the rights to Woods, planning to produce an English-language remake with Biehn in the lead role of the despicable father with Valladares reprising his director duties. Strange world we’re living in, folks.

SUSHI GIRL (2012) review

Sushi Girl (2012) (1st viewing) d. Saxton, Kern (USA)

Six years after a diamond heist goes sour, crime boss Tony Todd marks the prison release of Noah Hathaway (the lone arrest made) with a special old team reunion to answer a few questions about what went wrong, a gathering whose centerpiece involves seafood delicacies served off lovely Cortney Palm’s prone naked body. Director Saxton has assembled a notably unconventional and skilled cast that includes not only Todd (who exec-produced) and Neverending Story alumnus Hathaway, but James Duval, Andy Mackenzie, Michael Biehn, Jeff Fahey, Danny Trejo, Sonny Chiba, and casting coup non pareil, Mark Hamill as a fey psycho whose stringy locks bring to mind ’70s era Paul Williams on a really bad day. Watching this venerable team of underrated talents square off should be entertainment enough for most, but the ultimate equation is less than the sum of its parts. Clearly Saxton and co-writer Destin Pfaff have a deep love for Reservoir Dogs, but stunt casting + ornate production design + nasty torture sequences does not a Tarantino breakout make…especially if the memorably chewy Tarantino dialogue fails to show up (Todd’s ominous “oven timer” monologue notwithstanding). The result is a well-produced film with lofty ambitions, full of sound and fury...that ultimately feels like much ado about nothing.

Fantasia Day 5 (Monday, July 23)

Day started off a little wonky – got behind schedule as I was racing to prepare lunch/dinner offerings for the week, and so ended up being about 15 minutes late for the first feature, the charming Japanese comedy, Mitsuko Delivers. That said, I’m glad to have the food element under control for the next few days – it’s not easy to do the festival thing on the cheap, and eats are a big expense if you’re not planning ahead. Maybe after I’ve done a few more of these, I can write a film festival survival guide or something. We shall see.

Another element that is rough to navigate is how early one needs to arrive at the next screening in order to gain admittance. Due to the sometimes limited seating, the powers that be have decided that a select number of VIP (industry/press/etc.) pass holders will be admitted prior to the G.P. (general public, i.e. the people who actually bought tickets), then those who exceed the cutoff limit (75 for Concordia Hall, 25 for the Seve) must wait until the G.P. have secured their seats. So, it’s important to be toward the front of the pass holders line, especially if it’s a film you want/need to see. I’ve yet to be shut out, but it’s been close a couple times. Fingers crossed.