Invasion of the Body Snatchers (1978)

Invasion of the Body SnatchersA parasitic alien race is abandoning their dying planet, in search of a new place. They travel to Earth, and take form as small pink flowers which look innocent enough and won’t cause any suspicion. The laboratory scientist Elizabeth Driscoll brings one of these flowers home, unaware of their origins, and the next day she wakes up finding her boyfriend Geoffrey behaving like a totally different person. He is cold and distant towards her, and she gets the paranoid feeling that her own boyfriend might actually be an impostor. She confides in her colleague and friend, Matthew Bennell, who advises her to talk to a psychiatrist. Soon, they start encountering other people who believes their loved ones have been replaced by impostors, and everything escalates from there as the alien duplicates seem to be taking over the entire world.

 

Invasion of the Body Snatchers is a 1978 science fiction horror film, directed by Philip Kaufman. It is based in the 1955 novel The Body Snatchers which was written by Jack Finney, and which was previously adapted into a 1956 film by the same name as this film. Upon its release it received varied reviews from the critics, which has gotten more favorable over the tears. It grossed nearly $25 million. The director had been a fan of the 1956 film, and had the cinematographer Michael Chapman try and capture the film noir feel of the original, just in color. The sound editor, Ben Burtt, who had earlier worked on some of the sound effects on Star Wars the year before, added to the film’s ambience where natural sounds mixes with the city’s industrial noises. And of course the famous “shriek” the aliens give off then spotting a real human, which was composed of many elements, including a pig squeal. The film also has a number of cameo appearances, including Kevin McCarthy who played Dr. Bennell in the 1956 movie, and that film’s director, Don Siegel, who appears as a taxi driver.

 

The film holds nothing back when it comes to any mystery, as we know already from the first scene that there are aliens coming to Earth to take over the place. Exactly how this is done is probably the only kind of mystery, and we do indeed get some gorgeously nasty scenes involving this process. It’s a bit of a slow burner at times, focusing on setting an atmosphere of paranoia and underlying terror, but overall it’s a fun popcorn-flick. The horror and science fiction elements work in a perfect combination, and while there never is any mystery as to what is happening, we still feel a certain tension when wondering how the characters will fare when meeting a world soon to be completely overruled by something that isn’t human. Everyone is going through feelings of distrust, panic and anxiety as they no longer know who to trust, and the duplicates are turning into beings devoid of any feelings and completely emotionally blunted, like a bunch of Zoloft-zombies. The cast is also pretty decent, with Donald Sutherland playing the role as Dr. Benell being the most recognizable here, as many of you have probably already seen a certain iconic scene or image from the movie starring him…

 

Overall, Invasion of the Body Snatchers is a good sci-fi horror movie, telling the story of an unlikely yet still chilling alien invasion which goes unnoticed until it’s too late. Like in many other alien invasion movies where they come in giant motherships causing total mayhem, this one on the other hand is using a subtle kind of attack. It’s an invasion that could happen right under our noses, without any sign of what is going on until the damage is done and there’s no way back. I honestly find that concept more disturbing than a bunch of greys coming to wreak havoc…

 

Invasion of the Body Snatchers Invasion of the Body Snatchers

 

Director: Philip Kaufman
Writer: W.D. Richter
Country & year: US, 1974
Actors: Donald Sutherland, Brooke Adams, Jeff Goldblum, Veronica Cartwright, Leonard Nimoy, Art Hindle, Lelia Goldoni, Kevin McCarthy, Don Siegel, Tom Luddy, Stan Ritchie, David Fisher, Tom Dahlgren
IMDb: www.imdb.com/title/tt0077745/

 

 

Vanja Ghoul

 

 

 

Guinea Pig 5: Mermaid in a Manhole (1988)

Guinea pig: Devil's experimentI smell rotten fish.

 

A man credited as The Artist has recently lost his pregnant wife to cancer and lives alone in his crampy, depressing crib somewhere in the urban jungle of Tokyo. The only thing left in his vacant life is his art painting and two gossiping neighbours living in the apartment under him. To keep his sanity and inspiration going he often visits the nearest sewer system, something which we artists all do. One day while visiting the sewer, he stumbles upon a young mermaid, whom he instantly gets attracted to. Who wouldn’t. He immediately starts to draw her before he takes her with him to his apartment where he puts her in the bathtub. And it’s all kawaii from here on with a cute love story which’ll make everyone’s heart melt. Uhm, well, not exactly.

 

Because there’s something really wrong and messed up with this mermaid, you see. The Artist tells us that there once was a river where the sewer system was built on, which the mermaid seems to have been stranded on. And it appears she’s been stranded too long in the sewer which has infected her, and her body starts to fall apart in very grotesque ways because of that. The Artist is anxiously optimistic though, and does whatever he can to nurture and save her.

 

And there’s only that much I can say without spoiling the whole thing given its one-hour runtime with an actual story to tell. This is also the second last film in the Guinea Pig series which steered completely away from the snuff/found footage-style of filmmaking to the traditional approach. We have the other films in the series which focused more on splatstick comedies filled with cringe kindergarten-level humor aimed for six-year olds, and no one seemed to take this seriously other than Hideshi Hino. In other words; Flower of Flesh and Blood and Mermaid in a Manhole are those two in the series that’s worth watching.

 

Like Flower of Flesh and Blood, it’s based on Hino’s manga with the same title, and open for any interpretation as it’s sprinkled with metaphors all over the place which will leave you down in the deepest mental rabbit hole, and lost far under any icebergs. On the surface level, the film works as a tragic and morbid body-horror love story with its plenty of gore, bodily fluids and lots of worms, projected from a deep psychotic feverdream by David Cronenberg – and is a perfect watch while enjoying sushi. Yum!

 

A box-set of the Guinea Pig series was released first time on DVD outside of Japan twenty plus years ago by Unearthed Films. It’s of course out-of-print and only available if you’re willing to pay an insane ridiculous fuck off-price. As much as I’m a supporter of physical media I can’t say with a good conscience that it’s worth it. Nope, sorry. They’re not on any streaming services, but all of the films are on YouTube and a playlist can be found on archive.org.

 

Guinea pig: Mermaid in a Manhole

 

Writer and director: Hideshi Hino
Original title: Ginî piggu: Manhôru no naka no ningyo
Country & year: Japan, 1988
Actors: Shigeru Saiki, Mari Somei, Masami Hisamoto, Gô Rijû
IMDb: www.imdb.com/title/tt0161638/

 

Prequels:
– Guinea Pig 2: Flower of Flesh and Blood (1985)
– Guinea Pig: Devil’s Experiment (1985)

 

Tom Ghoul

 

 

 

Virus (1999)

VirusA Russian research vessel, Volkov, is out in the South Pacific and communicates with the orbiting space station Mir. Suddenly, some kind of energy source from space hits the space station, kills the cosmonauts and sends beams down to Volkov, causing an electrical surge that invades the ship’s computer and causes chaos and destruction. A week later, the alcoholic captain Robert Everton (Donald Sutherland) is out with his crew on the tugboat Sea Star in terrible weather, and ends up losing the cargo. Which is uninsured, of course. Matters go from bad to worse when they discover that the engine room is taking in water, and they try to take refuge in the eye of the storm to make repairs. Then, Volkov appears on their radar, like an ominous ghost ship out of nowhere. Of course, the captain knows the ship and its possible worth, and he orders the crew aboard as the tempting thought of millions in salvage could turn this horrible day into a splendid one.

 

When they get on board they notice that most of the electronics have been destroyed, and the crew appears to be missing. There’s something else lurking onboard, however…a robotic, spider-like creature appear and kills one of them, and they meet a terrified woman who later proves to be Nadia Vinogravoda, the Chief Science Officer on the ship, and she desperately tries to prevent them from turning on the ship’s power. At first they refuse to listen to any of the gibberish nonsense she is telling them, but when a gun-wielding cyborg appears that is supposedly one of the missing crew members on Volkov, they realize that what Nadia tells them is true, and something out of this world has taken over the ship with the intention of killing what it thinks is a “virus” in this world. In other words: kill mankind.

 

Virus is a science fiction horror movie from 1999, directed by John Bruno and starring a fair share of well-known faces. Despite high competence in visual effects and some famous actors, the movie turned out to be a flop and failed to appease both critics and moviegoers, and with a budget of 75 million dollars the box office ended up with a measly 30.7 million dollars. Ouch. A bunch of merchandise was also created, including action figures, comics, and a survival horror video game called Virus: It is Aware by Cryo Interactive made for the Sony Playstation. Just like the movie, however, the reception was rather poor and caused the game to fall into obscurity. Flop after flop, in other words. Over time, however, the movie has gained a bit of a cult following. Despite the rough reception, it is in hindsight a decent enough sci-fi horror. Not a masterpiece by any means, and yeah, somewhat derivative and unoriginal, but there is a fair amount of action and old-school gore effects. Sometimes that’s all you need for a fun time.

 

The movie was mostly filmed in Newport News, Virginia, on a ship anchored in the James River. The ship used as the Volkov was actually a retired Missile Range Instrumentation Ship (USNS General Hoyt S. Vandenberg, T-AGM-10), and one of the satellite dish antennas was intentionally damaged for the film’s final scene. John Bruno, the director, is a visual effects artist and has worked on numerous animated movies and TV series, including Heavy Metal (1981), The Nine Lives of Fritz the Cat (1974) and the rather obscure Raggedy Ann & Andy: A Musical Adventure (1977). He’s also done visual effects for movies like Poltergeist (1982), Ghostbusters (1984), and the NOS4A2 TV series, just to mention some. So yeah, the old school effects in Virus are solid as hell and even gorier than I remembered. Also, Donald Sutherland works well as a greedy, sadistic and slightly cheesy villain.

 

There’s been a fair amount of older horror movies that were downright crapped on back when they were released, and are later getting a cult following and some delayed praise for being what they are (Deep Rising, for example, one of my favorite sea-monster movies, fits well into this category). As a techno-bodyhorror B-movie, despite not being great by any means, Virus still holds up well as a gory B-grade popcorn-flick.

 

Virus Virus Virus

 

Director: John Bruno
Writers:
Chuck Pfarrer, Dennis Feldman
Country & year: USA, 1999
Actors: Jamie Lee Curtis, William Baldwin, Donald Sutherland, Joanna Pacula, Marshall Bell, Sherman Augustus, Cliff Curtis, Julio Oscar Mechoso, Yuri Chervotkin, Keith Flippen, Olga Rzhepetskaya-Retchin
IMDb: www.imdb.com/title/tt0120458/

 

 

Vanja Ghoul

 

 

 

964 Pinocchio (1991)

964 Pinocchio

Ready for some fucked up Japanese cyberpunk acid-trip that will blow your mind to smithereens and probably put your endurance test to a whole new level? Then let me introduce 964 Pinocchio which starts off like every normal Disney film.

 

964 Pinocchio, or simply called 964, is on the outside a young boy with a cute little unicorn haircut, but on the inside he is a broken, demented, helpless cyborg, manufactured in some clinic to be used as a sex slave. Unfortunately 964 can’t get an erection, so some doctors brutally drills through his skull to wipe out his memory and turn him into a lobotomized vegetable before he gets thrown out of the clinic like a dog – and gets a rough welcome to the bleak and depressing society of urban Japan. At least he’s able to walk, and soon finds himself in the isolated environment of Tokyo where he meets the homeless girl Himiko. And the most normal thing in this movie is that he actually meets a girl that’s a fully functioning human being, even with some level of empathy. She invites him to come and live with her in some abandoned industrial shithole, where she does her best to learn him to speak, and cruises along shopping malls to snap food straight from the counter. All filmed in guerilla style, by the way, where all the civilians are unaware extras, and done in a hurry before someone finds out and calls the police.

 

Where we thought the film was seemingly normal, they fall in love, and the moment they exchange their tongues to each other, the image freezes before fading to black, and the the shit is about the get serious. Our unicorn-haired fuckdroid infects Himiko with something that makes her go noodle-shit crazy of some epic proportions, starts to abuse him, and … holy fuck almighty, how am I even going to describe what happens for the next hour and so. Get ready for a lot of close-ups of insane facial expressions, puking, frantic running, some brief low budget body-horror and just overall a relentless odyssey with screaming, shouting and moaning like

OOOOOUUUAAAAAAAAAAAAHH,HHNNGHHHUUAAAAAA, HUUNNDGGHOOOUOAAAAAAAAA, EEEEEEEEEEEH, EEEHHHHH, OOOOOOH, AAAAAAAAAHHUGHH, AAAUUUOOOAHHHHHHOOAAAA, GGHHHHHIIIIIIIIIAAAAAAAAAAGHH, GGGGHHHHHHHHHIIIIII, AAAAAAAAAAAAGGHHHFFHHH

 

… and here you basically have most of the script in a nutshell. And it’s of course natural to compare 964 Pinocchio to its big brother Tetsuo, where also director Shozin Fukui was one of the crew members on that film. Shozin Fukui probably thought to himself that “hah, I can make something more insane that this, even with a much longer runtime. Shiyou! ” When Tetsuo had its perfect runtime of 65 minutes and was able to hold on a certain narrative, flow, and knew where to stop, this mofo on the other hand, goes on for one hour and 37 minutes with scenes that drags on forever with little to no direction. There’s a scene lasting for ten minutes during the last thirty minutes, where 964 runs frantically through the streets of Tokyo while looking like a demented cyberpunk version of the Joker, and of course screaming his lungs off. And that scene feels more like three hours. Pure deranged misery. I will at least give the film credits for its energetic, handheld camerawork which gives off some early Peter Jackson vibes, and the intimate illusion of being present with 964 through his endless, tortuous, kinetic nightmare. The actors give it all with full dedication and Haji Suzuki as 964 is a diabolical force of nature. Others will also pick up a laundry list of metaphors, cryptic symbolism and social commentary between all the monotonous screaming, running and whatnot that only the inhabitants of planet Japan are able to perceive with a straight face. I can recommend 964 Pinocchio mostly as an endurance challenge and just congratulate in advance to those who manage to sit through it in one single setting without any pause. Good luck.

 

The one and only 2004-DVD release from Unearthed Films went out of print ages ago, but is to be found on eBay, very pricey, though.

 

964 Pinocchio 964 Pinocchio 964 Pinocchio

 

 

Director: Shozin Fukui
Writers: Shozin Fukui, Makoto Hamaguchi, Naoshi Gôda
Also known as: Screams of Blasphemy (UK)
Country & year: Japan, 1991
Actors:Haji Suzuki, Onn-chan, Kôji Ôtsubo, Kyoko Hara, Rakumaro San’yûtei, Kôta Mori, Tomio Watanabe, Anri Hayashi, Kyôko Irohani, Michiko Harada, Yûko Fujiwara, Yoshimitsu Takada, Naoshi Gôda
IMDb: www.imdb.com/title/tt0225009/

 

Tom Ghoul

 

 

 

Color Out of Space (2019)

Color Out of SpaceNathan Gardener and his family moves to his late father’s farm somewhere in rural New England, in the hopes of living a quiet life and escape the hustle and bustle of the city. Just when they start to settle in, a meteorite crashes into their yard which emits an otherworldly color (a color out of space). One of the children (Jack) is traumatized by the event, and seems to be affected in strange ways. He becomes obsessed with the well in the garden and claims he’s got a “friend” there. Strange flowers and plants starts growing, animals suffer grotesque mutations, and the Gardener family’s life transforms into a colorful nightmare.

 

Color Out of Space is based on a short story by H.P. Lovecraft. The director, Richard Stanley, last directed a film way back in 1992 (Dust Devil), so there was a 27 year pause until his comeback. Things didn’t start out all that trouble-free, however, as the movie lacked funding when Stanley revealed the project in 2013. In 2015 it was announced that the production company SpectreVision would produce the film…but it was still delayed until 2018, around the time when Nicholas Cage was confirmed to play the leading role, and then the filming started in Portugal in 2019. Sometimes, things simply just take time. Stanley first stated that this is the first movie in a planned trilogy of Lovecraft adaptions (the next one supposed to be based on The Dunwich Horror). However, in March 2021 the trilogy was canceled after Stanley was accused of domestic abuse by his former partner Scarlett Amaris, and SpectreVision cut all relation with him.

 

Many of Lovecraft’s stories have been made into film adaptions, some more successfully than others. And most of them have a varied love/hate reception…and this movie is no exception to that rule. And it isn’t even the first time Color Out Of Space was adapted to the screen…there are actually as much as four earlier adaptions, including a 2010 German black & white adaption that’s called Die Farbe aka Color Out of Space.

 

As this story was originally published in September 1927, and Stanley’s movie adaption goes for a more modern take on things, there are some changes here and there. For those that have read the original Lovecraft story, you’ll know that the color is described as one that humanity has never actually seen…but that is, of course, not really possible to portray in a movie unless it was made in black and white (like the German 2010 adaption). However, the purple-pink-ish color used here actually looks pretty good and makes for a highly visual and mesmerizing treat. It’s a Lovecraftian snack-bag filled with goodies that can be enjoyed by many: visually wonderful, a dosage of some pretty good body horror moments, all mixed in with the classic cosmic terror and the fear of the unknown. That being said, I can understand why it’s not tickling everyone’s pickle as some people might be put off due to the changes, and others might find the humor in it a bit weird. Like with nearly every Lovecraft story that’s been adapted to the screen, there’s both love and hate for it.

 

Overall, I think Color out of Space is an entrancing surreal cosmic horror movie. Stanley is also a Lovecraft fan, so the film is filled with a nice handful of easter eggs that people who have read Lovecraft’s other stories will recognize (like the daughter, whose name is Lavinia). And of course, it’s always a pleasure to watch Nicholas Cage go bonkers in a horror movie.

 

Color Out of Space

 

Director: Richard Stanley
Country & year: USA, Malaysia, Portugal, 2019
Actors: Nicolas Cage, Joely Richardson, Madeleine Arthur, Elliot Knight, Tommy Chong, Brendan Meyer, Julian Hilliard, Josh C. Waller, Q’orianka Kilcher, Melissa Nearman, Amanda Booth, Keith Harle
IMDb: www.imdb.com/title/tt5073642/

 

 

Vanja Ghoul

 

 

 

 

Tetsuo (1989)

TetsuoHow to even start with this movie…Uhm, well…

 

It starts with a random, disturbed guy called “The Metal Fetishist” (played by the director himself) who’s wandering in some decayed urban area, barefoot. He enters a shack hoarded full of metal junk where he stabs himself in the foot, and injects himself with an iron pipe and goes through some kind of a metamorphosis. A glimpse of an everyday life of an extreme metal fetishist where it just went a little too far, I guess. He then screams and runs like a lunatic and gets hit by a car driven by a typical Japanese salaryman who then gets infected by a biomechanical virus. As the title screen rolls, he gives us the “Tetsuo Dance” before he wakes up in his apartment and gets ready for work. As he shaves, he notices a small metal point on his cheek, which pops out and starts shooting blood over his face as he touches it. Sounds weird, you say? You’ve seen nothing yet. I won’t spoil much more than this, other than our salaryman slowly transforms into a grotesque hybrid monster of flesh and metal with the desire to destroy the whole planet. And yeah, his penis also transforms into a big metal drill that no one would want to mess around with.

 

Tetsuo, aka The Iron man, is an explosive result of an inner frustration that the young director Shinya Tsukamoto had built up after an unstable relationship to his dad, growing up in heavily industrial surroundings, and the extreme pressure of the Japanese working culture. The environment is what makes a human, as they say, and Tetsuo is a prime example of that, and could be seen as a pretty alternative artistic view of the breaking point of the human mind, if you will – even though the film is open for countless interpretations. This is Tsukamoto’s fifth film, at the age of 29, after making some shorts and other projects he would never be satisfied with, and at the top of this his father kicked him out of the house right before the filming. Fortunately, due to the success and the cult-following of Tetsuo, he quickly became a prominent filmmaker in Japan with titles such as Bullet Ballet, A Snake in June, Nightmare Detective and also made two sequels to Tetsuo, called Tetsuo: Body Hammer and Tetsuo: Bullet Man, the last one with a soundtrack by Trent Reznor . He’s also known for his acting roles in Takashi Miike’s Ichi the Killer, Takashi Shimizu’s Marebito, and Martin Scorcese’s Silence. His dad should be proud by now.

 

Tetsuo is shot on 16 mm, in black and white, with a budget of his day job at that time. Mostly filmed in one of his co-workers cramped apartment over 18 months with hard and difficult conditions (which is not hard to imagine at all), where the cast and crew also lived during the production. The conditions came to a point where the actor who plays the salaryman got the urges to escape the set several times because of shooting days that never seemed to end, while crew-members just came and left. The whole production was such a nightmare, according to Tsukamoto, that he considered to burn all the negatives. And we should just be glad he didn’t, because Tetsuo is a truly insane, hyperactive, nightmarish cyber-punk/art-house/body-horror masterpiece that easily could be described as Eraserhead on crack cocaine. Very aggressive, graphic, experimental and completely bizarre and truly one of a kind. It’s one of those “what the hell did I just watch-films“, and it’s clearly not for anyone, especially for those who’s epileptic. The technical aspects is from another planet (Planet Japan that is) with some really impressive stop-motion effects, camera work and costume designs. It has a great and sharp sound design and a really heavy, industrial soundtrack by Chu Ishikawa that fits the intense imagery perfectly.

 

So, what else is there to really say about this movie, other than: just watch it! Watch it on a big screen in a dark room with loud sound.

 

Tetsuo

 

Director: Shinya Tsukamoto
Country & year: Japan, 1989
Actors:Tomorô Taguchi, Kei Fujiwara, Nobu Kanaoka, Shinya Tsukamoto, Naomasa Musaka, Renji Ishibashi
IMDb: www.imdb.com/title/tt0096251/

 

 

Tom Ghoul

 

 

 

 

Street Trash (1987)

Street TRash (1987)

We are in Brooklyn’s decaying slums, and the year is 1987. The state of the streets is described in a nutshell by the title itself. Not a place that you’d go barefoot. An old dusty box containing the mysterious drink “Tenafly Viper” is found in the basement of Ed’s little liquor store. A green liquid from way back in the 1920s, that Fred sells to the local hobos for a buck. The one who gets the first bottle, is Fred: a runaway who lives with his brother in a small homeless community by a car wrecking yard, run by former Nam Vet Bronson. He’s a raging nutcase who’s lost his mind completely due to PTSD and severe paranoia, and have constructed the place as his own kingdom and safe space. Here he lives in his own grandiose, delusional bubble where he is the king and everyone fears him. He also shares the throne with his “Queen” Winette, a schizophrenic vegetable who constantly screams and begs him to have sex with her. Sound like a cheery place, doesn’t it. So maybe this mysterious drink will make the hellish daily life a bit easier for the poor hobos? Well, they could only wish, as the drink turns out to be a corrosive, toxic acid that melts the one who drinks the first drops, in seconds. As homeless people start dropping dead in every corner due to the liquid, a brute cop named Bill is trying to get the bottom of the source. And good luck with that.

 

On the surface, Street Trash may look like a more polished Troma film that could easily share the same universe with The Toxic Avenger. But instead of a guy running around and serving justice in a mutant costume, we get a bunch of mentally unstable hobos doing stupid, random shit. Things like necrophilia, penis severance, shoplifting and gang raping… those are some of the daily doings we get to witness. There isn’t much of a plot to be found here. It’s basically just a series of skits, more or less, that are randomly stitched together. Street Trash is based on the short film of the same name, a fun concept that worked better in a short dosage than a very stretched-out feature film where it is far between the major highlights. The film’s biggest, or fattest highlight if you will, is the guy who explodes like a big balloon. A pretty juicy and messy scene you’ve probably already seen on YouTube. The effects here are pretty inventive and deliciously gooey, to say the least, and arguably the film’s main strengths. Even though most of the effects give some exaggerated, over-the-top cartoony vibes, I have to give Street Trash an extra credit for having of the most memorable decapitations scenes I’ve probably ever seen.

 

Street Trash

 

Director: James M. Muro
Country & year: USA, 1987
Actors: Mike Lackey, Bill Chepil, Vic Noto, Mark Sferrazza, Jane Arakawa, Nicole Potter, Pat Ryan, Clarenze Jarmon, Bernard Perlman, Miriam Zucker, M. D’Jango Krunch, James Lorinz, Morty Storm, Sam Blasco, Bruce Torbet
IMDb: www.imdb.com/title/tt0094057/

 

 

Tom Ghoul