Thursday, October 30, 2025

I SAW BUGONIA

Bugonia, directed by Yurgos (Poor Things/The Lobster) Lanthimos and scripted by Will Tracy (former editor of The Onion), is a remake of Save the Green Planet!, a South Korean flick I haven't seen (though would like to), but I've seen several other movies to which this update can be compared: K-PaxSimon, Conspiracy Theory, FrailtyThe Skin I Live In, Under the Skin, Perfect Skin, TattooThe Collector 1965, CompanionThe Man Who Fell to Earth 1976, 12 Monkeys and last but not least, They Live.   

The story follows two guys who believe a pharmaceutical CEO is a devious, queen-bee alien, an Andromedan to be precise, who must be contained to prevent Earth's population from being destroyed, altered, corralled, weakened or whatever the Andromedans wish to do with it. Oh, and the scheme links to bees, in regard to the colony-extinction claim, as well as the resurrection mythology from which the term "bugonia" stems. At any rate, despite her martial-arts prowess, the suspected extraterrestrial is kidnapped and as expected, plots to escape. 

Emma (Zombieland/Spider-man/Birdman) Stone plays the lofty kidnappee, Michelle Fuller, who seems smug and faux (like a lot of high-ranking cretins so  many of us have had the displeasure to know), which contrasts with the affable guys who snatch her. Jesse (Breaking Bad/El Camino) Plemons' Teddy Gatz and his impressionable, child-like cousin, Adien Delbis' Don, are quite sincere in their motives, but more so, comical in how they enact them, at one desperate point even resorting to chemical castration to avoid Michelle's alleged, penchant for seduction. (Alicia Silverstone's Sandy, Teddy's mom, manifests in creepy, black-and-white flashbacks, and Stavros Halkias' Sheriff Casey lends much to the awkward, investigational margins, by more than implying he long ago molested Teddy.)   

Stone, it should be stressed, is fascinating as hell to watch, especially after Don shaves her head (that's because Andromedans converse with one another through their telecommunicating strands). Stone's creamy, skull-ish face and vampiric expressions do, in fact, invoke something beyond this world, but is she? 

The big revelation does come, and it shows the extent to which a devoted cause (a conspiracy theory) can drive folks to the edge, no matter how far-fetched the content. In this case, the cause's tendrils just so happen to reach into science fiction (i.e. the evolutionary, Erich von Daniken-derived stuff, complemented by Jerskin Fendrix's on-target, old-school score), which gives Bugonia an air of go-with-the-flow believability. 

Nevertheless, the movie is quirky and on that basis, won't be everyone's cup of tea, but for those seeking common ingredients tossed into a fresh recipe (and that means with heaps of buggy gobbledygook layered on), Bugonia should hit it outta the park. If hooked, it'll be hard not to see it again and perhaps a few times well after that. Say, maybe Bugonia is one of those offbeat rarities destined for cult relegation. Ah, too bad midnight shows are no longer en vogue. This one would have been ideal for that. 

Wednesday, October 29, 2025

MONSTER TEAM-UP IMAGE: HAPPY HALLOWEEN 2025 (MARK SPEAR'S MONSTER SQUAD)

 

PET SEMATARY 1989 (A CLASSIC MONSTERS OF THE MOVIES TRIBUTE)

"Sometimes dead is better."

Classic Monsters of the Movies scribes, Nige Burton and Jamie Jones, along with special-guest contributor, actor Brad (Lost Souls) Greenquist, tackle a "latter day," horror classic, based on a Stephen King bestseller. 

As such, Pet Sematary 1989, directed by Mary (The Attic/Urban Legends: Bloody Mary) Lambert and adapted by King, no less, gains a prolific, encyclopedic analysis, which celebrates the fable's "Monkey's Paw" creepiness. 

That means the authors supply a plethora of production details, including bios on its apt cast: Dale (Flight of the Living Dead/2012: Doomsday) Midkiff as Louis Creed, Denise (Star Trek: The Next Generation/Walking Dead) Crosby as Rachel Creed, Fred (The Munsters/My Cousin Vinnie) Gwynne as Jud Crandall, the aforementioned Greenquist as the ominous Pascow, Andrew Hubatsek as the withering Zelda, Michael Lombard as the change-of-heart Irwin Goldman, Blaze and Beau Burdhal as Ellie and Miko Hughes as Gage, the relentless, zombie child, among other skilled performers. 

The talented Lambert gets respectful exposure, as well, in addition to producer Richard Rubinstein (known for helming so many outstanding, George A. Romero's entries), cinematographer Pete (Graveyard Shift/Friday the 13th Part 2) Stein and composer Eliot (Batman Forever/Batman & Robin/Interview with the Vampire 1994) Goldenthal and then of course, there's the incomparable and bellicose King. 

This "Exclusive Deluxe Collector's Edition" brims with rare photos, inside-scoop trivia and unforgettable quotes, printed on top-stock paper, initiated by artist Peter Panayis' awesome, high-gloss, character-collage cover. 

Classic Monsters of the Movies: Pet Sematary's special edition is one to cherish, even as it chills the soul. One may unearth it at

https://www.classic-monsters.com/shop/product/pet-sematary-1989-ultimate-guide-magazine/

HAPPY FRANKENSTEIN FRIDAY 2025/HAPPY 90TH, BRIDE OF ... (OCT 31)

Tuesday, October 28, 2025

CODEX: STORIES INSPIRED BY CLIVE BARKER'S HELLRAISER (READY FOR PURCHASE)

"We have such sights to show you!"

A cordial reminder, my friends: The newest, Eighth Tower/Raffaele Pezzella, Dark Fiction volume is available for purchase. It's entitled Codex of Pleasure and Pain: Stories Inspired by Clive Barker's Hellraiser

The edition's fables were penned by Eighth Tower's devoted, in-house crew: Chris McCauley (also the curation's editor), Edwin J. Buja, Michael F. Housel, Nora Peevy, Paolo L. Bandera, RDJ Armstrong, Scott J. Couturier and Simon Bleaken.

If ordered through Amazon, the edition (whether it be hardback or paperback) is matched with a free-of-charge audiobook:

https://www.amazon.com/dp/B0FQHQGZY4?ref=ppx_yo2ov_dt_b_fed_asin_title

Also, for those who wish to expand their pleasure/pain principles, there's an Eighth Tower CD jammed with ambient tracks based on Baker's mythology (see October post for further details). It can be ordered (along with the paperback) at  

https://www.patreon.com/posts/codex-of-and-to-140259062?utm_campaign=patron_engagement&utm_source=post_link&post_id=140259062&utm_id=f330e0ef-659c-483e-a8a9-93ad39b06fbe&utm_medium=email

This powerful, Barker-inspired set is bound to leave you (ahem) transformed!

Saturday, October 25, 2025

GOODBYE, JUNE LOCKHART

Most know you best as Maureen Robinson on Irwin Allen's Lost in Space, while others recall you most as Ruth Martin in the 1958 - 1964 run of Lassie or perhaps it's your lasting stay as Janet Craig on Petticoat Junction. Horror fans, however, hold you closest to their hearts for your passionate portrayal of Phyllis Allenby in Universal's She-Wolf of London

There's a generous amount more beyond such, with your guest-starring roles on The New Lassie, Lost in Space 2021, Voyage to the Bottom of the Sea, Amazing Stories, Science Fiction Theatre, DarkroomThe Greatest American Hero, The Man from U.N.C.L.E., Whiz Kids, The Alfred Hitchcock Hour, Bewitched, Happy Days, The Drew Carey Show, Mr. Novak, Marcus Welby MD, Quincy ME, Magnum P.I., Adam-12, New Zoo Revue, Vega$, Las Vegas, Beverly Hills 90210, Falcon Crest, Knotts Landing, The Colbys, Hotel, Grey's Anatomy, Murder She Wrote, Ellery Queen, The Hardy Boys/Nancy Drew Mysteries, Perry Mason, The Man and the City, Family Affair, Full House, Matinee Theatre, The Joseph Cotton Show, Shirley Temple's Storybook, Have Gun - Will Travel, Gunsmoke, Rawhide, Wagon Train, Branded, The Magic Locket, Playhouse 90, General Electric Theater, General Hospital and (yes!) much more.

Oh, then there are your feature ventures: Lost in Space 1998, Strange Invaders, Troll (with your daughter, Anne), Zombie Hamlet, C.H.U.D. II: Bud the C.H.U.D., Deadly Games, The Colony, Super CapersSon of Lassie, A Christmas Carol 1938, Tis the SeasonThe Night They Saved Christmas, One Night at McCool's, T-Men, Bury Me Dead, Sergeant York, Dead Women in Lingerie, Deterrence, Time Limit, Miss Annie Rooney, It's a Joke, Son!, The Big Picture, Keep Your Powder Dry, RemakeWesley, Adam Had Four Sons, The White Cliffs of Dover, All This and Heaven Too, Forever and a Day, Butterfly, Rented Lips and (yes, again!) still far more. 

You were phenomenal, Ms. Lockhart, an ubiquitous and beautiful beacon, who always brought a smile to a viewer's face. You touched so many lives on so many levels, with so many terrific performances, and through them, you'll live on, not only on the screen, but assuredly in our hearts. 

TERRIFIC TEAM-UP IMAGE: BLACK FRANKENSTEIN & WEREWOLF VS VAMPIRE WOMAN

 

I SAW CHAIN REACTIONS (A TEXAS CHAIN SAW MASSACRE DOCUMENTARY)

Dark Sky/Exurbia/Exhibit A's Chain Reactions is the latest documentary on Tobe Hooper/Kim Henkel's 1974 classic, The Texas Chain Saw Massacre. 

The movie (coproduced with Henkel) was constructed by writer/director Alexandre O. Phillipe, who's fashioned documentaries on Psycho, Alien, The Exorcist, David Lynch, George Lucas and William Shatner. Unlike several of the latter, Chain Reactions doesn't lean on revisionist determinations. (There was no anti-mother uprising that spawned Psycho, and Ellen Ripley's ascent as a feminist icon was unpremeditated.) Chain Reactions instead allows Texas Chain Saw's aesthetic quality to seize the reins, never clamping its results with a carved-in-stone outcome or overriding theme. In other words, it's a collective analysis of why the movie works on a visceral level, based on informed opinion.  

Its commentators include Stephen King (who explains why Texas Chain Saw succeeds through gritty brevity), Karyn Kusama (who considers the movie's Americana from a sardonic, social slant), Alexandra Heller-Nicholas (who reminisces on Australia's disconcerting, VHS "yellow" print), Takashi Mike (whose missed chance to catch Charles Chaplin's City Lights led him to become a lifelong, Leatherface fan) and Patton Oswalt (who compares Texas Chain Saw to F. W. Murnau's Nosferatu, praising Hooper's use of idyllic scenery as a contrasting tool to accentuate his movie's abject terror).  

Indeed (and beyond debate), the documentary's reactions are individualized (angled by ample explication), but again, the door is left wide open for ongoing analysis and discussion. The scholarly culmination, therefore, holds a satisfying, common denominator: For its raw simplicity, Texas Chain Saw says much more than not.

Because of its honest bracketing, Phillipe's documentary replicates Hooper's approach, penetrating viewers by pure unpretentiousness: a respectful turn that fans of the macabre, fifty-year-old masterpiece will appreciate.