New month, new horror recommendations from Deep Cuts Rising. This installment features one random pick as well as four selections reflecting the month of May 2024.
Regardless of how they came to be here, or what they’re about, these past movies can generally be considered overlooked, forgotten or unknown.
This month’s offerings include a self-loathing serial killer, a violinist’s murderous ghost, and a postmodern vamp flick.
Scream, Pretty Peggy (1973)
Pictured: Ted Bessell and Sian Barbara Allen in Scream, Pretty Peggy.
Directed by Gordon Hessler.
The TV-movie Scream, Pretty Peggy first aired as part of ABC Movie of the Week. Bette Davis plays the mother of a reclusive sculptor (Ted Bessell), and after the previous housekeeper goes missing, a local college student (Sian Barbara Allen) fills the position. Little does she know, though, the young employee’s predecessor was murdered — and the killer is still on the loose.
Admittedly,...
Regardless of how they came to be here, or what they’re about, these past movies can generally be considered overlooked, forgotten or unknown.
This month’s offerings include a self-loathing serial killer, a violinist’s murderous ghost, and a postmodern vamp flick.
Scream, Pretty Peggy (1973)
Pictured: Ted Bessell and Sian Barbara Allen in Scream, Pretty Peggy.
Directed by Gordon Hessler.
The TV-movie Scream, Pretty Peggy first aired as part of ABC Movie of the Week. Bette Davis plays the mother of a reclusive sculptor (Ted Bessell), and after the previous housekeeper goes missing, a local college student (Sian Barbara Allen) fills the position. Little does she know, though, the young employee’s predecessor was murdered — and the killer is still on the loose.
Admittedly,...
- 5/1/2024
- by Paul Lê
- bloody-disgusting.com
Ricardo from U.N.L.O.A.D.E.D gives us five overlooked and underrated vampire films.
1. Nadja
Pixelated imagery (shot with a toy pixel vision camera of all things) along with slick B&W cinematography pulled me right in. This David Lynch produced flick mixes art film with horror and a nice dash of humor to boot. Nadja (Elina Lowensohn) and her man slave arrive in New York City to claim the remains of their father, Dracula, who was taken out by Dr. Van Helsing played perfectly by Peter Fonda. A young couple, Lucy (Galaxy Craze) and Jim (Martin Donovan) are pulled into Nadja's web of seduction which complicates matters as Jim is the Nephew of Van Helsing. Enter Nadja's brother Edgar, who has no love for Nadja and things get even more dicey. The film is an allegory about family dysfunction and while disjointed in parts,...
1. Nadja
Pixelated imagery (shot with a toy pixel vision camera of all things) along with slick B&W cinematography pulled me right in. This David Lynch produced flick mixes art film with horror and a nice dash of humor to boot. Nadja (Elina Lowensohn) and her man slave arrive in New York City to claim the remains of their father, Dracula, who was taken out by Dr. Van Helsing played perfectly by Peter Fonda. A young couple, Lucy (Galaxy Craze) and Jim (Martin Donovan) are pulled into Nadja's web of seduction which complicates matters as Jim is the Nephew of Van Helsing. Enter Nadja's brother Edgar, who has no love for Nadja and things get even more dicey. The film is an allegory about family dysfunction and while disjointed in parts,...
- 4/15/2009
- by Ricardo
- Latemag.com/film
PIGEONHOLED
The sibling team of (writer-producer) Tripp and (writer-director) Michael Swanhaus joins the ever-expanding universe of filmmaking brothers with "Pigeonholed", a flighty black comedy with failed John Hughes-meets-John Waters aspirations.
Set in an institution for troubled rich kids, the film -- presented as part of the AFI Fest's New Directions section -- is seen through the eyes of 18-year-old Devon (Justin Pierce), an out-of-control suburban Connecticut kid whose fed-up father (an amusing Chris Noth) finally takes desperate measures.
With Devon duct-taped to the passenger seat, his father drops him off at the Sunny Meadows rehabilitation center, where he meets four other teens with "issues": overweight Gabby (Andrea Ciannavei), anorexic Kayleigh (Galaxy Craze), nymphomanical Eve (Allison Folland) and sexually confused Eric (Tom Lock).
As their respective families are presented via grainy home-movie footage -- in which Rosanna Arquette shows up as Devon's nutty mom -- it becomes apparent that the apple doesn't fall far from the dysfunctional tree.
But while the Swanhaus brothers, who share screenplay credit with Luke McMullen, work hard to goose their otherwise vapid, mumbly enterprise with a few outrageous bits, they're no Farrellys.
There's also no discernible visual style, other than what has been picked up from watching too many MTV videos.
Michael Rechtshaffen
BIRDCAGE INN
Melodrama is alive and well in "Birdcage Inn", Korean filmmaker Kim Ki-Duk's never-a-dull-moment portrait of a prostitute and the havoc she wreaks on the lives of a Po-Hang family.
Screened as an official selection of the AFI Fest, the film, sort of a flip on Pasolini's "Teorema", has the much-maligned, young Jin-Ah setting up shop at an inn of ill repute presided over by a no-nonsense matriarch and her quiet husband.
She has no trouble bringing in business when she's not butting heads with the couple's chaste young daughter, Hye-Mi, who's the same age as Jin-Ah but is always quick to remind her of their class differences. Their teenage son, meanwhile, is far more accommodating and plants a microphone in her "work" room in order to keep up with her activities.
Of course, Dad and junior both eventually have their way with her, and darn it even if her chief adversary doesn't come around by the end.
Although things get just a tad overwrought -- there hasn't been this much face-slapping on screen since Joan Crawford's heyday -- Ki-Duk certainly has a lively visual sense, peppering the potentially bleak landscape with bright, bold primary colors, while the funky translations provide some unintentional added amusement.
Michael Rechtshaffen...
The sibling team of (writer-producer) Tripp and (writer-director) Michael Swanhaus joins the ever-expanding universe of filmmaking brothers with "Pigeonholed", a flighty black comedy with failed John Hughes-meets-John Waters aspirations.
Set in an institution for troubled rich kids, the film -- presented as part of the AFI Fest's New Directions section -- is seen through the eyes of 18-year-old Devon (Justin Pierce), an out-of-control suburban Connecticut kid whose fed-up father (an amusing Chris Noth) finally takes desperate measures.
With Devon duct-taped to the passenger seat, his father drops him off at the Sunny Meadows rehabilitation center, where he meets four other teens with "issues": overweight Gabby (Andrea Ciannavei), anorexic Kayleigh (Galaxy Craze), nymphomanical Eve (Allison Folland) and sexually confused Eric (Tom Lock).
As their respective families are presented via grainy home-movie footage -- in which Rosanna Arquette shows up as Devon's nutty mom -- it becomes apparent that the apple doesn't fall far from the dysfunctional tree.
But while the Swanhaus brothers, who share screenplay credit with Luke McMullen, work hard to goose their otherwise vapid, mumbly enterprise with a few outrageous bits, they're no Farrellys.
There's also no discernible visual style, other than what has been picked up from watching too many MTV videos.
Michael Rechtshaffen
BIRDCAGE INN
Melodrama is alive and well in "Birdcage Inn", Korean filmmaker Kim Ki-Duk's never-a-dull-moment portrait of a prostitute and the havoc she wreaks on the lives of a Po-Hang family.
Screened as an official selection of the AFI Fest, the film, sort of a flip on Pasolini's "Teorema", has the much-maligned, young Jin-Ah setting up shop at an inn of ill repute presided over by a no-nonsense matriarch and her quiet husband.
She has no trouble bringing in business when she's not butting heads with the couple's chaste young daughter, Hye-Mi, who's the same age as Jin-Ah but is always quick to remind her of their class differences. Their teenage son, meanwhile, is far more accommodating and plants a microphone in her "work" room in order to keep up with her activities.
Of course, Dad and junior both eventually have their way with her, and darn it even if her chief adversary doesn't come around by the end.
Although things get just a tad overwrought -- there hasn't been this much face-slapping on screen since Joan Crawford's heyday -- Ki-Duk certainly has a lively visual sense, peppering the potentially bleak landscape with bright, bold primary colors, while the funky translations provide some unintentional added amusement.
Michael Rechtshaffen...
- 11/1/1999
- The Hollywood Reporter - Movie News
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