Tag Archives: comedy horror

Retrospective: Full Moon High (1981)

09 Saturday Oct 2021

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Director Larry Cohen was renowned for directing and producing exploitation movies such as The Stuff and It’s Alive, often with a satirical edge to grip the audience.
I was looking forward to watching Full Moon High coming in with high expectations, especially with the casting of both Alan and Adam Arkin in the mix but there were a few things that didn’t click into place for me. The movie is filled with that zany mad-cap humour that is typical of American filmmaking back in the day, but it feels strangely offbeat in this setting.

Adam Arkin plays teenager Tony, who is drifting aimlessly through life and disconnected which feels in large part due to his father, Colonel Walker, a man who is brash and ego-centric. When Tony is forced to accompany his father to Transylvania, he is left to his own devices, which unfortunately leads to him being bitten by a werewolf and gifted with the curse of an ever-lasting life. What he does with his life is the question though. Will he learn from his ways or be doomed to repeat the same mistakes all over again?

The cyclical theme is well in abundance here, as Tony returns to his old stomping grounds to reinvent himself, and finds that he wants to rekindle his school years.

Easier said when done, as he is doomed to get his lycanthrope on every full moon, and constantly trapped inside the body of a highly sexualised being.

That and the need to hide his identity from past friends and girlfriends is a constant issue for Tony.

The energy of Full Moon High doesn’t let up however it never feels like there are any downbeats in the movie to take a break from the relentless humour or attempt there at on display. If it wasn’t for the aforementioned Arkins, I may have been inclined to turn off, but they at least are engaging enough to bring you to the logical conclusion.

Maybe it’s just me and that Full Moon High simply isn’t my humour, but the struggle remained throughout the film and I have to mark this down as one I could have easily let pass me by and I would have been content to have let that happen.

  • Saul Muerte

Movie review: Another WolfCop

04 Wednesday Jul 2018

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Back in 2014 Lowell Dean followed up his debut feature 13 Eerie, (a straight up horror sci-fi starring Katharine Isabelle), with a more comedy focused horror vehicle about deadbeat alcoholic cop, Lou who is transformed into a werewolf by a strange cult run by shape-shifters.

To say that it was a little off kilter is something of an understatement, but this was part of its appeal. WolfCop provided a quirky, light-hearted comedy with some amped-up, injected B-Horror.
It was a film that was a much-needed addition to the horror landscape with its heart and fur blazoned proudly on its sleeve.
So it was little surprise that it developed a decent following and even less surprising that Dean would look to follow up WolfCop for further instalment, this time titled Another WolfCop.

Returning as the booze-addled lycanthrope, Leo Fafard provides the same shtick that we came to love from the predecessor, but with the chains a little more unleashed.
Coming back to the role of Tina is Amy Matysio who somehow keeps a straight face effortlessly throughout all the mayhem that ensues.
Also returning is Jonathan Cherry as Willie Nelson, which might sound odd for those that have watched WolfCop before, but Dean does his level best to crowbar Willie’s resurrection in order to utilise the same chemistry that made that film so enjoyable the first time around.

Whilst that chemistry is still evident, it feels a little strained in places indicating that the ink may have run dry in the comedy stakes.
I hope that this isn’t the case as I do enjoy the adventures, as wild as they appear, and like the idea of WolfCop being a returning franchise.

Some of the humour slips into crass territory and feels vaguely familiar. It’s only when Kevin Smith appears on the scene as the town mayor that the slight shift in comedy makes sense.
Whilst I have loved Smith’s work in the past, Another WolfCop comes across as a distant cousin to Yoga Hosers or Tusk in places, which isn’t his finest hour.
You do tend to forgive this decision, but only partially as fans of the franchise will be willing to be dragged through the crazed antics in order to see WolfCop ripping it up again.
And hey, any reason to see Yannick Bisson (Murdoch Mysteries) ham it up as the villain of the piece is a good a reason as any.

 

The Diagnosis:

More alcohol fuelled anarchy from the WolfCop team that delivers a hefty punch, but the impact that lands isn’t as memorable as the first outing.
Having said that, it’s still a fun ride and worth it to see Lou Garou and the gang delve into another deranged journey.

 

 – Saul Muerte

The Love Witch

23 Saturday Dec 2017

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As summer solstice rolled by last night for those on the Southern Hemisphere it seemed appropriate to delve into a movie that is embedded in the occult and then i remembered a little known movie that was released not so long ago called The Love Witch.

It’s something of a shame though, that this film has drifted under the radar of popularity.
And yet one can understand why this film has been lost in the depths of the celluloid art form when more ‘heightened’ and easily accessible popcorn horror is at hand.

The fact that this movie is unique is both part of its beauty and its Achilles heel.
Billed as a comedy horror of sorts, the light-hearted approach to the films direction which is quite subtle at first and can easily be lost as a result.

Coupled with the style that The Love Witch utilises to deliver its message through a 60s love song to a bygone era, with a modern setting and thinking, one could feel quite brainwashed by the experience of a world not far removed from Hitchcock and Technicolor thrillers.

Directed and written by Anna Biller, The Love Witch stands out with her firm grasp of the setting, and beautiful attention to detail.

Following a White Witch, Elaine (Samantha Robinson) whose look is so fitting and perfect that one could be forgiven for believing that she was lifted straight out of the 60s, The Love Witch follows her journey as she dabbles in Love magic to woo men in her pursuit of love and happiness.

Her callous nature leads Elaine into dangerous territory though, as her potion proves to effective, leading men dead in her wake.

It’s only when she meets the ‘perfect man’ that her troubles start to catch up with her.

The Diagnosis:
The battle of the sexes is firmly on display here with a fresh twist on the female gaze and the lengths of absurdity that is evident through a timeless tale.
The Love Witch owes a lot to the strong and beautifully shot scenes.
It’s not to everyone’s taste but if you let the film absorb you, the feeling you’re left with is absolutely mesmerising and deeply satisfying.

  • Saul Muerte