The Funhouse (1981)

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Another Tobe Hooper, this time from the early Eighties, and a mixed bag of testes: perhaps the start of his slide. The film starts with soon-to-be-last girl Amy (played by Amadeus actress Elizabeth Berridge) showering whilst a masked intruder (her younger brother) tries to stab her to death with a plastic knife. The homage to Psycho and pastiche of Carpenter’s Halloween is rather lazy and dated, and then there’s the creepy factor that a 10 year old is trying to peek at his sister’s soapy breasts.

Amy chastises the lad and then nicks off to the local fun fair with her jock date and stoner pals for a night shagging in the funhouse, owned by a redneck and his deformed son who works as the ride’s assistant in a Frankenstein’s monster mask. The group overhear him receiving hand pleasure from the aged fortune-teller and his quick bolt-throwing sends him into a murderous rage. He chokes the poor woman and then tells his father, who helps him cover up the murder because “family needs to stick together”, something Hooper hammered home in his earlier Chain Saw Massacre in 1974.

It’s a predictable affair and there’s not much to enjoy except the abrupt ending. If the characters were as unhinged as those in Eaten Alive or TCSM perhaps it could have been elevated beyond bargain bin fodder.

3/10

Django Unchained (and Tarantino In Rage)

I’ve been speaking to a few people today about Tarantino’s oeuvre now that Django Unchained is hitting cinemas any time now. One friend of mine considers most of his films crap, and that’s produced nothing of merit since Pulp Fiction. Personally, I like some more than others. I find Reservoir Dogs tiresome, mainly because of the endless monologue about Like A Virgin and the over-parodied “slow walk” during the first 10 minutes. Jackie Brown didn’t do much for me either. But I do think True Romance (which he scripted) brilliant, and in the hands of the now-dead Tony Scott, the cast really bled for that film.

Kill Bill 2 was a waste of time as well.

Despite those, I liked Death Proof, which I consider underrated. Kurt Russell is great in that film, a really nasty piece of work. The structure is rather odd, and is so in both versions (The original ‘Grindhouse’ version misses about half an hour of story, including an interesting lapdance).

Kill Bill 1 I loved, and not because of the Japanese influences.

Pulp Fiction’s praise is justified.

Inglorious Basterds was superb. Who doesn’t love Christoph Platz?

The Channel 4 news interview with Krishnan Guru-Murthy that aired tonight saw the man coming out swinging when questioned about his attitude towards violence in cinema, something which he claimed he’d gone on record about too many times already. Get Googling. And as usual, it takes the media to point out things like Newtown that eclipsed the news at the end of 2012, as something they believe violent movies (not to mention video games) as influencing.

It’s absolute crap, isn’t it?

During the first 10 years of my life, I’d played a lot of computer games, but the only violence I’d ever seen was not on television but in the school yard. Children can be nasty pieces of work, and coupled with an abusive homelife, to turn around and blame Double Dragon or Street Fighter II seems a bit rich.

I’ve played over 100 hours of Borderlands 2 recently, and I’ve never even considered shooting anyone. What disturbs me is the oversimplification of mental illness that permeates the media every day, written by someone who has no knowledge or interest in the facts beyond the headlines.

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I was most surprised that the fact that Django Unchained probably features the most uses of the word n*gger by a white director to be a more of an interesting debate than QT’s use of violence. The gunfights are so stylised and OTT, that it’s impossible not to enjoy them. It’s comic book+, not Hostel or A Clockwork Orange. It’s a classic revenge movie, not sadistic like Grotesque or The Human Centipede. Once again, the quick grab headline is going to be about QT raging on British TV, telling the interviewer he’s getting his “butt shut down” for asking stupid questions, which is sad because they had the opportunity to ask one of best living director’s about his art and blew it.

Django Unchained is the best film I’ve seen this year. It may even be the best film I saw in the past 12 months. The cast are excellent (with the exception of QT himself, who just HAD to write himself a cameo yet can’t act his way out of a wet paper bag) – with nods to Jamie Foxx and Christoph Platz who are surprisingly muted compared to the foul-mouthed racists Don Johnson and Leo DiCaprio.

The violence is over the top and bloody. It’s probably the most blood-soaked QT flick yet, but it’s also the most tightly plotted and satisfying.

I’m not a generous man, but it was a 9/10 for me. Can’t wait for what he’s got in store next time.

A Brief Guide to GANTZ

This article originally appeared on totalscifi.com before the UK release of the first Gantz movie.

You’re at the train station and a drunk man falls onto the tracks. People shuffle nervously towards the yellow line to peer at the lifeless body. Everyone remains motionless, hoping somebody courageous enough will race forwards to help the guy to safety, but no one comes – until, eventually, one brave soul jumps down from the platform. He struggles to lift the lifeless, overweight body onto the platform’s edge. To your horror, he recognises you as a childhood friend. Something clicks within you and you’re standing next to him on the tracks. The light bearing down on you from the darkness of the tunnel makes you wish you’d remained passive like everyone else…

So begins the very first episode of Hiroya Oku’s manga sensation Gantz, the hyperviolent science fiction epic that’s currently being serialised in Weekly Young Jump magazine. Since its first appearance in October 2000, it has spawned a 26-episode anime series, two live-action movies, two novels, a PS2 game and a horde of merchandise that’s had a surprising cross-cultural and cross-gender appeal. The first 27 volumes of the manga has surpassed 10 million sales in its home territory, and Dark Horse Comics, who publish the English edition, have also had tremendous success (they’re currently up to volume 15).

 

The concept is simple: at the moment of death, unfortunate souls are transported to a locked room where a black sphere known as “Gantz” prepares them for battle against unusual and deranged non-human combatants. In some respects, it’s like a real life videogame where black-costumed contestants start off learning to use time-delayed explosive pistols and netting guns against spring onion-headed children, giant Buddhist statues and stripy-shirted robots that house angry birds. Rest assured, the situations are both familiar and completely alien. They’re also utterly demented.

Therein lies the appeal of the series: this is not your typical shoot ‘em up. In fact, the relationship that develops between the initially cowardly Kei Kurono, Masuro Kato and Kei Kishimoto is what keeps Gantz relatively grounded and compulsively readable. Its use of violence and sex is no more shocking than, say, Fist of the North Star or Beserk, but the real life setting makes it easier for us here in the West to jump into.

Viz Pictures acquired the rights to screen the first of two Gantz live-action feature films in the US in January, with the second, Gantz: Perfect Answer, due for release in Japan in April. With a $22m budget, it’s a no-holds-barred and thrilling experience, and the awesome, surreal set-pieces ensure it has plenty of appeal for Gantz newbies.

Two of Japan’s hottest young actors are up front and centre as Kato and Kei: Kenichi Matsuyuma and Kazunari Ninomiya. Natsuna Watanabe, a Japanese ‘idol’ (a word often used to describe attractive celebs in the country), plays eye-candy Kei. Director Shinsuki Sato has pulled back on the sexual content in the manga to make it more accessible to a teen audience, but the OTT violence still remains; one particularly explosive scene in a garage, where a group of contestants face their first true test, leaves the walls dripping with blood and limbs.

The climax at the temple (which also features in both the manga and the anime) boasts some truly stunning special effects that lift the movie from being your standard niche-market adaptation into an all-out action spectacular with wide appeal. In brief: for a condensed version of the Gantz experience, it hits the mark exactly.

Gantz the series is still running in Japan in its ‘final phase’, meaning the creator’s vision will soon be fully realised. If you’ve not had an opportunity to check out one of Japan’s hottest sci-fi exports, there’s plenty of time to get in on the act. Just don’t blame us if you find yourself with a new addiction…