Catfight: after losing touch in college former friends – a struggling artist and a trophy wife – become bitter rivals, and find their lives changing dramatically at the hands of each other. This is an interesting film in that it’s the type of movie that doesn’t really get made anymore. It feels like something from the early 2000s: quirky and eccentric “Woody Allen style” New York caricatures coming together in a semi-absurd plot that could have come from someone like Todd Solondz or Larry David. It’s also refreshing in that you don’t often get to see female actors in this age bracket lead a movie. Both Sandra Oh and Anne Heche get to chance to showcase their fine acting chops – playing irritating characters, but making the most of the comedy in the script through their respective stereotypes. The film’s performances complement Tukel’s unique directorial voice and style, although his ability to craft and capture so many deadpan scenes, wry cameos, and absurd lines is what shines the brightest – this absolutely smashed through the six-laugh test. Where the movie fell down for me was that it took a lot of swipes in the background at American culture, the U.S. government, foreign wars, inequality, topical Television shows, etc… This felt like easy – even lazy – targets for a film with this much promise and talent, and distracted from the central rivalry. The three prolonged ‘slobber-knocker’ fights also push the film momentarily from comedy & satire into a cartoonish farce: the hits are too big, with ‘wooshing’ & ‘crunching’ sound effects that become ridiculous, and the sequences feel much longer than they needed to be – although the film is called Catfight…. Catfight feels genuinely refreshing – coming through in an time where the majority of movies feel more like ‘safe investments’ designed by committee, that actively avoid taking any risks. This feels unique, original, fresh, and although it doesn’t land every punch, it’s is more than funny enough to remain entertaining for the duration.
Ein! Zwei! Die!
Dead Snow: while staying at a remote cabin in the woods a group of friends are attacked by hordes of Nazi zombies! You immediately warm to this film as it put all the horror movie tropes front and center: horny “teenagers” in the remote wilderness with no phone signal, then they realise that it’s is how horror films start (ay oh!!). There’s also a film geek thrown in for reference-o-rama – we get everything from a braindead t-shirt to Arnie impressions. Once the setup – complete with creepy old local warning them – is out of the way we’re treated to a barrage of old school jumps, dark horror comedy, and loads sensational barnstorming, limb-pulling, head-rolling, splatter-tastic blood and guts – that puts the film somewhere between Raimi and Troma. Everyone involved looks like they’re having fun, and the ‘zombie cast’ are also fantastic – even tougher when they’re not strictly zombies: faster, smarter etc. The last hour romps through so much entertaining gore and dark jokes that when one of the last scenes gets a bit serious it feels like a hefty dramatic gut punch. If you’ve read this far, you probably don’t mind the idea of watching a Nazi Zombie film; and I can’t imagine many being better than this. Dead Snow is an absolutely solid (Nazi) gold, gory-AF horror-comedy.
B-Movie Score: 9/10
Demons (Dèmoni): after being lured into a free movie screening a diverse cross-section of society are trapped and attacked by a demon curse. Essentially a zombie film but with demons, everything about Demons is an excuse to get more gore on the screen, and the crimson effects are unbelievable – puss, bile, blood, guts, and even whole demons bursting out of people – all done with physical FX. Not unlike some of Argento’s films of the era the production feels surprisingly high quality, which has made the modern blu ray release look way more impressive than similar movies from this era. The soundtrack is also interesting; packed with heavy metal royalty (and Rick Springfield) – Saxon, Billy Idol, Motley Crue, Pretty Maids, Accept – which give the film an authentic and nostalgic edge. To pad out the runtime we’re treated to longer-than-necessary sections of a film-within-a-film, and a completely ridiculous (and unrelated) street punk side-story – but it’s forgivable stuff. There’s also lots of ‘bad’ / ‘hammy’ aspects to the film which make it ripe for B-movie / cult status: it’s very 80s, and things like the dialogue, characters (like a black guy who just happens to be a switchblade proficient pimp), and performances carry a ‘midnight movie’ feel. Demons is not for everyone, but gore fiends and metal aficionados are the target for this badly dubbed pan-European cheesy horror.
B-Movie Score: 9/10