Sasquatch:
The Legend of Bigfoot
Directed by
Ed Ragozzino.
The
ultra-rare SASQUATCH (1978) has been a "hard to find"
item for going on two decades. Long out-of-print after a spotty
home video release almost 20 years ago, it has remained almost
as elusive as its Pacific Northwestern namesake, which may
be fitting in some strange, symbolic manner: until now, you've
had to hunt to catch even glimpses of it.
 Shot
against the rugged natural backdrop of Oregon that gives it
a Disney nature film feel, SASQUATCH is a docudrama
detailing various savage bigfoot encounters throughout history,
including a recreation of one recited by Teddy Roosevelt in
a published journal!
And unlike 90% of other movie portrayals, here the monster
is truly that, attacking without provocation, ripping out
a hunter's throat, terrorizing miners, and more, all of which
may upset the more "P.C." image of the mythic skunk ape as
Godzilla-like protector of the redwoods. Here, Sasquatch is
more likely to break your neck just for the sick thrill of
hearing the 'crack!'
--
Notes by Travis Crabtree.
 What
Critics Say:
"Semidocumentary about expedition that goes in search of Bigfoot,
including `'authentic' if blurry footage of the monster."
-- Leonard Maltin, MOVIE & VIDEO GUIDE
"I saw this film at my local movie house when I was a little
kid. I even had the 45 sound track. I wish I could see it
again. I will never forget it! The movie really scared me.
The sound track was horrifying. This was one of the greatest
experiences of
my childhood, and something I will treasure always." -- M.
Dean, IMDB.com
Like this flick? See also:
CREATURE
FROM BLACK LAKE;
MYSTERIOUS MONSTERS;
MANBEAST;
SNOWBEAST;
NIGHT
OF THE DEMON |
| Sea
Serpent,
The
aka HYDRA.
Directed by Amando de Ossorio. Starring Timothy Bottoms,
Taryn
Power & Ray Milland.
 If
you really enjoy flicks so awful that they border on sado-masochistic
to endure, THE SEA SERPENT (1984) is just
the fish you're looking to skin... or have skin you! Made
at the height of the direct-to-video craze, there was sadly
no fanfare for the picture upon its initial slither into
v.c.r. obscurity. Which is surprising if for no other reason
than it was the last performance ever given by genre vet
Ray Milland, who once starred in Hollywood classics such
as THE LOST WEEKEND. And speaking of lost (where he would
wind up starring in the t.v. remake of LAND OF THE LOST
a few years later), Timothy B. looks precisely that in a
role admittedly so underwritten his moustache is the only
character development we could spot. Taryn Power is forgettable
unless you have a fetish for mainstream 80's fashion popularized
by Cyndi Lauper, Madonna, etc.
The plot is so deliciously banal that it's like a great
paella: all the ingredients blend together into one bland
but magnificient stock. Simmering and sipping THE
SEA SERPENT on a cold night when you've just returned
from the latest disappointing $10 mega release is the perfect
fireside  setting
for this serpentine broth, by the way. It knows what ails
you, and makes you feel  infinitely
better because you're sure: given the fifteen dollar budget
and non storyline, yes even your mother-in-law could do
better. Imagine JAWS but without the special effects, acting,
tension, convincing underwater photography (mostly), and,
oh yes, musical accompaniment. Not that you don't get a
half-assed John Williams JAWS rip-off score in THE
SEA SERPENT, you do. It's just, it's actually more
1/4 Mr. Williams and 3/4 Mr. Casio Tone in quality. Really.
Most low to no budget flicks like SERPENT
try to obscure the relative lack of money by keeping the
creature offscreen, in the shadows, etc. Presumably, this
helps maintain the all too frequent "Is that IT? That's
the monster?" incredulity that follows upon the creature's
first clear screen appearance, giving the spectator at least
a modicum of thrills before revealing the man behind the
curtain and the strings on the puppet. No such directorial
strategy here. Instead, our maestro introduces the full-on
limitations of his monster in (no joke) a close up of what
appears to be a rubbery sock puppet in someone's aquarium.
Not a flash cut or anything arty, but a seam-revealing,
lens reflecting close up of... a menacing sock puppet!
It would be a challenge to overstate the lurid amateurishness
of the title puppet. The sheer, blatant disregard for the
viewer's intelligence by showing this inadequate "beast"
five minutes into the flick renders the movie knee-slappingly
entertaining from that point forward. The "realism"
on display as the sock puppet first  opens
its mouth and then slowly closes it (and then repeats this
action for the next 70 minutes!) again and again is amazingly
apocalyptic in nature.  Truly,
as the puppet monster glares at you and seemingly winks,
you realize: you are being dumped upon by all concerned,
so you better put on your waders and get ready for the shit
storm to follow.
Bad movies can be like wine and caviar: expensive and an
acquired taste. Expensive in the sense that they're usually
money losers (as THE SEA SERPENT must surely
have been, although with the lack of money spent on the
effects, it is possible the producers absconded with that
portion of the budget instead), and acquired because you
have to sit thorugh a lot of really sublimely bad flicks
to understand the difference between an Ed Wood wannabe
and the real thing.
Because
of its refusal to modernize or show any originality at any
turn whatsoever, THE SEA SERPENT transcends
its horrid self-limitations and becomes an existential comedy.
It's like an episode of THE TWILIGHT ZONE (back when Serling
did it and it was good) wherein once great actors like Bottoms
and Milland find themselves stuck on location in Spain for
three weeks during what appears to be the dead of winter
making a terrible movie about a sock puppet that's terrorizing
a sea coast town and they can't escape the set. But judging
from the results, that's only how they probably felt during
the shooting: like shooting themselves.
One final tidbit about director Gregory Greens aka Amando
de Ossorio. While this ridiculous entry was made late in
his long career in Spanish cinema and demonstrates as much,
Ossorio was not without talent. He is primarily remembered
for his atmospheric albeit violent Templar Knights series
of horror flicks from the 1970's onward. Known as the BLIND
DEAD quartet, they have an imaginative streak that had long
been 'used up' by the time of THE SEA SERPENT.
Amando de Ossorio died in 2001 in his native Spain. --
Notes by Rotundi.
What Critics Say:
"The
mere intimation of a sequel is the scariest thing in the
film." -- JABOOTU'S BAD MOVIE DIMENSION
"Funniest things: the serpent eating its victims, a Mob
killer in hat and dark glasses and coat who is supposed
not to look like a Mob killer." -- OH, THE HUMANITY!
|
Seizure
Aka Queen
of Evil. Starring Jonathan Frid, Martine Beswick,
and Mary Woronov. Directed by Oliver Stone.
 Before
he made THE HAND with Michael Caine – which most folks
wrongly assume was Oliver Stone’s first feature directing
credit – the director of JFK and THE DOORS made this
strangely unsettling meditation on death. Filled with ambiguity
and shock (two of Stone’s later trademark effects),
SEIZURE feels exactly like its namesake.
It’s as if Stone were seizing your neck and throttling
it full force between lulls in his twisted debut.
The story concerns Edmund Blackstone, a novelist by trade,
and his recent attempts to end a writer’s block. Alas,
the only success he has accomplished is in unwittingly unleashing
his own subconscious nightmares into reality instead of conveniently
pigeonholing them into his writing. Portrayed by Jonathan
Frid, most notably Barnabas Collins on t.v.’s DARK SHADOWS,
Blackstone is a real Freudian mess. On the one hand he cannot
accept that his own demented fantasies could be responsible
for the murders they unleash; on the other, he fully realizes
that he  and
he alone somehow holds the key to ending their reign of terror.
In this regard, he’s like Morbius in FORBIDDEN PLANET,
projecting his id into reality as a monster. Save Frid’s
demons come in the form of three sinister characters –
an evil dwarf (Villechaize), a hooded executioner, and a bizarre
queen (Beswick, of Hammer films fame) who gives her aforementioned
henchmen orders. Together they basically invade Blackstone’s
isolated country estate and begin systematically pitting his
horrified guests against one another in cruel games of survival.
 
The sequence wherein the Evil Three first burst into the tranquil
estate is perhaps the most terrifying, if for no other reason
than Stone so successfully echoes the Manson murders in approach
and certainly undertone. It’s as if he were recreating
the murders in a fictional context, but playing on the audience’s
subconscious desire to see the actual sensationalized 1960’s
hippie slayings. The “Otherness” of the three
evil folks – i.e., their stark non-conformity in contrast
to the slaughtered guests, each of whom is a cliché
of greed, self-corruption
or pathos; i.e., they’re the “Establishment”
– makes the parallel all the more complete. The brutality
of the sequence ranks right up there with Stone’s screenplay
for SCARFACE and his own NATURAL BORN KILLERS for sheer carnage
and force of conviction.
 Besides the loopy, Bergmanesque
quality of the flick (characters are prone to talk philosophically
about death and the meaning or meaningless of it all), SEIZURE
offers the one of the most unusual casts to ever grace a low-budget
horror flick. Besides Martine Beswick (who also appeared in
the Bond films FROM RUSSIA WITH LOVE and THUNDERBALL), there’s
also Mary Woronov, who’s probably best remembered as
Ms. Togar in ROCK N’ ROLL HIGH SCHOOL and as Paul Bartel’s
wife in EATING RAOUL, though she was also one of the original
Chelsea Girls at Warhol’s Factory. 
Villechaize is forever remembered as Ricardo’s sidekick
on FANTASY ISLAND (who has not said, “Boss, de plane,
de plane!” every now and again?), but you can find much
better performances by him in THE ONE & ONLY (an underrated
Henry Winkler flick) and the Bond flick THE MAN WITH THE GOLDEN
GUN. Sadly, Herve committed suicide after a life-long battle
with depression  and
health issues related to his stature. Here as The Spider he
is at his creepiest, unrepentant and harshly judgmental as
he doles out death to the latest hapless victim. There is
a hint of cruel satisfaction as, after the latest killing,
he turns and says directly into the camera: “Dead…
at last.” A cult note: the still photography on the
set was also done by Villechaize, who had an eye for such
things as a hobby. Christina Pickles, who plays Frid’s
wife, still acts to this day in supporting roles, her most
recent big-screen credits including THE WEDDING SINGER and
the like. And that's not even including Henry Baker, Troy
Donahue and others in the cast!
Though Stone (who was 29 when he made this and a Bronze and
Purple Heart vet of 'Nam) himself does not make a cameo, he
does use his voice in the “Eunice talks to her mirror”
sequence; it is easily recognizable if you have ever heard
Mr. Stone interviewed, listened to a DVD with a commentary
by him, etc. He co-wrote the script with Santos Alcocer, who
is better known (sometimes) by genre fans as Edward Mann;
Alcocer’s other credits of  interest to cult fans include
the Jim Thompson adaptation THE KILLER INSIDE ME; FREAKMAKER with Donald Pleasance;
CAULDRON OF BLOOD; the dope epic HALLUCINATION  GENERATION;
and the immortal ISLAND OF TERROR, a terrific suspense flick
starring Peter Cushing often remembered for its bone-marrow
devouring slime monsters. So as you can see, the project was
really packed with talent from the ground floor up.
Speaking of memories, however: I’d be remiss if I didn’t
recall how when, at the precious age of 10, I saw this flick
in the local theater on a double-bill. In those days, the
little theater in my town (the only theater in my town!) would
simply take whatever movies they could get, strip off the
“R” rating, and give it a self-imposed “PG,”
which meant every kid in town could see both flicks as long
as the parents didn’t object. Since this was before
PC and Columbine High, most parents couldn’t wait to
drop off their tykes for a few hours of cheap relief, and
the feeling was doubtless mutual.
But I digress. The point is, there is a scene in the flick
wherein the Executioner performs his job by literally squeezing
one of the character’s heads into a bloody pulp. The
prolonged agony of this scene (with the victim screaming non-stop
mixed in with the sickening sound effect of what sounds like
a ripe melon meeting Gallagher’s manic hammer), combined
with the cuts of the killer literally holding the remaining
grew in his hands, made quite an impression on us audience
of children. I can still vividly recall the hushed silence
after the scene played out, followed by nervous laughter and
whispered, “Did you see THAT? Cool!” Naturally
it was all we talked about for weeks on end after that.
These days, the kind of
extreme horror SEIZURE confronts you with
would be impossible to get released into theaters. But for
its era, though not entirely successful, SEIZURE
is actually a pretty well-done effort. Despite the fan criticism
over the years, which focuses only on the obvious flaws, the
rare Stone flick is hard to beat for sheer intensity and is
definitely a ‘must have’ for Stone fanatics and
horror compleatists. --
Notes by R.U. Holden.
 What
Critics Say:
"SEIZURE is the most
remarkable horror film to appear since William Friedkin's
THE EXORCIST." -- CINEFANTASTIQUE
"The most interesting thing about the film is the cast
Stone has assembled - including dark, mysterious Hammer beauty
Martine Beswick; cult queen Mary Woronov; Jonathan Frid, vampire
Barnabas Collins from tv’s Dark Shadows; and Herve Villechaize,
later to become Ricard Montalban’s sidekick on Fantasy
Island, as the evilly ambiguous dwarf." -- SF, HORROR
& FANTASY FILM REVIEW
"If you have a taste for madly paranoiac movies, don't miss
it." -- HOUSE OF HORRORS
"Stone's films are often difficult to watch, either for
their in-your-face camera and editing style, scathing political
commentary, intense subject matter. But whether you think
of him as visionary or delusional, there's no denying the
power of... his talent as a screenwriter and filmmaker."
-- THE DIGITAL BITS
"Gore murders galore when a demented writer creates characters
who spring to life... worth seeking out." --
CREATURE FEATURES GUIDE |
Sheena, Queen of the Jungle
Starring
Irish McCalla.
For
a lot of young guys (and gals!) growing up during the 1950's
era initial airing of SHEENA, QUEEN OF THE JUNGLE
(1955), a date with lovely Irish McCalla was not to be missed.
Though each episode amounted to little more than an excuse
to have the 5' 10" McCalla parade around in jungle wear
that would make Maureen O'Sullivan blush, who cared when it
was McCalla not wearing the gear?
McCalla's career was itself the saga of escaping a kind of
jungle. Sadly, if she didn't reign as queen and work more
than she deserved, she at least forever made cult flick history
when she starred in director Richard Cunha's immortal SHE
DEMONS, thereby giving her two roles of distinction on both
a t.v. series and in a flick. Not bad for a small-town American
girl from the Northwest whose Daddy was a butcher, eh?
Part of McCalla's appeal was not just due to her extremely
photogenic sexuality. Because she had been a former pin-up
model in such tawdry (but by today's standards tame) "men's
magazines" as EVE and several others (including a stint
as a Varga model), Ms. McCalla enjoyed a distinct advantage
in  terms
of appealing to a "hardcore" demographic of pre-existing
fans. But her lithe figure and ability to sustain credibility
as Sheena (when all else around her folks are as convincing
a graduate of the Ed Wood School of Acting) won her many new,
 unsuspecting
fans during the series' run, as well.
Though running only a scant two seasons, SHEENA
had impact beyond its first airings due to the fan base it
initially
stirred. It is no exaggeration to say that along with
Betty Page, Irish McCalla was a phenomena of the 'model' mags,
a kind of low-budget echoing of both Monroe and Mansfield
(though sans nudity, as one astute Flix'er alerted us recently)
who likewise used appearances in PLAYBOY and the like for
cheap publicity (and some fast cash).
In
some ways, McCalla's claim to fame as Sheena (she won the
role after Anita Eckberg turned it down) came as abruptly
as it left  her
typecast and largely unable to secure other t.v. roles --
a kind of female George Reeves. Happily, she abandoned the
disappointments of Hollywood for happier times as a landscape
painter in Malibu, California, where her work is esteemed
for its impressionistic use of colors.  Painting
was her first love in life, and indeed, she abandoned a career
in art early in life to help raise kids and support her husband.
But when money was tight and she began posing as a model for
extra money, the sudden infusion of fame and money made her
feel
empowered enough to leave her unsatisfying marriage and strike
out on her own.
She died not long ago, painting until the end, but even if
you're never lucky enough to own an original by her, she was
and remains an original in and of herself. Contained on this
special two-episode compilation of SHEENA, QUEEN OF
THE JUNGLE are "Eyes of the Idol" (Sheena
battles a native fire god!) and Buddy Baer guest  stars
in "The Rival Queen" (Sheena... dethroned?). --
Notes by Harry Palms.
What Critics Say:
"McCalla's stunning beauty, along with her
wide-eyed innocence and physical prowess (she did all her
own stunts for the first half
of the series before an accident forced a stuntman in drag
to take over) made her create a credible portrayal of Sheena
that is totally true to the character from the comic book."
-- IMDB.com
"Irish McCalla was a 'Varga Girl' model turned professional
painter. She played Sheena in the 1955 TV series SHEENA. She
passed away Feb 2002." -- ACME POSTER.com |
top
 Slithis
Starring Alan
Blanchard & Judy Motulsky. Written & Directed by
Stephen Traxler.
SLITHIS
(1977) proves you can't keep a good SF cliche down. While
it is often compared to CREATURE FROM THE BLACK LAGOON,
a more accurate SLITHIS analogy would be
THE CREATURE WALKS AMONGST US, the third in the Universal
Creature series, in which the creature has been mutated
into a half-man/half-creature being. That's because unlike
the first creature flick that featured a denizen from the
prehistoric past, the Slithis is actually a newborn monster,
created (of course) from the radioactive sludge being dumped
by the illegal tons into the slime-encrusted waters off
Venice, California.
 Unlike
modern attempts to play such a concept as campy, SLITHIS
stays true to its rubber-suited roots. Rather than admit
to its low budget limitations, it bravely and often successfully
embraces them, putting on a show what is a show. And if
'sideshow' is a better description of the final outcome,
who really cares, as long as the ticket price was cheap
enough and the displays gutwrenching. You may not get all
choked up at the suspense in SLITHIS by
today's ultra-violent standards, but that's also why you'll
dig it: it ambles along about as  believably
and gracefully as its pooped-on monster, which truly resembles
a pile of ambulatory dogshit, as one reviewer unkindly noted.
The lead actors are pretty lousy, but since they usually
were back in the golden era of such efforts in the 1950's,
that's again irrelevant. In fact, nothing of relevance ever
passes in front of the viewer's eyes while watching
SLITHIS save the 'Save the Whale' 70's PeaceSpeak
all the hippies sling, and that all feels as dated and dirty
as they and the waters of Venice are these days. But in
one sly sense, that's the writer's point: everyone who was
'with it' in the earlier decade has retreated into passive
positions by the mid 70's, including the lead protagonist
-- who goes from writing teacher back into the field as
an investigative journalist as a method of personal redemption.
Such heroes would be hard to find these days, wherein everyone
is a "lone cop" or a "lone warrior."
SLITHIS
has some interesting behind-the-scenes talents, as well.
For example, writer and director Trexlar went on to more
prominent industry roles such as producer of LEGALLY BLONDE
2 and WINDTALKERS. Producer Paul Fabian was a jack-of-all-trades
who also acted as an assistant cameraman going back to the
1930's in European features. And script supervisor Mimi
Leder would go from keeping continuity about radiation slime
monsters to director of such studio titles as PEACEMAKER,
DEEP IMPACT and various acclaimed episodes of E.R. 
But the real cult item of interest herein is cinematographer
Robert Caramico. This multi-talented flickmaker was involved
in various creative capacities ranging from d.p. of such
seminal cult flix as KISS MEETS THE PHANTOM OF THE PARK,
EATEN ALIVE, MEAN JOHNY BARROWS, THE DARING DOBERMANS, OCTOMAN
and even Ed D. Wood, Jr.'s ORGY OF THE DEAD, to producer
of such fare as MOVIE STAR, AMERICAN STYLE, OR: LSD, I HATE
YOU! and PSYCHEDELIC SEXUALIS. When you add crew position
on LAS VEGAS HILLBILLIES as camera op and director of THE
NEW LASSIE t.v. series, all we can say is... WOW! Not that's
B-talent, folks!--
Notes by Lt. Lou Escobar.
What Critics Say:
 "Imagine
CREATURE FROM THE BLACK LAGOON with a little gore, one boob,
and a decaying-watermelon monster." -- BLEEDING
SKULL
"A cult fave item... one of my favorite bad rubber
suit monster movies... a good, bloody movie in which the
creature gets way more screen time than in most... I am
trying to crusade for greater Slithis awareness and appreciation...
championing the cause for a higher Slithis consciousness."
-- The Undertaker, HORROR MOVIE REVIEWS
"A masterpiece. Looking for cheesy, overblown, low budget,
backyard trash on film? Look no further!" -- Andy Piantanida,
IMDB.com
"Released in theatres with a Slithis Survival Kit."
-- THE VIDEO GRAVEYARD
"The kind of crap you just don't see anymore... a throwback
of the best kind... Where else are you gonna see all this
monster stuff, along with turtle racing and a comical wino
who poops his pants?" -- Scott Phillips, WEEKLY
ALIBI
"Follows the established B monster movie conventions.
Don't show the monster too early in the story. Let the characters
eventually discover the nature of the monster as the story
progresses. Show the characters trying to find and stop
the monster." -- B-NOTES |
Snowbeast
Starring Yvette
Mimieux & Bo Svenson. Written by Joseph Stefano.
SNOWBEAST
(1977) is a hard-to-find, made for TV movie that nevertheless
enjoyed a minimal theatrical run here and overseas. A huge,
extremely nasty white bigfoot terrorizes a small Colorado
Ski Resort during its fairy-tale would-be winter carnival.
The big guy, hungry, makes mincemeat of a few delectable young
women. For some reason, this makes the locals just  a
bit more receptive to the idea that Bigfoot is real. The hunt
is on.
SNOWBEAST is a decent example of the spate
of 'nasty creature runs amok' horror/thrillers
produced post-JAWS. However, Bigfoot fans may give it an extra
half star. It won't change your life, but it does have some
genuinely tense and even creepy moments. Many children of
the 70's boob tube will remember the shudders this scarefest
induced by not showing the creature too much but instead relying
upon the brutally swift and unexpected attacks by the monster
when you least expect it. Or at any rate, usually least expect
it. ;)
What a solid B flick cast is on hand, too. While most fans
would not consider Ms. Mimieux anything but 'A' list in talent
and beauty, the other thesps on hand -- Bo Svenson and Clint
Walker -- combine with the
cheese-flavored storyline by PSYCHO's own Joseph Stefano to
definitely render it a tasty albeit only
semi-nutrious 'B' t.v. stew. But what do you want from a script
that pits snow bunnies versus
a killer missing link -- WAITING FOR BIGFOOT? --
Notes by J.R. Sebastian.
Note:
Roger Patterson is given a writing credit.
Is this is the same Roger Patterson famed for his 16mm Bluff
Creek bigfootage? Frankly we're not sure how this could even
be possible, as he appears to have died five years before
the film was even written, but TV and credibility were never
closely aligned, eh? One  supposes
he could have optioned a story idea before slipping off the
mortal coil.
What
Critics Say:
"I don't care what anyone may say to the contrary,
this is a truly frightening movie." -- THE MODERN
HORROR FILM
Like this flick? See also:
CREATURE
FROM BLACK LAKE;
MYSTERIOUS MONSTERS;
MANBEAST;
NIGHT
OF THE DEMON
|
top
Stranger
Starring Scott
Crowell. Directed by Scott Crowell.
This
impressive debut feature by Scott Crowell is 83 shimmering
minutes of truly inspired moviemaking. An epic four years
in production and shot on 16mm in gorgeous black and white
(with some color sequences), STRANGER
(1999) is 'must see' indie feature making at its best.
Journey along for the ride as a nameless drifter ala Sergio
Leone haunts the lost freeway interchanges of America,
from New York to Nashville and somewhere horribly in-between.
In a nod to PEEPING TOM, the Stranger's only companion
is a battered home movie camera, which he uses to slowly
shoot his 'greatest epic ever made' private nightmare
production.
STRANGER's mesmerizing quality has insured
its cult survival despite a plethora of non-bookings in
more traditional festivals. It is not an 'easy' flick
to watch at times, but not because it is gory in the usual
splatter film manner. Rather, the implied violence and
the psychological bruising that occur as you are forced
to identify with the Stranger himself via excellent voice
over narration is not unlike the effect Kubrick achieved
for pitiable but equally monstrous Alex in A CLOCKWORK
ORANGE.
For some, the aforementioned dark forbodings warn to venture
no further into this cinematic no person's land. For admittedly
at times, you wonder how complicit you have become with
the luridly poetic Stranger, whose corrosive point of
view threatens to spill over into your own psyche, whether
you want him to or not.
Hanging with such a bad dude -- even only a fictional
one like this -- always brings a later date karmic bolt
of negativity as price of admission; whether you think
it was worth it or not is whether you appreciate the early
Polanski flix such as KNIFE IN THE WATER and CUL DE SAC
as much as you do the later Hollywood ones such as ROSEMARY'S
BABY and CHINATOWN. -- Notes
by R. U. Holden.
 What
Critics Say:
"Enthralling... expressive & accomplished
filmmaking!" -- Amy Taubin, THE VILLAGE VOICE
"Aces! A great-looking film!"-- John Pierson,
IFC SPLIT SCREEN
"Crowell's jolting editing, his striking, Lynchian use
of sound, and his canny use of different film stocks create
a 
cumulative effect that's hard to shake." -- Jim Ridley,
THE NASHVILLE SCENE
"Gritty road movie feels like a psychotic mix of
Jarmusch and Bukowski... lovingly captures piss-ant America
at its seediest (a strip club advertises 30 'Beautiful
Girls' & '3 Fat Ones'). I look forward to seeing what
Crowell comes up with next." -- Steve Puchalski,
SHOCK CINEMA |
|
Reviews:
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