In Serbia, Baron Frankenstein lives with the Baroness and their two children. He dreams of a super-race, returning Serbia to its grand connections to ancient Greece. In his laboratory, assisted by Otto, he builds a desirable female body, but needs a male who will be superbody and superlover. He thinks he has found just the right brain to go with a body he’s built, but he’s made an error, taking the head of a gay aesthete. Meanwhile, the Baroness has her lusts, and she fastens on Nicholas, a friend of the dead lad. Can the Baron pull off his grand plan? He brings the two zombies together to mate. Meanwhile, Nicholas tries to free his dead friend. What about the Baron’s children? Read More »
VAMPIRE JUNCTION, for example, takes an inexplicable mix of characters (cowboys, doctors, acrobatic nudist vampires, a Dracula-wannabee, drunks, etc.) and tosses them all into a tourist trap of an old West ghost town and allows them all to shake up against one another for 90 minutes or so. Who knows what happens or why? Seeing nubile naked vampettes walking backwards on all fours like spiders while chubby old sheriffs are taking pot shots at old Scratch as we listen to the town drunk warbling nonsense while sitting on a hobby horse isn’t supposed to make sense to anyone but Jesus Franco. Naturally, Lina Romay, with her prime deep in her rear-view mirror, wanders through the proceedings trying to solve whatever mystery the director has foisted on the story.
And it’s as though Franco is daring you to try to understand or even try to enjoy anything he puts in front of you. Read More »
An international crew of astronauts undertakes a privately funded mission to search for life on Jupiter’s fourth largest moon. Read More »
“A nuanced portrayal of an entire era…JOSHUA TREE gives us an account of the process by which Hollywood molds an individual into its systemic image of a star.
That it accomplishes this through a formal subversion of Hollywood’s stylistic code…makes the message all the more subtle.”
— Travis Jeppesen, Artforum Read More »
John Wayne and Janet Leigh star in this military romance. Anna, Russian MIG pilot, escapes the USSR and lands on a US Air Force base in Alaska. There she meets Colonel Shannon, and after he debriefs her, the two become romantically involved and move to Palm Springs. Trouble arises when the US authorities discover that Anna is not really a defector but a Soviet spy. Army honchos decide to turn the tables by letting Shannon follow her back home and do some of his own espionage. But once there, Soviet forces endanger Shannon’s life — and Anna has to choose between her country and the man she has come to love. Read More »
One Night in Lisbon is one of several pre-1942 films which used the screwball-comedy form to comment upon the raging war in Europe. While transporting American warplanes to the beleagured RAF, Texas flyboy Dwight Houston (Fred MacMurray) is caught in a London air raid. Scurrying to a shelter, Dwight meets icy, well-bred Briton Leonora Pettycote (Madeleine Carroll), with whom he falls in love–a feeling that is far from mutual at first. Eventually responding to Dwight’s charms, Leonora agrees to join him for a night’s revelries (as soon as the Nazi bombers head home, that is), but their budding relationship is complicated by the unexpected presence of Dwight’s ex-wife Gerry Houston (Patricia Morrison and Leonora’s erstwhile sweetheart, Cmdr. Peter Walmsley (John Loder). Escaping their respective suitors, Dwight and Leonara end up in neutral Lisbon, only to land in the middle of a Nazi spy ring. Read More »
Who needs a description, it’s a Kuchar film Read More »