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Godzilla x Kong (?): More Like Trojan Horse vs. Unsuspecting Public

Reviewed by Anonymous for TheHumbleHeckler.com.

(Editor’s note: The film critic known as Anonymous suffers from an excessive persecution complex and is prone to fits of extreme paranoia. Please keep this in mind when reading the following review. His or her opinions do not necessarily reflect those of TheHumbleHeckler.com.)

Some fools may see Godzilla x Kong: The New Empire as another leisurely stroll through the Matrix that governs us all. Some have even referred to it as “harmless entertainment.” But those of those whose eyes are wide open know better than that. In reality, this film is a thinly veiled metaphor for the coming New World Order. Don’t believe me? Just look at the facts. For starters, the subtitle of this film is The New Empire. Coincidence? Only if you make a habit of buying whatever Big Brother sells you without question. And then there’s the story. Check this out: Godzilla (or Asia) and Kong (or North America) join forces to fight off a serious threat to someplace called Hollow Earth (or the truth). And the whole thing plays out in one violent fight sequence after another, not-so-subtly suggesting that all-out war is inevitable. And who profits from war? You know damn well who. The Man—that’s who. The Godzilla character suggests that the war will be atomic in nature. While Kong clearly represents the use of guerrilla (a lazy play on words, I know) tactics to infiltrate and detonate WMD’s in our cities and towns, right under our noses. The film also implies that Kong may be patient zero (Typhoid Hairy, if you will) in an impending worldwide outbreak of the monkeypox virus.

Director Adam Wingard (if that is his real name) is at his nefarious best, employing state-of-the-art effects work, colorful scenery, playful banter, and exciting action sequences to lay the groundwork for the coming cataclysm, an inevitable shift in the power structure and social order that will create a new society—something the film refers to as the MonsterVerse. Meanwhile, the popcorn-munching masses never suspect a thing. Wingard was certainly given every opportunity to pull off this masterpiece of subterfuge. Every possible financial and material resource was made available to him. After all, the film has a production budget of $135 million, but my sources tell me the actual budget was closer to $160 billion. So … where did all the money go? Because it certainly isn’t all on the screen. The answer is simple and terrifying: Nanobot technology.

Every single official Godzilla x Kong soda cup, popcorn bucket, and plastic toy has been coated with a microscopic layer of nanobots whose sole purpose is to infiltrate your bodies, either through ingestion or skin absorption, and burrow into your brains, crisscrossing your hardwiring until you can no longer think for yourself. The nanobots are also trained to give you super-cravings for Coke and theater popcorn, which is more than a little petty and unnecessary. But am I surprised? Not one bit. I mean, we are talking about Warner Bros. Pictures here, people.

Godzilla x Kong: The New Empire is, at best, an effective propaganda film, and, at worst, the beginning of the end of all life on Earth as we know it. But Dan Stevens is pretty cool and Rebecca Hall is always worth the price of admission, so what the hell. If you don’t have a problem with becoming a useless, drooling, subservient automaton give Godzilla x Kong a shot. At least you’ll get to see a lizard and a monkey break stuff.

I give Godzilla x Kong: The New Empire five tinfoil hats out of a possible five.

(Godzilla x Kong: The New Empire is rated PG-13 for pervasive use of subliminal imagery, extensive growling, monkey nudity, uncomfortable dialogue, and adult situations.)

Five Things You Couldn’t Possibly Know About Friday the 13th (1980)

Written by Henry Bernice for TheHumbleHeckler.com.

(Editor’s note: Film critic/historian Henry Bernice has been struck by lightning seven times. Keep this in mind when reading the following article.)

Friday the 13th is one of the more polarizing horror films of the ’80s. Legions of horror fans see something in the film that legions of film critics simply do not. But, love it or hate it, the film has made an indelible impact on the industry, one that continues to this day. More than four decades after that first fateful trip to Camp Crystal Lake, generations of Friday fans continue to spend their hard-earned dollars and their precious time pouring over the minutia of the film’s most trivial tidbits, wearing their knowledge of the film(s) on their sleeves like a merit badge from Camp No-Be-Bo-Sco. And yet I have come up with five juicy little factoids that even the most ardent Friday fan couldn’t possibly know. So … here we go.

(1) Most Friday enthusiasts know that the film was originally titled A Long Night at Camp Blood. But only a privileged few have heard the actual working title: Friday July 13th, Around Seven O’clock P.M. Can you imagine such an awful title being seriously considered? But that’s nothing compared to the title proposed by Paramount Pictures bigshot producer Colin Bretherton, who wanted the film called: Camp Necky Stabby in honor of the film’s most notorious murder (you know, the scene where Kevin Bacon gets it right through the neck). Other prominent title suggestions include: The Horny Teen Massacre, Kind of Halloween, but not really, and Friday in New Jersey.

Actor Billy Dee Williams had no affiliation with the film.

(2) The film had to be completed on a budget of $550,000. To cut costs, all of the cabins seen in the film were made completely out of fudge and Rice Krispie treats. “We thought it was a good idea,” said Sean S. Cunningham (the film’s producer/director) in a 1982 interview with Film Monsters Magazine. “But, boy, were we ever wrong. Those cabins attracted every hungry animal withing ten miles of the set. By the second week, we were up to our cornholes in rat bites and bear attacks.”

(3) Mrs. Voorhees was not supposed to be the killer. Believe it or not, the original script called for Crazy Ralph (“You’re all doomed!”) played by Walt Gorney to be revealed as the Camp Crystal Lake killer in the film’s final moments. Unfortunately, Mr. Gorney fell ill and had to be hospitalized before the film was finished shooting his scenes. “It was the damnedest thing,” Cunningham told an interviewer for Haute Couture Magazine in 1981. “One day we came to the set and found him [Walt] eating his weight in fudge and Rice Krispie treats. I mean, that guy was chewing right through the walls of one of the cabins. It was crazy.” Years later at a horror convention, when asked about the lost opportunity to play one of horror cinema’s all-time great villains, Walt Gorney said, “Worth it.” Then he threw a half-finished Bahama Mama-flavored Slush Puppie at Betsy Palmer.

Queen Elizabeth II: The world’s most famous Friday fan.

(4) Queen Elizabeth is a big fan. That’s right, QE2 loves the Voorheeses and all of their gory misadventures. She was overheard talking about the Friday films at the snack bar while appearing for an official Audience with Pope Francis in 2015. “I can watch all of the Paramount Fridays, but that first one is hella scary,” she said. There is also an unconfirmed rumor stating that QE2 collects Jason masks. “Oh hell yeah, she loves her Jason masks. She even paints them and gives them customized machete gashes,” said Sarah, Duchess of York, in an off-the-record 2019 chat with journalist Chelsea Taunton from the magazine Modern Root Beer Enthusiast. “I think she’s even got a withered Pamela head tucked away in a closet at Balmoral.”

(5) Kevin Bacon was almost fired. It’s hard to believe now, but there was a time when Kevin Bacon was difficult to work with on set. Screenwriter Victor Miller recalled some of the not-so-fond memories of shooting with Bacon in an interview with Immoral Dentistry Magazine in 1990. “Kevin was in a strange place at that time. He wanted to do the role as a Polish transfer student, and no matter how much we pleaded with him, he refused to acquiesce. So he spoke with a Polish accent for the entire production.” The situation became so dire that Cunningham had to bring in an actor to dub all of Bacon’s lines. “We couldn’t afford a top-tier voice actor,” Miller said. “So we had to bring in an unknown named Arnold Schwarzenegger. And, like, shockingly, he totally nailed it. Too bad he went uncredited.”

So, there ya’ have it, Friday fans. Five more things you can use at parties to impress other … um … trivia enthusiasts, maybe? Yeah, let’s go with trivia enthusiasts. Bye!

It’s Me, Billy: Traditional Sequel or Postmodern Masterpiece?

Reviewed by Armen Steckler-Briggs for TheHumbleHeckler.com.

(Editor’s note: Film critic Armen Steckler-Briggs is unaware of the 1974 film Black Christmas. He has also recently been institutionalized for excessive glue sniffing. Keep this in mind when reading the following review.)

Well … here’s something new. Just when I thought I’d seen it all, here comes It’s Me, Billy, one of the strangest sequels (or films) I’ve ever seen–and maybe one of the most brilliant.

Written and directed by Bruce Dale and Dave McRae, It’s Me, Billy serves as both a fantastically realized slasher film and (get this) as a sequel to the 1979 family classic Black Beauty. I know what you’re thinking. Believe me, I felt the same way at first, but, as crazy as this premise sounds, it works … somehow.

In this iteration, Black Beauty (the equine hero from the original film) has gone all Travis Bickle after years of being forced into servitude as a racehorse. That’s right, this beauty is pissed and it’s time for someone to pay. Victoria Mero stars as the granddaughter of Alec Ramsey, the man who initially befriended Black Beauty before ultimately betraying their friendship and exploiting the majestic creature for financial gain.

Here’s the story: After learning that Alec Ramsey has passed away, Black Beauty devises a plan to do away with as many surviving Ramseys as possible. He begins by inviting Ramsey’s granddaughter (Mero, in a devastating, gritty performance) and two of her besties to Ramsey’s house for some good old-fashioned Christmas spirit. This is when the film takes a turn away from the spirited family friendly adventure of the original in favor of a dark examination of why good horses go bad. And believe me, this horsey has indeed gone bad. Now referring to himself as “Billy,” Black Beauty embarks on a murder spree, picking off his victims one at a time until his blood lust is satiated.

This is where It’s Me, Billy mutates into a postmodern masterpiece. The film forces the viewer to ask some pretty tough questions like: Is “Billy” a character Black Beauty plays in order to psychologically distance himself from the violence he is about to commit? Or is “Billy” a more permanent manifestation of Black Beauty’s fractured psyche? Has “Billy” completely taken over Black Beauty so completely that Black Beauty no longer exists at all? Or does “Black Beauty” now exist in the mind of a fully realized Billy? The answer really doesn’t matter because you get to see a horse kill people.

Honestly, after watching this film, I have to put Billy up there with the greatest screen killers of all time. After all, Norman Bates is scary, but he isn’t a freakin’ horse. I mean, imagine you’re in a big scary house at night, settling in, getting ready for bed … And then, out of the shadows comes a knife-wielding horse. Let’s be honest, the heart attack will get you long before the serial-killing horse.

Dale and McRae do a good job of keeping Billy/Beauty in the shadows, never allowing too much to be seen. We don’t hear any neighing or the clippity-clop of hooves hitting hardwood. That would be too obvious. (For the record, we also never see any big, steamy horse poopies, either. That would have been gratuitous and silly.) No, instead we are treated to a subtle, terrifying film that works as both an experiment in pure terror as well as a treatise on equine mental health issues.

I give It’s Me, Billy a perfect five stars out of a possible five.

(It’s Me, Billy is rated NC-17 for graphic violence, profanity, nightmare imagery, drug abuse, and one brief shot of horse schlong.)

Revisiting Halloween II (1981)

Reviewed by Marc Hopspring for TheHumbleHeckler.com

(Editor’s note: Film critic Marc Hopspring reviewed this film after watching it via a malfunctioning cable box that, unbeknownst to him, randomly switched back and forth between Halloween II and True Lies. Keep this in mind when reading the following review.)

It had been at least a decade since I’d seen Halloween II, and boy oh boy is it different from the film I remember. For starters, I had no recollection of James Cameron directing this film. And now that I know, I have to rank this as one of Cameron’s worst efforts. And that’s just the first of many surprises.

Halloween II is by far one of the strangest sequels ever produced. I’m not really sure how this thing is even related to the first Halloween. Despite the uncountable number of temporal and logical gaps, I have to assume this hodgepodge of narrative spaghetti was created on purpose. After all, Halloween creator John Carpenter wrote the script, which is supposedly based on a French film or something. Anyway, here’s the plot: After surviving being shot six times on Halloween night 1978, Michael Myers is now–somehow!–the leader of a terrorist organization called the Crimson Jihad, and it’s up to husband-and-wife team Laurie Strode (Jamie Lee Curtis) and Dr. Sam Loomis (now played by Arnold Schwarzenegger–that’s right, Ahhhh-nold) to stop Myers from sneaking a nuke into Haddonfield Memorial Hospital. This is where the film starts to lose me. I mean, why would any terrorist group want to take out a small town hospital, especially with a weapon that could destroy an entire city? Where’s the logic in that? And when the hell did Laurie Strode marry Dr. Loomis?

An almost-unrecognizable Jamie Lee Curtis as Laurie Strode

Even worse than the nonsensical storyline is the film’s schizophrenic editing style. In one scene an unmasked Myers (who is now Middle Eastern for some reason) engages in a brilliantly choreographed gun battle in a public restroom, and then in the next scene he’s drowning a naked nurse in a hot tub–and the mask is back. In another confusing sequence, Laurie does a sexy striptease for Loomis (again, he’s now her husband!), then out of nowhere, she’s posing as a hospital patient (in a bad wig) who is forced to fight off the advances of a horny ambulance driver, only to find herself, mere moments later, fighting off the advances of Bill Paxton. And then, for reason I will never EVER understand, Arnold disguises himself as Donald Pleasance and faces off with Myers in the film’s climax–a climax in which they are both blown up. Don’t get me wrong, it’s a fine ending, but by the time the film finally got to it I was just too confused to care anymore.

Tom Arnold as … I don’t know … maybe Sheriff Brackett?

When I say the film is confusing, I have never been more serious in my life. Once scene begins with an intricate chase in which Loomis, on horseback, pursues Myers, on a motorcycle, through a crowded shopping mall. Exciting, right? So then why does the scene end with a horny ambulance driver singing an X-rated version of “Amazing Grace”? The film just leaves me with too many questions. Why, for example, does Jamie Lee Curtis’s makeup keep aging and de-aging her? Is this supposed to be an example of spycraft? If so, is this really supposed to confuse Myers? And why the hell is Tom Arnold in a Halloween film? When the hell did Loomis learn to fly a Harrier jet? And for what possible reason did the Crimson Jihad feel it necessary to Kill Ben Tramer? It’s all so bizarre. And I haven’t even mentioned the ski slope shootout that culminates with a child in a pirate costume getting gashed by a razor blade hidden in an apple. Why are trained spies hunting trick-or-treaters? One minute we’re watching a bridge blow up and the next we’re watching an idiot knock himself stupid after slipping in a puddle of blood. Aw … forget it! To hell with this mess of a movie.

Halloween II is a flawed horror sequel for sure. If you’re in the mood for something that makes you question your sanity, this flick is for you. Otherwise, stay far, far, away from this celluloid turd. Although, to be fair, Halloween II makes more sense than the movie I watched right after it. In that stinker, a gremlin steals a DeLorean and time-travels back to 1955 to make sure nobody gets wet or eats after midnight. Talk about nonsense.

I give Halloween II one star out of a possible five stars and all the bile my liver can produce.

(Halloween II is rated R for profanity, violence, nudity, aggressive stupidity and the graphic depiction of Tom Arnold.)

Avengers: Endgame: Fine Entertainment for Humans … Like Me

Avengers: Endgame: Fine Entertainment for Humans … Like Me

Reviewed by Graktar the Terrible Max Human for HumbleHeckler.com.

(Editor’s note: The following review contains content the author attempted to redact by using his Word program’s strikethrough function.)

The new filmed entertainment Avengers: Endgame is a sequel to a film about a giant purple space monster who wipes out half of all life on Earth with a snap of his fingers—and yet it isn’t as funny as it sounds. In fact, many of the Earthlings seated in close proximity to me were actually excreting ocular fluid from their cranial orbs in spasmodic flailings of emotion. The estrogen sack (or female) reclining next me was even blubbering. Go figure. You’d never see Queck the Conqueror, Primary Overlord of Invasion my friend Dave acting like that in a public place. Strangely, I must confess that listening to the grinding sounds made by this woman’s obstructed sinuses in concert with the occasional bout of intestinal distress brought on by her overconsumption of nachos did soothe my dorsal mantle cavity nerves, which as you know, decelerates production in my venom glands is good. And that warm feeling always reminds me of my youth, playing in the Zircon fields on Kakadonia 12 baseball.

Anyhoo, this filmed entertainment stars the Second Robert Downey as a man who has engineered some sort of intelligent armor that gives him command over an arsenal of advanced weaponry as well as the power of flight, giving him a tactical advantage in almost any combat situation. He’s also dating a hottie. Large Blond Man plays Thor, some sort of God. From the context provided by the film, I assume he is the God of Hammers. There’s a man who turns into a green monster when he’s annoyed. There’s a black-leather-clad female assassin. And then there’s—oh, I don’t know, something like 60 other “heroes” or something. It’s almost impossible to keep track of all these characters. After all, my training focused mainly on World Conquering and Obliterating Inferior Life Forms math, not cinema. So cut me some slack, okay.

I suppose, as an overall entertainment experience, Avengers: Endgame isn’t terrible. It’s certainly better than having your tentacle pustules lanced by a smoldering plutonium-charged blade Alf. Although I have to admit that the three-hour runtime placed nearly unbearable stresses on at least three of my bladders, not the mention the damage I could’ve done to my acidic bile ejector. But then again, it’s probably my fault for buying the big Pepsi.

All in all, the film works as a fun, escapist thrill ride. The actors do a fine job of pretending. However, the so-called “action” scenes are laughably naïve. Don’t worry, I won’t spoil anything important, but let’s just say, if these heroes and this technology is the best Earth has to offer as resistance to a full-scale invasion … well, then, I suggest you go out and see this film before your world is reduced to towering piles smoldering ash and every Earthling’s physical vessel is rendered a quivering goo puddle. Also, the effects are neat.

All hail Queen Xlylonia! So go see it and have a ball.

(Avengers: Endgame is rated PG-13 for the incessant whining of fleshy humans, a few profane utterances, laughably simple scenarios of destruction, and adult situations.)

End communication. Thanks for reading.

Shazam! is Amazeballs!

Shazam! is Amazeballs!

Reviewed by Ozzy the Easily Amazed Critic for TheHumbleHeckler.com

Shazam! is the perfect title for this thrill ride of movie, and not just because it’s the name of the film’s hero. First of all, you just gotta love titles that end with an exclamation point. How cool is that? You almost never see that. And then there’s the word itself: Shazam. I mean, even without the exclamation point, that is one hell of a title. And then there’s the font they chose for the title. I don’t know what that font is officially called, but it’s like—BAM! That font just screams “Hey, man, check me out. I’m a seriously cool title.” And that’s just how the movie starts.

This sucker starts to rev its engine as soon as it begins. The story is so faced paced; it’s like—POW! The story rocks so hard it melted my face within two or three minutes, and then I was, like, whoa … cool. As for the special effects. Well, it should come as no surprise that the effects were like—KAPOW! It’s like, you’ve seen other movies before, and you think you’ve seen really good effects, but then you see this, and it’s like—WHOOOOOP! There’s was one action scene where I was like, “no way!” but the film was all like, “uh-huh, dawg. Just breathe, bro. We’ll get through this together.” Thank God for Mountain Dew Code Red, ’cuz, trust me, bro, after a few of these action sequences, you’re gonna need a drink, and probably a quick nosh. Too bad movie theaters don’t make tater tots. Ah, man, this movie with tots would be like—PLADOW!

Even the acting in this movie was hella tight, dawg. It stars that dude that was Chuck on that show with the hot chick. The kid actors were also stylin’, which came as shock, bro, cuz usually dem young’uns suck it hard. There’s this one kid who’s all banged up and needs crutches and whatnot, but that kid is funny AF; there were even a few times where I was laughin’ so hard I almost squirted Mountain Dew Code Red out of my nose, bro. I laughed so hard, it was all like—BANGOW! At one point the dude sittin’ next to me was like—WHAAAAT! He turned to me, all surprised and whatnot, and I was like, “I know, right?” and then he was like, “Right?”

Basically, you can’t go wrong with this movie. The music was like—GAZANG! The girlies was poppin’. A few of dem hotties was like—KAZOW! The action was all—FLOMP! The story was like—TANG! The cinematography was downright—CARAAACK! And the production design was full-on—WHAZOW!

This movie punched me in my nuts, then mellowed me out like a breezy day on the beach with my best girl, my tunes, and some ice-cold Mountain Dew Code Red. So throw your money at the chick who works at the box office, like—Fladow! and demand your ticket to Shazam! Sure, the film may be thematically reductive, creatively bankrupt, uninspired philosophically, derivative of much more important films, lacking in voice and vision, and created solely to benefit from the ongoing popularity of superhero cinema that is completely devoid of artistic integrity in order to serve a faceless corporate master whose sinister intentions include, but are not limited to, world domination through the dumbing-down of the population through the propagation of numerous commercial entertainment properties—but it sure goes down easy with some nachos and a nice, tall Mountain Dew Code Red.

I give Shazam! a righteous fist bump, a bro hug, and 10 stars out of a possible ten.

(Shazam! is PG-13 for comic book violence, adult themes, some gun scenes where there’s lots of like—BLAM! and a few emotional scenes that make even grown men feel like—DAMN!)

Pet Sematary (2019): A Strange but Effective Adaptation

Pet Sematary (2019): A Strange but Effective Adaptation

Reviewed by Simon Johnston for TheHumbleHeckler.com.

(Editor’s note: One day before attending the screening for this film, critic Simon Johnston was kicked in the head by a rogue mule during a family farm outing. Keep this in mind when reading the following review.)

Adaptation is a fickle art form; delicate in its intricacies, and merciless in its ability to expose the film’s every flaw. Most adaptations fail … miserably. Adaptations of beloved best-sellers have an even lower batting average. And Stephen King adaptations almost always suck. The problem with adapting any popular work is that there are no rules, no guidelines, no lifeguards on duty to warn screenwriters away from treacherous waters. Therefore, I tend to be as openminded as possible when reviewing adaptations, particularly when considering films that already occupy exalted status in the popular culture. And for Pet Sematary this is doubly true, as the ’80s have already gifted us with a popular and beloved novel and a film adaptation whose status among horror fans continues to not only endure but flourish. So this 2019 version of Pet Sematary has to slake the thirst of moviegoers as both an adaptation of a classic novel and as a remake of a classic horror film. Or is this actually a reboot? A soft reboot? Don’t know, don’t care. What I do know for sure is this is one of the strangest, most liberal interpretations of known material I’ve ever seen. These filmmakers really went out on a limb with this one.

As most of you know, Pet Sematary is based on the 1983 Stephen King classic novel Christine, only this time, instead of a 1958 Plymouth Fury, Christine is a big ole 18-wheeler with an appetite for human flesh. The story begins when the Creed family leaves the hustle and bustle of Boston for the fresh air, quiet, and low-stress environment of the Maine countryside. But things aren’t as bucolic as they seem. Christine, now a massive truck, regularly terrorizes the backroads of this quaint little New England town, looking for fresh victims to run over and then somehow bring back as zombies or something … I think in this version Christine is a Native American spirit that buries dead pets (and, unfortunately, people) somewhere spooky, then they come back as killer trucks, too. Something like that. Anyway, it’s nothing like the Stephen King novel or the original film directed by John Carpenter, which took a more traditional approach to adaptation, casting Christine as a killer car and leaving the Creed family out of the story altogether.

But, as weird as it may be, Pet Sematary is still a really strong movie in its own way. Jason Clarke does a fine job in a dual role as Louis Creed and as Christine. Amy Seimetz also makes a stellar impression in her dual role as Rachel Creed (Louis’s scaredy-cat wife) and as the woman who sold me a Coke. But it’s newcomer John Lithgow who steals the show, playing the nicotine-stained denim enthusiast Jud Crandall as well as giving life to the role of Winston Churchill, the family cat (a role he’d already played to perfection on the Netflix series The Crown). There’s also a little girl who does some stuff, but her character is ultimately unimportant to the overall plot. And then there’s a little boy who just wandered onto the set by accident and for some reason they made him the Creed’s son, Gage.

Speaking of the plot: it’s a hot mess. Don’t get me wrong, there’s some really good stuff here. I was enthralled with everything concerning Winston Churchill (they call him Church, for some reason) becoming a serial killer. Every scene that focuses on Church as he selects, stalks, tortures, and eventually kills his many victims (he kills 431 people and one big-ass rat in this film) is riveting. But these scenes are also absurdly gratuitous. For example, in one sequence Church decapitates a hitchhiker with a chainsaw, then we watch as he methodically skins his victim, filets his flesh, and meticulously prepares the corpse for his dinner—which we then watch him eat. In its entirety! None of this is necessary. There are also entirely too many fart jokes. In my humble opinion, horror and fart jokes are not compatible. There’s an actual scene in which Ellie (Louis and Rachel’s daughter) farts on Church, who in turn vomits on Gage, who in turn vomits on Jud, who already has diarrhea, so he poops his pants, which make louis sick, which makes Ellie laugh so hard she farts on Church again. Is this supposed to be scary? Funny? To be honest, at this point in the film I zoned out for a while and focused my attention on an order of concessions-stand nachos. I flat-out destroyed those bitches, then hit the bathroom for some sweet relief.

When I returned to the theater, the film had undergone a serious plot twist. Louis was now a man in a red suit with a lightning bolt on it who calls himself Shazooki or something. Gage was now a paraplegic teenager who regards his father more like a friend than a parent. The whole thing was so incredibly confusing I had to consider that I may have walked into the wrong theater after leaving the bathroom. Either way, there was still just way, way too much farting.

Pet Sematary may not be the scariest movie you see this year. That is all.

I give Pet Sematary 4.683 out of 10. I would’ve rated the film higher, but there’s just so much farting. I mean, really, people. Come on.

(Pet Sematary is rate R for adult language, graphic violence, graphic depiction of surgery, fish taunting, unsupervised tire swinging, threatening weather, superfluous gasoline usage, and one fart joke after another until you just want to smack someone.)

Five More Misleading Movie Titles That Will Ruin Movie Night

By Frank Wellspring for TheHumbleHeckler.com

In the spirit of honesty, I will begin this article by admitting that I sometimes make the mistake of taking movie titles a bit too literally. However, that does not excuse studios and filmmakers from doing a poor job of naming their films. Ambiguity is the enemy when selecting a movie title. I mean, consider a title like Slumber Party Massacre—nothing ambiguous about that. And guess what features prominently in films like The Mist, The Fog, and The Stuff. Luckily, you don’t have to guess. Do you think a movie called Gremlins might be a creature feature? If you do, you’d be right. The Birds is actually about killer birds; Peeping Tom tells the tale of a psychotic voyeur; and Silent Night, Deadly Night is precisely what you think it would be. So why in the name of all that’s holy and pure do so many movies have titles that seem to exist only to baffle, confuse, or mislead? It just makes no sense, but people continue to do it; therefore, people like me will continue to call them out when they do it. So, here are five more movies (shout-out to fellow critic Clark Savage, who penned the initial list of five) with titles so misleading they’re bound to ruin Movie Night.

(1) Monster-in-Law (2005): As a lover of horror films, particularly creature features, this movie ranks among the most disappointing ever, based on the title alone, anyway. The story of a possessive mother trying to sabotage her son’s burgeoning relationship could’ve provided a fantastic springboard to cinematic thrills and chills. Unfortunately, Monster-in-Law isn’t scary at all—not even accidentally. Sure, the make-up effects are terrifying. Jennifer Lopez’s turn as a soulless, demonic, life-sucking she-creature is the stuff of nightmares. And Jane Fonda will make your skin crawl as an ancient bony-faced hag whose stare rivals Medusa’s in its power to turn those who gaze upon it to stone. But the presence of two scary monster-women ultimately isn’t enough to generate the requisite terror to give modern horror fans the heebie-jeebies.

(2) Saturday Night Fever (1977): This is a confusing film, thanks in no small part to its unfortunate title. The film focuses on the outbreak of a deadly virus—a virus that inevitably leads the poor souls who become infected to suffer from a condition known as Saturday night fever. According to the film, the virus spreads almost exclusively among young people. The most obvious symptoms of Saturday night fever are: the inability to speak in grammatically correct sentences and rhythmic spasmodic flailing of the limbs whenever an infected person is exposed to disco music. It is also arguable that Saturday night fever impacts the region of the brain responsible for fashion choices. Do not watch this film if you are expecting an engrossing medical thriller concerning the outbreak of an infectious disease thrust upon an unknowing population. The basic suspense/thriller plot points are all present, but the film’s execution is woefully inept, leaving the viewer with too many questions for the film to succeed at creating a significant measure of suspense. For example, the narrative never even bothers to explain the source of the virus, the Patient Zero, if you will. Although, to be fair, there are noticeable hints sprinkled throughout the film that subtly suggest this particular virus began with The Bee Gees.

(3) Juice (1992): This film is a bit of a mixed bag. Mostly, the film succeeds as an urban crime drama depicting the harsh realities of life for a group of young men growing up in a tough neighborhood, where life and death decisions are made on a daily basis, and the specter of Death is ever present. But then again, the film completely fails as a biography of O.J. Simpson, which is what the title would have you believe is the film’s true subject. Is it possible that this title was chosen to purposely trick Simpson’s fans into theaters? Possibly. It certainly isn’t beneath the Hollywood marketing machine to intentionally deceive the public. I mean, what’s next? Am I going to find out that the TV series Chuck isn’t about legendary rocker Chuck Berry?

(4) Rain Man (1988): I take no pleasure in saying this, but Rain Man is, without hesitation or hyperbole, the worst superhero film ever made. Dustin Hoffman stars as Raymond Babbitt, a man whose alter ego, Rain Man, does not—I repeat does NOT—have the ability to make it rain whenever he wants. But that’s just the beginning. Other than the ability to instantly count matchsticks that have fallen to the floor and to cheat at blackjack, there really isn’t anything all that impressive about this guy. And get this: There isn’t a villain anywhere to be seen in the entire movie. Rain Man just goes about his life, without any supervillains threatening to reveal his true identity or anything. Not one car chase. Not one explosion. Not one gun fight. What the hell, man?

(5) Cat on a Hot Tin Roof (1958): This is an emotionally effective film that, in my opinion, eventually buckles under the weight of too much metaphor. Based on the title, you’d expect the film to work as a treatise on the mistreatment of animals, and that’s exactly what it is; however, this message is buried beneath layers and layers of muddled symbolism. While on the surface the story appears to be about alcoholism, a marriage under strain, and generations of family pride and secrets bubbling to the surface with disastrous results, in reality this is all just a thinly veiled metaphor about how leaving a kitty on a tin roof in extreme heat could be bad for the kitty’s little paws. Sure, the film can be heavy-handed at times, but that doesn’t make the message any less important. Cats really shouldn’t be left on hot tin roofs for any reason whatsoever. And yet, I just wonder if we really needed to go to such dramatic lengths to make such an obvious point.

Five Things You Couldn’t Possibly Know About Star Wars (1977)

Five Things You Couldn’t Possibly Know About Star Wars (1977)

By Henry Bernice for TheHumbleHeckler.com.

(Editor’s note: Film critic/historian Henry Bernice has been struck by lightning seven times. Keep this in mind when reading the following article.)

Star Wars (1977) is arguably the most important movie in the history of the American film industry. That’s not to say that it is the best or most important work of cinema ever created (after all, it is a relatively simple fantasy/adventure tale that luxuriates in rather well-worn tropes concerning good versus evil). However, one could reasonably contend that no other film has had a greater impact on the way movies are made and marketed. Star Wars is, and will always remain, a touchstone in blockbuster filmmaking and an indelible pop culture hallmark. No film has ever inflamed so much passion in so many movie lovers. For decades the most rabid of all fan bases has continuously picked through the minutia of the Star Wars series, finding relevance in even the most trivial of facts. And yet even the most hardcore believers in the Force don’t know absolutely everything. So, without further ado, here are five things you couldn’t possibly know about Star Wars (1977).

(1) In George Lucas’s original screenplay (called The Star Wars) the character of Darth Vader was originally called Darth Kenny. It wasn’t until Gary Kurtz (one of the film’s producers) saw the final script that the idea of a name change was considered. “I just didn’t think Darth Kenny was the kind of name that would strike fear in the hearts of moviegoers,” Kurtz told Sci-Fi Celluloid Magazine in an interview conducted in 1980. “At the time I was really interested in what was happening in the world of video games. A friend of mine in Japan named Tomohiro Nishikado was developing a new game called Space Invaders,” Kurtz said, “so when George asked me to suggest a new name, I thought the choice was obvious: I suggested we call our villain Darth Space. George loved it, but John Williams (composer of the film’s score), who just happened to be in the elevator with us at the time said, ‘That’s the dumbest thing I’ve ever heard. I mean, why don’t we call him Darth Elevator since right now we’re in an elevator.’ Strangely enough, George (whose ability to sniff out sarcasm was severely lacking) loved the idea—until he met a waitress at Denny’s whose last name was Vader.”

(2) Harrison Ford originally auditioned for the role of Princess Leia. Ford was looking for something a little different after playing more masculine roles in films like American Graffiti and TV shows like Gunsmoke. “I don’t know, Han Solo just seemed like a bit of a dick,” Ford told The Cleveland Alfalfa Journal in 1981. “I’d done the whole tough, macho, charismatic thing to death. I really wanted to spread my wings as an actor and play a gutsy broad.” Ford actually screen tested for the role and won unanimous praise from Lucas and a number of producers. “It was amazing,” said Lucas to Starfire Magazine in late 1979. “That dude really looked like a chick. Sounded like one, too. No kidding, I was this close to asking him out for a drink before I remembered it was actually Harrison under all that hair and makeup.” When Ford was officially offered the part, he was ecstatic, but his enthusiasm waned when he attended his first costume fitting. “It was the hair, man. I just couldn’t get past the hair. For some reason George was married to that style, but it made my head look like my ears exploded or some shit, so I was like, screw it. I guess I’ll be charming … again.”

(3) The infamous Mos Eisley Cantina scene was shot illegally, guerrilla-style, without permits or formal permission at an actual bar called The Landing Strip, located just down the road from Newark Liberty International Airport. Therefore, the wacky cast of outrageous monsters and space creatures were actually just a congregation of Newark regulars mixed with a smattering of air travelers who decided to have a drink while waiting for their flights. Lucas snuck in his actors along with a small crew and just started filming everything. “We really hit the jackpot with that place,” Lucas said in a 1982 interview with Spandex World. “The place was so bizarre and everyone in the joint looked so tired and haggard that we didn’t need to use one drop of paint to dress the set or one drop of makeup on any of the extras. We just stole a crap-ton of footage and booked it outta there.” Lucas may be content with the footage, but a number of the extras are not. Not one of the bar patrons was paid for the film’s use of their image. There is still a lawsuit pending in the state of New Jersey.

(4) R2D2 was originally voiced by James Earl Jones. It’s hard to believe but those now-famous metallic-y blips and blops were initially delivered in a much deeper, much more stentorian register. The great James Earl Jones dove into his R2D2 voice recording sessions with an impressive amount of gusto. “I really loved being that little guy,” Jones told High Fashion Weekly in 1991. “When I heard that I’d been replaced I was really upset. That role meant a lot to me.” Eventually the role would go to legendary R&B/soul singer Barry White, who, for reasons unknown decided to remain uncredited for his performance.

(5) When the film was released in Japan the title had been changed from Star Wars to Happy Space Monster Ray Gun Vader Joy Joy Hour America Yes! As a result, this particular Japanese movie poster has become the holy grail for Star Wars collectors the world over. First printings of the poster are said to sell for as much as 4 million dollars. In 2016 a first printing sold at a Sotheby’s auction for more than 9 million dollars to a collector named Byron Toodles, an investment banker who loves movie paraphernalia. “It’s so stupid looking,” Mr. Toodles said in an impromptu press gathering outside of Sotheby’s auction house. “It’s such a freakout to look at this thing, man. It’s gonna make my cat york up his Meow Mix.”

So, there you have it, Star Wars aficionados. There are five more things you can use to impress people at sci-fi conventions. You’re Welcome.

Star Wars 8 is a Real Knee-Slapper

Star Wars 8: The Last Jedi is a Real Knee-Slapper

Reviewed by Cooter Jenkins-Dixon for TheHumbleHeckler.com.

(Editor’s note: This is film critic Cooter Jenkins-Dixon’s first review for TheHumbleHeckler.com since being recruited from the Arts & Leisure section of The Shadypork Hollow Gazette. The following review contains words and phrases that some readers may find offensive or baffling.)

Let’s just start by sayin’ that Star Wars 8 is one entertainin’ sumbitch. Hell, I was laughin’ and jumpin’ and clappin’ and squawkin’ so much I dern near split my denims—and I was wearin’ my good Duluth denims, so I weren’t spectin’ there’d be any concern for splittin’. Anyhoo, this here flick was directed by Rian Johnson, and let me tell ya’, that sumbitch surely earned whatever them Hollywood people done paid him for this one. The action sequences were slicker than a polecat’s corn hole after a mud bath. Hell, some of them scenes were so excitin’ I didn’t even realize my mouth was hangin’ as wide open as a BBQ pit before ya’ add the hickory chips. There was even a coupla times when I was white-knucklin’ it so hard my chew slipped out my mouth and hit the floor. At one point my buddy Clem refused to take a run to the bathroom cuz he didn’t want to miss anything, and the crazy bastard ended up gettin’ a surprise visit from his pork-and-bean lunch in the form of an unwanted mud pickle in his denims. Sad thing is, Ida done the same thing.

Let’s talk a bit about the actin’. Overall, I’d say the performances was believable, mostly because they was subtle as a breeze on a moonless August night in Georgia. I was pleased as punch to see that good ole’ boy Mark Hamill back as Luke Skywalker. Damn, that boy can swing a saber! To be fair, all the actors was real good, especially the little fella they got to play BB-8. I don’t know his name, but any flesh-and-blood human that can be that believable as a robot deserves to have an Oscar named after him and a lifetime supply of free root beer.

Now, I ain’t supposed to say nothin’ about the story or the characters or the endin’ or anything like that, so I guess I’ll just go on ahead and put a bow on this here review by sayin’ that Star Wars 8 might not be the prettiest Star Wars movie at the barn dance, but she’s still worth a twirl. I’d say Star Wars 8 is the movie version of a fried chicken dinner with plenty of gravy on the taters, because it tastes as good as it looks, you walk away from it feelin’ warm and satisfied, and you’ll find yourself thinkin’ about it for the next few days every time you have to squat and fire—that’s right, your turds will smell like Star Wars.

I give Star Wars 8 my highest ratin’ yet: A whole pen full of healthy hogs and one more Christmas with Maw-Maw Jean.

(Star Wars 8 is rated PG-13 for a few rough patches of violence involvin’ spaceships and ray guns and whatnot. I don’t think there was any cussin’, but I don’t remember for sure. It’s hard to remember much of anything since Maw-Maw Jean’s donkey, Bo, done kicked me in my head. Also, no one was naked and no one performed any lewd acts or nothin’. I thought I seen that big ole’ Wookie snort coke off a switchblade, but now that I really think on it, it don’t really seem in keepin’ with the whole Star Wars philosophy, so maybe I can blame that one on Bo. Did I mention that sumbitch done kicked me in my head?)