Skinned Deep

Skinned Deep~ 2004, Gabe Bartalos

SkinnedDeep
In the bonus features on the Skinned Deep DVD, various cast and crew members speak of director Gabriel Bartalos as though he were some sort of mad genius… That’s a hard sell. I just don’t think if I can buy that, however, I will say this; there is a moment in Skinned Deep where the movie suddenly takes a hard right turn out of inept, and into insane. After this point, the rest of the film is cast an an entirely new light, it stops feeling like it deserves to be lopped in with other low budget, shot on video horror films of the era, like O-Zone/Street Zombies or Darkwalker, and more like it should be viewed as landing somewhere between Basket Case 2/3 and The Last House on Dead End Street. Having seen the whole film, it’s clear that Skinned Deep is a special case. That being said, I’m not sure how to feel about it.

The plot feels unimportant; it’s your typical “Girl get’s kidnapped by mutants and weirdos in the middle of nowhere” type scenario, a cross pollinated descendant of both The Hills Have Eyes and Texas Chainsaw Massacre 2, but the experience feels more like House of 1000 Corpses by way of Fred Olen Ray. The frustrating thing about the movie is that while some areas of the film’s production appear feeble or dangerously malnourished, there are other areas where talent, effort, and forethought are incredibly evident. Again, I’m not one to jump on the “Bartalos is a genius” bandwagon, but I get the feeling that with a proper budget and a good producer to keep things on track, he might be able to achieve something really special. As it is, this film’s execution is incredibly uneven, and there are more than enough flaws to turn off any audience which isn’t accustomed to this sort of straight to video bullshit.

No review of Skinned Deep would be complete without addressing the film’s real claim to fame, however, and that is the fight scene between Shakes, and Plates. Let’s get into this:

In the movie, Veteran little person actor Warwick Davis plays a deranged mutant (I guess?) called Plates, a name he earned due to his lethal use of dinnerware as projectile weaponry. Yep, he wings dishes at people. Plates and his tribe of freaks come up against a motorcycle gang made up of senior citizens, and one of these over the hill roughians is Shakes, an old man, who shakes a lot. With the stage set, the confrontation between bikers and mutants blossoms in a Psychotronic treasure which is the full on, knock down, drag out, King Kong VS Godzilla style fist fight of the New Millennium; the battle between a shaky old man and a dwarf who throws dishes at people. The Shakes VS Plates scene is worth the cost of admission alone. O-Zone can’t compete with that shit.

So, Bartalos has done lots of stuff, but he’s only directed one other film, which is a shame. I’d like to see more out of him. As it is, Skinned Deep is a curiosity, it doesn’t fit in with it’s peers, and is not so easily dismissed as other shot on video horror films of the past twenty years. I recommend it, because of the Shakes VS Plates scene, but I can’t honestly say that you will like it. More than anything else,  this movie exists as a strange detour, and as evidence that Bartalos may be some sort of relatively undiscovered talent waiting for an opportunity.

Of course, who knows what we would get out of him if he had to play by studio rules.

C

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GODZILLA FINAL WARS

GODZILLA: FINAL WARS ~ 2004, Ryuhei Kitamura – Japan

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In 2004, Godzilla’s 50th anniversary, Toho released Godzilla: Final Wars. It was meant to be a finale of sorts, after which good old Godzilla would take some time to chill out. In an effort to celebrate the long running franchise, Final Wars works like a celebration of the entire cannon, and in a way, it’s almost a remake of every Godzilla movie simultaneously (mostly Destroy All Monsters), but it’s kind of a damn mess.

The plot is as follows: It is the future; blah blah blah who cares; the plot isn’t worth hashing out. Again, it’s that same old alien invasion story Toho has used over and over, but it’s really just a means to justify Godzilla fighting as many monsters as possible, and he really, really does. There are some dumb aliens in the mix, as well as a bunch of “mutants,” whom we’ll be talking about later.

It feels kinda disjointed and hurried. There is so much freaking homage in here that it almost just feels like watching a sitcom a clip show episode most of the time, which is not what you want from a glorious, 50th anniversary finale to your proudest franchise. The special effects suffer in the same way most modern Godzilla movies do- cheap, crappy CG and terrible composite effects, but the worst thing about the movie  is the emphasis on its human, and “mutant” characters. We spend a lot of time with them… And that time is a grab bag, sometimes its good, sometimes its really, really terrible.

Let’s look at the good; basically, aside from all the rad monster stuff, the coolest part of the movie is this guy:

gfw76Captain Gordon… He kinda looks like Stalin, mostly because they dress him exactly like Stalin for some reason… but he also kinda looks like Sgt. Slaughter, or a bad ass Mario, so that’s sort of a mixed message, but the fact remains that holy shit is he cool. Our lame ass mutant characters bust him out of military jail because they need his leadership to save the world. He’s really awesome, and he’s the captain of a sweet flying/submarine/drill type ship borrowed right out of Atragon, which is one of the better Showa era homages in the entire flick. That’s all good stuff…

…And then, on the other end of the spectrum, we have these guys….

gfw54“Mutants.” they suck so bad. These guys are part of the Earth anti-monster defense initiative or something. I have no idea in what way they’re better than normal people, but they’re supposed to be vaguely super human somehow, while remaining incredibly cliche and disinteresting. They’re like some profoundly lame Matrix/Ultraman combo deal, and they take up far too much screen time. I hate them a lot, for real, I’d have taken the G-Graspers over these idiots.

Also worth a mention, the big, stupid, Roland Emmerich version of Godzilla pops up in this movie, too. It tromps around and is promptly murdered by the real Godzilla, which takes less than a minute, and is a great thing that we all know needed to happen. I didn’t expect any sort of closure on that one, so this feels like a nice treat. Of course, I could have done without the unlistenable Sum 41 song that plays over the scene, but we have mute buttons, so it’s still good.

So, is it a good movie? Kinda. It’s probably going to make most Godzilla enthusiasts happy. I found myself enjoying the effort taken to pay respects to Godzilla’s older films, and all the monster fighting sequences are well done and entertaining. Also great; after relentlessly flip flopping on the Nature of Godzilla, I feel like this movie finds a good balance by casting him as humanity’s last ditch guardian by default, a looming threat that we all dread, but which is at the same time, our only hope for survival. I think this is a logical extension of the metaphor, given that GZ was originally meant to symbolize the horrors of atomic warfare. It’s a safe assumption that, if facing alien invasion, we might come to feel the same way about nuclear weapons that we do about Big Green in this film, so it feels appropriate that he has again found himself as a stand in for the bomb. Godzilla: Final Wars does a good job with that idea.

….BUT it isn’t a classic. As a finale, it feels appropriately epic, but we’ve traded a lot of character development for more for slick action sequences this time, and I’m never in favor of that. It’s simply too cluttered, and too all over the place, but if what you’re looking for is giant monsters fighting and little else, this for sure will give you what you want. I just think it would be wise to expect more from Godzilla, because his potential is enormous.

C-

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Roller Blade

Roller Blade ~ 1986, Donald Jackson

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Things have changed since the rock ‘em sock ‘em dog days of 1986. Let me set the scene for you, and give you some perspective (I was two years old); At that time, The Berlin Wall was still standing fully intact, a constant impediment to the freedoms of the East German people. The Soviet Union was still in operation, ideologically opposed to American values, and seemingly determined to squash out the spirit of democracy, by force, if necessary. The threat of Nuclear War loomed threateningly in the zeitgeist of the entire human race, and the future was very much a topic of much debate, as well as pessimistic speculation. In 1986, it really did seem like we might just be looking at an apocalyptic doomsday in our near future, at a world where barren, Radioactive wastelands would blanket the entire Earth, where mutants and bandits would pillage without compassion for the weak or the unfortunate, and where a militarized religious order of roller-skating babes would fight to protect what was left of human civilization. This really did seem like an unavoidable certainty, just waiting to happen. Honestly, I don’t know how we have avoided that reality for so long, and I’m forced to assumed we have only postponed it… For now.

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THE PLOT ~ The evil Dr. Saticoy, who looks like a combination of a Canadian Mounty and a gimp, and who constantly carries a hand puppet, not unlike Mr. Hat, hatches an evil plan to steal a power crystal from the noble Bod Sisters, a chapter of roller skating nuns who have been charged with keeping order in an apocalyptic wasteland filled with adults who ride around on rollerskates. It’s very realistic. Soon, the Bod sister’s are infiltrated by one of Saticoy’s spies, the crystal is stolen, and a confrontation between vicious, uncivilized killers and attractive young women on rollerskates comes to a head. Movies like this exist. Go watch them.

So, there’s other stuff in there… Saticoy’s spy ends up redeeming herself, some ranger type dude gets his son kidnapped, and there’s this dude who talks just like David Lee Roth, but really, who gives a shit? All of those things are Roller Blade’s honest attempt at giving you a plot to care about, and, to be frank, it’s a failure you probably predicted going in.

It’s truly amazing that movies like this can happen; movies with a concept so riddled with madness that hearing it explained it is infinitely more entertaining than actually watching it play out. Far too often these movies fall into the same trap; no matter how nutso your idea is, you either have to be equally insane, or legitimately talented, and if you’re not one of those two things, your movie is going to suck. Again, when you’re making a ridiculous ass psychotronic film, the worst thing your movie can be is boring. Roller Blade is not worth 90 minutes of your time, and that’s the tragic truth. You’ve probably imagined a better movie just reading the description, so quit while you’re ahead.

The real reason Roller Blade is important, though, is that it is, doubtless, an uncompromisingly realistic portrayal of our inevitable future. Is there a chance that soon the human race will engage in an atomic war so furious that vast expanses of the Earth will be left total uninhabitable? Without question; yes. And when this happens, what is the only logical outcome of this scenario? Well, any intelligent person knows that within weeks what is left of humanity will form a limited government/police force/religious order of roller babes to skate around and kill mutants. That’s a given! The logic is airtight, so if you want any chance at survival, it’s time to bust out your skates and get real comfortable with zooming around in short shorts (and that’s addressed to both male and female readers.) Roller Blade may not be entertaining, but neither was Driver’s Ed; however, both are necessary forms of education without which, we would be woefully ill prepared. I’m not sure if the future really will include a hand puppet enthusiast mounty-gimp, though. Probably. Hell, somewhere in the world that’s probably already a thing.

Also worth noting; Donald Jackson did manage to pull off at least one pretty solid film, Hell Comes to Frog Town, released two years later. It’s a good old time, friends. Review forthcoming!

D-