Category: Books, Movies, TV & Web

Since we are “self isolating,” we thought this would be a good time to post something fun. So here are thumbnails of the covers of books that Grouch has read over the past 25 years. Where possible, the covers shown are the actual covers when the books were purchased, whether in 1995, 2005, or yesterday — probably about 95 percent of the titles. The list is alphabetical. 

Click on any image for a view of the full cover. 

 

grouchyeditor.com perfect people 

 

 

 

 

 

 

 

 

 

 

 

Whew … that’s a lot of scrolling. If you’d like to read short reviews of about one-third of the above books, click here for an index with links.

 

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Girl on the Third Floor

 

Girl on the Third Floor is further evidence that a talented director can take a silly ghost story and, with skill and creativity, deliver more than a few goose-bumps. C.M. Punk plays a no-account husband who, after cheating on his pregnant wife (Trieste Kelly Dunn) with a sexy blonde (Sarah Brooks), gets his #MeToo comeuppance at the hands of some angry female spirits. Director Travis Stevens uses the creepy old house the errant husband is renovating to good effect. Too bad Stevens’s efforts are undermined by a weak script. Release: 2019 Grade: B-

 

Trieste Kelly Dunn

 

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by Mary Stewart

 

Why, you might reasonably ask, would I read a 58-year-old book by romance novelist Mary Stewart? OK, let me try to explain.

I was motivated by a mixture of:  a) nostalgia, b) a hankering to read what they call a “cozy” mystery and, last but not least, c) fond memories of … Hayley Mills. She starred in Disney’s film version of the book.

So sue me. Go ahead, sue me.  Moon-Spinners fulfilled my wish list.

By today’s standards, the story is certainly “cozy.” There is no sex; just romance. There is violence, but nothing graphic. There is no swearing. On the whole, it’s very tame stuff, which I suppose is good or bad, depending on your taste.

The plot concerns a young English girl living in Greece who, while on holiday at a small fishing village, stumbles on a gang of thieves, a murder, and a kidnapping. Throughout all of this drama, my mental image of the heroine was Hayley Mills. I enjoyed that, because Mills was my childhood crush.

So sue me.

 

Footnote:  As for the actual title of this book – to hyphenate or not to hyphenate – I give up. Take a look at this:

 

 

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We get a lot of review requests along with links to private “screeners.” Mostly, these are low-budget movies so dreadful that they don’t even appear on Netflix or Amazon Prime – yet.  They have titles like Luciferina and The Haunting of Mia Moss and, in this case, Rondo.

Often the movies are unfinished: The soundtrack might not match the video, the credits have yet to be added, that sort of thing. But occasionally these films have a certain rustic charm; the spirit of Ed Wood living on.

 

Rondo

 

 

If ever there was a successful film director who exemplifies the much-decried “male gaze,” it would be Brian De Palma. De Palma’s thrillers – especially in the 1970s-80s — often featured damsels in distress and damsels in undress:  Melanie Griffith in Body Double, Angie Dickinson in Dressed to Kill, and former De Palma spouse Nancy Allen in several of his films, to name just a few.

If De Palma was guilty of glorifying the male gaze, then I’m guilty, too; not just because I enjoyed his voyeuristic images, but also because, stylistically, he emulated the late, great Alfred Hitchcock.

Which brings me to Rondo, written and directed by Drew Barnhardt, a filmmaker who told me he was definitely influenced by De Palma. This is more than apparent in Rondo, with its 360-degree pans, voyeur elements and, of course, sexy ladies.

I confess that I had the wrong idea going in to Rondo. From that title, I expected some macho action flick a la John Wick. “Rondo,” I supposed, would be the protagonist’s he-mannish name, and fistfights would ensue. Wrong.

“Rondo,” it turns out, is the password to gain admission to a perverse sex club. And the movie protagonist is not some hulkish weight-lifter but rather a buxom babe named Jill (Brenna Otts). When something bad happens to Jill’s brother after he visits the sex club, she goes undercover to investigate.

 

Above, Jill (Brenna Otts) comforts her traumatized brother

 

OK, this low-budget movie isn’t in the same league as the best of Brian De Palma. But it is an entertaining (if a bit sleazy and grim) little thriller. If you like bloody violence you will enjoy the ending. And if you enjoy damsels in undress, thanks to actresses Iva Nora and Otts, your male gaze will get an eyeful.

 

**

 

Male Gazing in Rondo

 

“Mrs. Tim” (Iva Nora, above and below) is about to discover the downside of weird sex clubs

 

 

**

 

Brenna Otts, above and below, submits to a pat-down by the villainous “Lurdell” (Reggie De Morton). 

 

Lurdell and Jill discuss the terms of her sex-club desires. Below, Jill goes into more detail:

 

Lurdell and his evil companions enjoy some white-girl booty.

 

Among movie-nudity scholars (yes, they exist), there is some debate about what constitutes actual “nudity.” To me, if you reveal 99 percent of your bare ass — thong panties or not — then yes, that qualifies.

 

 

 

Oops!

 

 

The movies have a long, sometimes shameful history of white-girl heroines being threatened or violated by the “scary black man.”

Between Otts’ sex-fantasy speech about “big dicks” (see above) and the symbolism of a black man pressing his gun into her backside (also see above), well ….

 

In researching this article, we checked out some old thrillers and found this scene from De Palma’s 8mm (1999), in which naked actress Emily Patrick shares the stage with a BBC (look it up). Except

It isn’t a De Palma thriller. We were confusing 8mm with De Palma’s Snake Eyes, which premiered a year earlier and also starred Nicolas Cage. Oops.

The scene below depicts another nude white girl imperiled by a BBC. Except

Emily Patrick doesn’t seem “imperiled” at all. In fact, she looks downright pleased to see her companion’s appendage – much like Jill’s sex fantasy.

OK, so wrong movie, wrong director. Watch the clip anyway:

 

.                   

.                     grouchyeditor.com Emily Patrick  

(Click on photos for a larger view)

 

The movie clip:

 

 

grouchyeditor.com Emily Patrick

 

**

 

We’re giving the final word on Rondo to resident pest Rip van Dinkle:

“OK I give up. I tried to interview Brenna for this article. We tried to reach her through the movie’s publicist. We tried through the film’s director. I even reached out to her on Twitter.

“Could. Not. Get. A. Reply.

“What riles me up is that line in the movie about her character’s preference for “big dicks.” That’s just not right. I’m guessing that if she sees this article and my picture, she will change her mind. So here you go, Brenna. This dick’s for you:”

 

grouchyeditor.com Hybristophilia

 

 

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Us

 

Jordan Peele’s 2017 hit Get Out created a stir because it was a rarity: a horror movie with smarts. Critics gushed because, face it, when it comes to the scary-movie genre, the bar is awfully low. But to me, Get Out failed to achieve goal number one:  it wasn’t particularly frightening.

Not so with Us, Peele’s 2019 follow-up. Lupita Nyong’o stars as the female head of a family of four that encounters their wicked doppelgangers while on holiday in Santa Cruz, California. This time, Peele pleases both critics – there is symbolism galore; what do the doubles represent, the global underclass? Our individual dark sides? – and horror-film aficionados. Peele wisely puts the scary first, the message second.

Also, it turns out you can spend all the money you want on special effects or monsters or gore, but there’s nothing more terrifying than a knowing, evil grin — especially from someone who looks just like you. Release: 2019 Grade: B+

 

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We get a lot of review requests along with links to private “screeners.” Mostly, these are low-budget movies so dreadful that they don’t even appear on Netflix or Amazon Prime – yet.  They have titles like Luciferina and The Haunting of Mia Moss and, in this case, Lection and Shed.

Often the movies are unfinished: The soundtrack might not match the video, the credits have yet to be added, that sort of thing. But occasionally these films have a certain rustic charm; the spirit of Ed Wood living on.

 

**

 

Low-budget movies tend to come in two distinct categories: watchable and unwatchable. Today, we take a look at two movies released this year by South Carolina filmmaker David Axe.

One is quite watchable and the other, well … you guessed it.

 

Lection

 

 

Lection has probably the least amount of dialogue since 1928 – the year they stopped making silent movies (more or less). The story is set in a post-apocalyptic future in which two casualties are the spoken word and the written word. “Election” becomes “lection,” “vote” becomes “vot.” Conversation becomes nearly non-existent.

A third casualty is the movie’s wardrobe department, which can happen when your budget is a mere $25,000 and the amateur cast is encouraged to wear their Saturday-afternoon shabbies. Hey, it’s OK though, because this is the (extremely) casual, dystopian future.

Anyway, a rag-tag group of survivors has split into two factions fighting for more bread. Or rather, “mor bred.” One faction is led by a sexy young black woman (Sanethia Dresch). The other group is led by a grumpy old white man. You can probably guess which side wins.

 

(Above right, actress Sanethia Dresch’s shapely backside; more about that below)

 

I’ll credit writer-director David Axe with this: His story is ambitious. It wants to explore the societal division between haves and have-nots. The problem is the movie’s execution. (I’m reminded of football coach John McKay’s rejoinder when asked what he thought of his team’s execution: “I’m in favor of it.”)

A major problem with Lection is its lack of dialogue. No speaking means long, long, long stretches of deadly dull footage in which nothing much happens. In this case, less is not more.

To watch the trailer for Lection, click here.

 

Shed

 

(Above, Mike Amason in Shed)

 

Compared to Lection, a lot happens in Shed (not to be confused with The Shed, another 2019 premiere), an Axe production that features many of the same actors from Lection but in a much more entertaining movie. Unlike Lection, Shed is a watchable mess.

It’s a bit of a throwback to 1980s schlock, but Axe has a few things going for him: His musical soundtrack is distinctive and surreal; and the man certainly has visual flair. Many of Axe’s shots are clever.

But mostly, Shed is enjoyable on a guilty-pleasure level. If you like gore, there is that. If you like gratuitous nudity, there is plenty of that. There are even moments that reminded me of – in a good way – Blade Runner. And if you enjoy hammy performances, here we have Lection’s Mike Amason (pictured above) in another villainous role.

The plot involves some mumbo-jumbo about an unhuman species that traversed the Atlantic hundreds of years ago, and which must kill humans in order to inhabit their skins. Events are frequently incomprehensible, but the film is never dull. Axe’s musical score, his pacing, some over-the-top performances, and the striking visuals ensure the movie’s entertainment value.

To watch the trailer for Shed, click here.

 

**

 

The Mysterious Case of the Vanishing Actress (and Her Shapely Derriere)

 

 

One thing Lection and Shed have in common is actress Sanethia Dresch, who stars in the former and provides support in the latter. She is a bright spot in both films. We tried to interview her.

After initially agreeing to do the interview, she did not reply to the actual questions. We’re guessing she might not have cared for our third query:

“Most of the reviews of Shed mention the “threesome scene” early in the movie. Can you take us through what it’s like to film a scene like that? It was a very dark scene (at least on my computer), but it appears that you are nude in it – were you? Was that difficult?”

Or perhaps she was scared off by the mention of Rip van Dinkle:

“When I get your replies, I might have some follow-up questions. Also, we have a humor columnist named Rip van Dinkle who wants to ask you a couple questions. I’ll forward them to you after I receive your replies to this interview.”

Can’t really blame her for that. Dinkle scares off most people.

Or, as director Axe told us: “She’s not always very responsive.”

Anyway … there seems to be some dispute about the aforementioned threesome scene (it’s mentioned in pretty much every review). For one thing, the actress who plays “Kahlan” (Caley Fleming) apparently used a body double (Courtney Busby) for the simulated sex — although the close-up shots below certainly seem to be of Fleming:

 

 

Then there is the third member of the horny trio, “Morgan” (Dresch), who joins in the bedroom fun. Axe told us: “To be fair, she (Dresch) wasn’t actually nude in that threesome. It just very briefly looked that way. The nudity in that scene mostly was the result of clever editing.”

Hmmm. That piqued our curiosity, and so because we have way too much free time, we lightened the (very dark) scene.

We suppose there could be a merkin involved, but these certainly look like bare butt cheeks to us:

 

Before:

 

 

After:

 

 

In the shots above, Morgan (Dresch) enacts a fantasy she earlier described to Kahlan (Fleming): “I’ve been dreaming … Gauge (Gauge Santiago, the dude above) is always there … I want you, too: your mouth, your tits, your cunt, your skin. And Gauge — his hands, his cock.”

Apparently some dreams do come true.

 

(Fleming, left, and Dresch discussing … uh, maybe Gauge?)

 

 

Sanethia Dresch

 

 

.                   grouchyeditor.com Dresch

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(Click on photos for a larger view)

 

 

 

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Bonus Trivia

 

Shooting Shed was apparently quite the experience. Director-writer-editor-photographer Axe includes this statement in the end credits: “An amateur cast and crew made Shed for $25,000 in Columbia and Eastover, South Carolina in late 2018 … during a hurricane. A bunch of actors and crew quit during production.”

And then there is this from Axe in an on-line interview:

 

 

Can’t say the actresses weren’t warned about Shed’s nude scenes. Here is the casting call:

 

 

Speaking of nudity, we’d be remiss if we didn’t mention actress Emilia Olga’s (“Caley”) eye-catching full-frontal shower scene:

 

Olga All Dressed Up:

 

 

Olga All Undressed:

 

 

Just for fun, here is a blink-and-you-miss-it skin shot when Morgan’s cheerleader skirt flies up as she runs through the woods:

 

 

In case you are beginning to wonder if we have a fetish about Sanethia’s fanny, well, we aren’t the only ones. Check out this clip from her YouTube page and a shot from her Instagram:

 

 

 

The “End”

 

 

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by William Strauss and Neil Howe

 

“Fasten your seatbelts. It’s going to be a bumpy night new decade.” – (apologies to Bette Davis in All About Eve)

 

According to this book, something big is about to happen. Think World War II big. Or Civil War big. In fact, it’s probably already happening, but in a classic case of not seeing the forest for the trees, we just aren’t aware of it yet – but historians will be.

Strauss and Howe make a convincing case that America is well into its “Fourth Turning” – the final, crisis stage of four recurring cycles of history.

The authors go back about 500 years and present evidence that society nearly always (the Civil War being the lone exception) goes through:  1) a “high” (think post-World War II);  2) an “awakening” (the chaotic 1960s);  3) an “unraveling” (when this book was published, in 1997); and finally and potentially catastrophically, 4) a “crisis” (ummm … right now). And then the cycles repeat.

Turning links these historical patterns to another recurrence: four human generations. These are, in order, the “prophets” (Baby Boomers, in what seems to me a misnomer); the “nomads” (Generation X); the “heroes” (Millennials); and the “artists” (Gen Z). How these archetypes interact with the four historical stages determines the fate of mankind.

Strauss and Howe’s case is strong about America’s past. Where they falter is in the book’s subtitle: the “prophecy” part. Although they do provide caveats to their (often alarming) predictions for this century, many of their projections seem off-base.

Not even these guys could predict Donald Trump.

 

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Burning

grouchyeditor.com Burning

 

Until its ending, which I thought was unnecessarily ambiguous, Burning felt like a Korean version of Hitchcock’s Vertigo. A young man (Ah-in Yoo) falls in love with a free-spirited girl (Jong-seo Jun) in the first half of the film and then, after the girl vanishes, he spends the second half engaged in an obsessive search that leads to some very dark places. But until that abrupt and unsatisfying ending, the movie is compelling and filled with haunting images. Release: 2018  Grade: B+

 

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Dolemite Is My Name

 

I’m old enough to remember when Eddie Murphy burst upon the American scene in movies like 48 Hrs., Beverly Hills Cop and, of course, on TV’s Saturday Night Live. It was a dynamic time for Murphy and for his audience, because we hadn’t seen anything quite like him.

So it’s a bit melancholic to see middle-aged Eddie in Dolemite Is My Name, sporting a pot belly and lacking that brash, youthful energy of days gone by. But Murphy retains some of that spark, and in Dolemite he’s given a role that leaves behind fat suits and haunted houses in favor of some depth. Alas, the story of 1970s comedian-turned-movie-“auteur” Rudy Ray Moore is oh-so-familiar and predictable. It’s in the same ballpark as Ed Wood and The Disaster Artist, but not quite as good. Release: 2019 Grade: B-

 

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Mandy Kaplan (see sidebar) and Johnny Giacalone play a married couple experiencing the seven-year-itch – scratch that; seven-year-itch implies pining for new romantic partners. What these two have is more like “it’s-been-seven-years-and-nothing-about-you-lights-my-fire.”

After consulting with a marriage counselor, Nick and Willa embark on a 30-day program to spice up their love life. The program, however, is less Hallmark and more Hamster.com. Anyone game for anal sex?

 

 

Pros:  Although the film is raunchy, at heart it’s old fashioned and feel-good. The two leads are likable, which they pretty much have to be in a movie like this, and several of the supporting characters are a hoot. A few scenes are flat-out hilarious.

Cons:  The tone is often peculiar. 30 Nights mixes a Disney-movie sensibility with hard-core interludes. Sometimes this works because the contrast is so stark that it tickles. (Remember watching “June Cleaver” speak jive in Airplane!? Imagine June and Ward experimenting with anal sex, instead.) At other times this tonal juxtaposition just feels … off. I mean, golden showers in a feel-good comedy?

But there are several laugh-out-loud scenes, which is a tough find in 2019.   Grade:  C+

 

 

Director: Tom Metz III  Cast: Mandy Kaplan, Johnny Giacalone, Dan Fogler, Katie Walder Release: 2018

 

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