Author Archives: Eric Thirteen

Imaginary friends that society just won’t accept. Swiss Army Man, Sundance, and Highland Park, California. Who or what are Daniels? hen the harsh light of day hits at the end of Swiss Army Man. A film 2018 people would be saying is the much-needed conversation about understanding. Accidentally falling in love with monsters. There’s a time and a place for invisible rabbits. The vague mental health issue seen in the film Harvey. How a lack of specificity creates greater inclusion. The massive appeal of cinema classics. Expanding the possible commentary Harvey provides. Despite ongoing attempts at a truce, witches still don’t really like one of the hosts of Double Feature. Continue reading →

Approaching the unapproachable slashers. Halloween and Puppet Master get loaded updates. “Not for everyone” for the masses. When the remake is no longer enough. Deep fan service in production instead of easter eggs. Getting the band back together. What does slasher trauma actually look like? The sad consequence of growing up scream queen. New family dynamics. Puppet Master: The Littlest Reich might not give a fuck. Ok, it’s called The Littlest Reich, clearly it doesn’t. Humor where you would least expect it. When VOD is the preferred medium. Fangoria makes movies! The special effects brutality of the Mortal Kombat style parallel universe. How Puppet Master feels gorier than even possible. The ending of Puppet Master might be the most shocking thing on today’s show. Continue reading →

Father son pair Mario Van Peebles and Melvin Van Peebles have two movies that tells stories of very different times and places. First up, a trip back to the early 90s. Everyone is worried about crime, crack is a problem, and there’s an issue with the police that isn’t be talked about. Also people hadn’t even seen Pooka yet. Back in the 1970s, Melvin Van Peebles set out to prove there was an audience for a new kind of movie. Looking at the demand Sweet Sweetback’s Baadasssss Song capitalized on. What it takes to make in independent film when no one fucking believes in you. Creating an entire decades long genre just to prove your point. Continue reading →

Hammer studios and Disney studios. A fresh look at two unique entities in different spaces. Unique marks on an otherwise crystal clear record. How The Witches is both quintessentially Hammer horror and something completely different. Voodoo vs magic vs whatever the fuck it is Eric’s silly witch friends believe in. The Black Cauldron is an adaptation of The Chronicles of Prydain without many chronicles or much Prydain but definitely still with a magic pig that can see the future or whatever. The evil guy with horns who wants nothing less than to get on everyone’s bad side. Continue reading →

Death in the family. The fallout of grief, loss, loneliness and isolation. It turns out Michael likes Eric’s double feature. The courage of The Eyes of My Mother pays off in a lengthy 2016 festival run covering basically everywhere a film could ever want to play. Making the unsafe bets as a filmmaker (and winning). Grief and the grotesque. How The Eyes of My Mother uses counter-intuitive editing to deliver on horror in an innovative and brutal way. Don’t Look Now and the layers of symbolism. What symbolism feeds the tone and what feeds the narrative. Continue reading →

A Double Feature Stockholm Syndome double feature. Dangerous cinema returns. When you put Helena in a box like you do (RIP Cubbiebear). The deeper issues actually at work in Boxing Helena are just regular issues but no one comes to movies where they live anymore. Helena the prop and the crazy man who has mommy problems. Between the panes strikes back. The central issues at the heart of the Patty Hearst story. Can Patty Hearst be both the victim of terrorism and herself a terrorist? Don’t miss the all new Additional Content.

A look at secret role China plays in big American films. Double Feature gets into the weeds on how blockbusters are assembled, from the creation of a bankable team to the financing and eventual distribution. America sees a martial arts niche and brings it to the United States. China loves American blockbuster action stars. Fake American films made by China. Imposter fake American films made by China that are actually made by Americans. The fake American companies funded by China that actually make the imposter fake Chinese rip offs of American films. Double Feature talks about The Meg because it’s easier. Where a cause or a symptom, streaming services play a role in the American devaluation of cinema.

Bear and Long Pig, together at last. Outrageously whimsically characters disrupt the system. No negative jokes about Jean-Pierre Jeunet’s art direction suffering after 1995. Michael feels the need to rant about his top ten list and then randomly namecheck Black Panther. Has Eric Thirteen’s heart changed in 2018? Delicatessen disrupts the system. A kindly speaking bear takes over England in Paddington. Only on Double Feature is Paddington the weirder movie. Continue reading →