Double Feature

Two space films of completely equal merit and in fact equal in every direction and one of them is not total fucking nonsense. Hey, actually, maybe both of them or total nonsense? Wade through an existential crisis and find out. Jokes about the size of a Solaris. An entire Galaxy of Terror. Galaxy of Terror: larger than Planet Terror? Not an actual question anyone asked or cares about or even makes sense. The question Double Feature is most prepared to answer – what’s going on with all this monster rape? Seriously, what’s with the monster rape in Galaxy of Terror? And furthermore, why is monster rape even a trope? Can’t people just be naked in film? Is there a reason this happens? Will Michael’s Roger Corman impression Continue reading →

Southern hospitality as crime heads into the American, well, south. Blue Ruin, Green Room, and Double Feature’s other favorite colors. A man is naked. Why is this man naked. Wait, where is this man going. On no, that poor man’s head. Marilyn Manson is only in Let Me Make You a Martyr for about ten minutes, but because of the Hollywood advertising machine his face must be on every part of the film or no one will see it (and maybe that’s true). How to pitch Let Me Make You a Martyr a bit more honestly. Opening up the untold tales of the American opioid epidemic. If you haven’t heard of this thing called Shudder, you should go take a test-drive. Seriously, you’ll fall in love. Continue reading →

Social issue genre films. Trojan horsing social issues. How Get Out keeps it subtle by riding the elephant in the room. Having a conversation with the audience that’s actually showing up. Jesus Christ Get Out is scary, what the fucking hell. Cultural appropriation. Hey, you didn’t know it, but you’ve actually show up for a conversation about emotional manipulation. Welcome. Oh, don’t bother with that door, it locked from the other side. So glad you’re here. Why don’t you just have a seat? A seat. Sit. Down. Now, where to begin – were you paying attention to those monsters? Yeah, pretty complicated. Hope you don’t think you’re going to sit there thinking about trying to find science fiction plot holes in Colossal, there’ still this whole dump drunk you’re about to drown in. Hang on a second, let’s Continue reading →

Slash slash! Two films that take a departure from their initial advertised concepts. Spending the afternoon on Shudder. Halloween Phase 3, or as some call it, Xmas. Better Watch out is kind of a misleading title. Over-lit sets as the oxy-filled murder playgrounds of Chris Peckover’s mind. The lazy Sunday film hits modern day. Prevenge is kind of a misleading title. One woman, one vision! Director, writer, producer, star, host for human life. Prevenge as a filmmaking success story. Talking to Samuel Zimmerman, curator of Shudder. How to live deliciously. Continue reading →

Lady problems. Shudder update: Double Feature no longer has a promo code but you should check out Shudder anyways. Search online and maybe you can find one. The Beguiled is too morally clear, let’s add the confederacy! On Side A, Clint Eastwood is a lady problem. A genius use of flashback and unreliable narrator. What it takes to add a turn to the rape revenge film. Can rape revenge invert gender? On Side B, everything else is a lady problem. Thriller: A Cruel Picture: They Call Her One Eye. The mother of all exploitation films. Double Feature reaches for new levels of offensive. A notable eye-poke! Grindhouse cinema’s half-hearted revenge. A defense of Thriller: A Cruel Picture (but no one is going to defend “They Call Her One Eye”). Continue reading →