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Late to the Party – ‘The Mutilator’ (aka ‘Fall Break’) (1985)

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The Mutilator

Thank you for joining us for another weekly edition of Late to the Party! This week I’m pining for cooler weather (it’s hot, fight me) so I took an easy, breezy, end of summer trip to the beach with The Mutilator (aka Fall Break).

The Mutilator opens with a bang. The opening scene is perfectly set up for a big fall – a young boy cleaning his father’s rifles. Everything in you is prepared for the inevitable (particularly as the kid looks right down the barrel of the rifle he’s cleaning) but an unexpected twist makes a strong impression.

From that moment, I was intrigued. When the original theme song began, I was fully hooked.

I give you Fall Break by Peter Yellen and The Breakers. Sorry but I’m going to need to play this on a loop for the entire month of September because it’s so silly and I love it.

The film follows a group of college coeds as they make a trek to a secluded beach-side property for their fall break. The home is owned by a capable trophy hunter, Big Ed – who also happens to be the deranged father of one of the students, Ed Jr. (played by Matt Mitler).

Now, just to get something out of the way. This set design is bonkers. I love the detail of the framed photograph of a battered, bloody man that Big Ed accidentally ran over with a ski boat. Kept as a keepsake. You know, as you would.

Generally speaking, there’s a lot to discuss with The Mutilator. At face value, it’s a pretty standard 80s slasher flick, but there’s something deeply satisfying about it. Yes, a large part of that is probably the gore, but there’s actually something about the film that made me care about that group of windbreaker wearing weirdos.

via IMDb

The acting is of the caliber you’d expect from this fare, but the characters are endearing. Comedic relief Ralph (Bill Hitchcock) has the goofy charm of your schlockiest friend and – while he can absolutely get on your nerves – you just can’t stay mad at him.

Each character plays to their particular strengths as a horror film archetype (as films like The Cabin in the Woods have so perfectly parodied) with the sincerity of a group of young actors who found a harmonious on-set chemistry.

via IMDb

Evidently, the young cast would stick around between their scenes and after their final scene was completed (the film was shot in chronological order) to watch the rest of the filming and support one another. That said, these acts of comradery were apparently avoided by Morey Lampley, aka Mike, whose presence I was often baffled with.

How did he get in this movie? Was he a relatively famous athlete or something? He looks significantly older than the other students and has the personality of a bedazzled leather shoe… though his death scene did contain the most ridiculous death throes I’ve ever seen.

via IMDb

Unexpectedly, on more than one occasion, I found myself actually physically tense while these unsuspecting knuckleheads traipsed right outside death’s door. They were somehow completely likeable, even despite a lack of strong personality traits or any empathy-inducing personal conflicts.

I have to give a special shout-out to Pam (Ruth Martinez) for consistently making wise decisions. Without any spoilers, I do feel like the end of the film kind of sold her short. But, I guess we can’t all be Ripley.

via IMDb

The Mutilator creates atmosphere with its musical score in a subtle yet clever way – beyond just the opening bop that is “Fall Break”. Earlier scenes use bright, peppy, jaunty daytime tunes to echo that carefree feeling. But as soon as day turns to night and the body count is mounting, the score switches to a dark, tonal ambiance with stretched out bass chords and an ambient, guttural static. They build an unsettling soundscape that grinds away at your comfort.

As long as the characters are unaware (and why would they expect any foul play?), you never really lose that lighthearted vibe. When their situation is fully discovered and the identity of the killer is revealed, you feel that realization in the pit of your stomach. It was never a surprise reveal, but Mitler’s line delivery got to me.

Overall, I was honestly pleasantly surprised. The Mutilator was everything I wanted and more than I expected.

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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