Asian genre movies often contain a dizzying mix of exhilarating action, slapstick comedy, graphic violence and gore, and wild supernatural horror – all of which are on display in recent releases from 88 Films and Eureka.
Vinegar Syndrome begin 2023 by casting a wide net to gather a range of exploitation movies from Hong Kong, Mexico and the U.S. It’s a mixed bag encompassing Stuart Gordon’s classic H.P. Lovecraft adaptation From Beyond (1986); three extreme horrors featuring iconic actor Anthony Wong; a sordid Mexican movie about a psychopath killing and raping for Satan; Tom Chaney’s Frostbiter (1995), a derivative low-budget horror from Michigan featuring ambitious special effects, miniatures, stop-motion animation and Evil Dead-inspired excess; and Curt Siodmak’s minor oddity Curucu, Beast of the Amazon (1956), the first from a new sub-label, Vinegar Syndrome Labs, intended to gauge interest in this kind of obscure title.
Two new movies by directors who interest me offer a mixture of pleasure and slight disappointment. Both Brandon Cronenberg’s Infinity Pool (2023) and M. Night Shyamalan’s Knock at the Cabin (2023) have a strong strain of psychological horror somewhat compromised by endings which are not fully satisfying.
Three recent releases blend reality and fiction to explore political themes, with varying success. Alain Jessua’s Les Chiens (1978) is an allegory of Fascism, while Jean-Claude Lord’s Mindfield (1989) and Jayro Bustamante’s La llorona (2019) are both rooted in real crimes, the former turning history into pulp entertainment, the latter into a haunting exploration of national trauma.
Network and the BFI deliver a potent mix of wartime propaganda and post-war crime in atmospheric black-and-white with Blu-ray releases of Michael Powell and Emeric Pressburger’s One of Our Aircraft Is Missing (1942) and Lewis Gilbert’s The Good Die Young (1954), and a massive 20-disk DVD set of B-movie thrillers from the early 1960s mostly adapted from the novels of Edgar Wallace.
Criterion start 2023 with an excellent three-disk set of Lars von Trier’s Europe Trilogy, the three aggressively confrontational movies with which he began his career by digging into the lingering traces of Fascism which plagued the continent in the second half of the 20th Century. Impressive new transfers are given context by commentaries and seven hours of documentaries and interviews with and about von Trier, his intentions and creative process.
A couple of Christmas movies showcase Barbara Stanwyck’s range in comedy and drama, while Indicator’s fifth Columbia Noir set focuses on Humphrey Bogart’s screen persona in several routine movies and one classic.
Three books which I read last year connect with my love of genre film, particularly horror: Tony Dalton’s hefty biography Terence Fisher: Master of Gothic Cinema from FAB Press; Lost Girls: The Phantasmagorical Cinema of Jean Rollin, edited by Samm Deighan and now available as an e-book from Spectacular Optical; and – somewhat more esoteric – Powers of Darkness, an alternate version of Dracula first published in a Swedish newspaper from 1899 to 1900 and recently unearthed and translated back into English, published in an impressive limited edition by Centipede Press.
Hunkered down in the depths of winter, I spent a lot of December immersed in genre movies from around the world – it’s a dizzying mix of violence, perversion and unexpected cinematic delights.
It’s that time of year, and as usual coming up with a “best of” list – having seen somewhere around five-hundred movies in 2022 – seems impossible; so here are just a few which remained vivid in my memory, plus an unexpected and charming movie with which I ended a stressful year.