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Mother’s Day (1980)

Starring Nancy Hendrickson, Deborah Luce, Tiana Pierce, Frederick Coffin, Michael McCleery, Beatrice Pons, Robert Collins, Peter Fox

Directed by Charles Kaufman

Expectations: This is one of Troma’s cult 80s hits, I’m excited to finally see it.

On the general scale:

On the B-Movie scale:


“You want your mother to be proud of ya, don’t ya?”

It’s every boy’s dream to make his mother proud, but who among us would kidnap, rape and murder tourists for our mother’s affection? The two brothers in Mother’s Day are willing to do just that, and while their rampage is sadistic and twisted, Mother’s Day is a great horror film. It’s a bit of a twist on Deliverance and The Texas Chainsaw Massacre, but to call it derivative is missing the fun. Sure, Mother’s Day trades almost completely in genre conventions and clichés, but everything is done effectively and entertainingly, resulting in a film that is pure horror cinema.

Three college friends get together every year for a mystery getaway. This year they end up camping away from all the hustle and the bustle of the city, or in the case of Tiana Pierce’s character the ridiculous pool parties with old men trying to pick up hot-bodied girls with Kubrick quotes. The girls hike into the backwoods and skinny-dip in the lake. Well, duh… this is an 80s horror film. Honestly you don’t need me to explain the setup; you’ve seen it before. Instead, just sit back and enjoy this low-budget gem from Charles Kaufman, Lloyd’s brother, and Troma Pictures!

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Seven Swords (2005)

Seven Swords [七劍] (2005)

Starring Donnie Yen, Leon Lai, Charlie Yeung, Lu Yi, Lau Kar-Leung, Sun Hong-Lei, Kim Soo-Yeon, Michael Wong Man-Tak, Chi Kuan-Chun, Jason Pai Piao, Duncan Lai, Tai Li-Wu, Zhang Jing-Chu, Huang Peng, Ma Jing-Wu

Directed by Tsui Hark

Expectations: Moderate. It seems to have a lot going for it, but I don’t want to get too excited.


Back in my teenage years, Tsui Hark was one of the mystical, incredible directors that I loved. He was responsible for some of the best films Hong Kong had to offer, most notably the Once Upon a Time in China films and Zu Warriors from the Magic Mountain (among many, many others). Like lots of the big Hong Kong directors though, he emigrated over to the US in the late 90s, hoping to find grand success on the larger American stage. Instead, he found heartache and disappointment with a pair of underperforming JCVD films, Double Team and Knock Off. To be fair, I’ve only seen half of Double Team and the first few minutes of Knock Off, something I plan to remedy at some point, but from these small bits one might guess he had lost his knack for filmmaking. Seven Swords is a few years later, but it proves why Hong Kong filmmakers should stay in Hong Kong (unless an American studio is willing to give them free rein, which is never going to happen).

On the surface, Seven Swords is yet another play on the Seven Samurai framework. A helpless village is being assaulted by bandits and they need the help of seven rogue swordsman and all that. Here it’s slightly tweaked where the Emperor has sent out an edict where all practitioners of martial arts are to be killed. General Fire-Wind and his brutal army are parading around the land, killing and beheading whoever fits the bill. They happen upon a remote village and quickly plan their assault. Two of the villagers, along with veteran martial arts choreographer and all-around Hong Kong legend Lau Kar-Leung, venture out to Mount Heaven in search of some help from the hermit swordsmen residing there. So yeah, the setup is very Seven Samurai, but the rest of the movie is anything but.

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The Dead Hate the Living! (2000)

Starring Eric Clawson, Jamie Donahue, Brett Beardslee, Wendy Speake, Benjamin P. Morris, Rick Irwin, David Douglas, Matt Stephens, Kimberly Pullis

Directed by Dave Parker

Expectations: Heard this was good, but it looks pretty shitty.

On the general scale:

On the B-Movie scale:


The Dead Hate the Living, but I thoroughly enjoyed this movie! I couldn’t resist such a tastelessly shitty opening which the film’s title sets itself up for, but the sentiment is all true. Right from the get-go I was drawn into the film’s unique world and it never let me go. I expected very little, but I got a ton of fun from The Dead Hate the Living, and hopefully if you seek it out you will too.

A small group of low-budget filmmakers are making a zombie movie inside of an abandoned hospital when problems start to arise. That could be the setup to any number of shitty horror movies (and the film is yet another in the long line of horror films teaching youngins not to fuck with shit they know nothing about), but director Dave Parker’s knowledge of the genre enables him to circumvent the classic tropes just enough to keep the film fresh and exciting throughout. Prior to this, Parker had been editing Full Moon’s trailers and VideoZone VHS featurettes, but the talent he displays in this film shows that he is clearly meant for grander things than simple editing jobs. I’m excited to check out his other work, which looks like it’s pretty much only 2009′s The Hills Run Red and the soon-to-be-released film Coldwater. Anyway, I’m impressed.

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Return of the One-Armed Swordsman (1969)

Return of the One-Armed Swordsman [獨臂刀王] (1969)
AKA One-Armed Swordsman Return, Le Bras de la vengeance

Starring Jimmy Wang Yu, Lisa Chiao Chiao, Essie Lin Chia, Chung Wa, Cheng Lui, Hoh Ban, Tien Feng, Ku Feng, Tung Li, Tang Chia, Lau Kar Wing, Lau Kar-Leung, Yuen Cheung Yan, Ti Lung, Wang Kuang-Yu, Wu Ma, Fong Yau

Directed by Chang Cheh

Expectations: High!


With the original One-Armed Swordsman in 1967, Chang Cheh re-defined what the martial arts film genre was and would be. Over the next two years, countless other films sought to capture audiences as Chang’s film had, but few other directors were able to harness the sheer energy on display in a Chang Cheh film. With Return of the One-Armed Swordsman, Chang doesn’t look to create a direct sequel, or one that feels in any way similar to the original. Instead he goes a completely different and incredibly over-the-top direction, resulting in one of the most fun martial arts pictures of the early Shaw Brothers era, and one that would again help re-define the genre.

The story opens with the one-armed swordsman Fang Gang (Jimmy Wang Yu) being invited to participate in a tournament held by the self-proclaimed Eight Sword Kings. He’s trying to leave the martial lifestyle behind him and live out the rest of his days with his lovely wife as a farmer, but we all know how that works out in films such as this. Master Fang is later visited by a group of swordsman seeking his help, as they know the so-called tournament is just a ruse to call all the sword clans together so that the Eight Sword Kings can murder the masters and take control of the region by force. Where your martial arts soaked 2012 brain might expect something of a tournament film after this setup, instead we receive something closer to a journey film where our heroes are sequentially ambushed and assaulted at every turn on their way to the “tournament.”

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The Singing Thief (1969)

The Singing Thief [大盜歌王] (1969)

Starring Jimmy Lin Chung, Lily Ho Li Li, Lo Lieh, Essie Lin Chia, Mui Yan, Chu Gam, Yee Kwan, Nam Wai-Lit, Man Lei, Au-Yeung Gwong, Yip Dung-Ching

Directed by Chang Cheh

Expectations: I really don’t know what to expect. Not much.


Well, this one certainly blew whatever expectations I had out of the water! Having taken wuxia to the highest heights he thought it could reach at the time with his previous film Golden Swallow, Chang Cheh sought to liberate himself from the standard Shaw Brothers cycle of constantly making wuxia pictures one after another. Instead he turned his attention to musicals of all things, and the resulting effort is The Singing Thief. Don’t be fooled by the title though, it’s not really a musical in the traditional sense.

The story of The Singing Thief revolves around Diamond Poon, a reformed diamond thief who’s now known for his wonderful singing voice. He works in a nightclub run by his good buddy Fu and he’s content to keep his life simple. Someone else has a different life path in mind for Poon though, as a new thief in town is accurately impersonating his trademarks and making everyone think that Poon’s up to his old tricks. He could be, and the mystery of just who is stealing everyone’s jewelry is one of the best parts of the film. In some ways it reminded me of The Big Lebowski, where an innocent dude gets mixed up in a sea of people all out to get him and play him for their own interests, but realistically that foundational story has its roots in places far older than The Big Lebowski, such as Dashiell Hammett’s groundbreaking 1929 novel Red Harvest (itself a huge influence on film, particularly on the work of Akira Kurosawa & Sergio Leone).

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