Midnight Movie

Midnight Movie is an old school horror film. In fact, it's two old school horror films, from two different eras, which have been packaged together by a horror film plot built around a group of people attending a horror film. Oddest off all, characters can go back and forth from the film proper to the other film within! The premise is that the film-within-a-film has supernatural powers. Whenever it is screened, the on-screen killer can come off the screen, grab audience members, and drag them back into the screen with him. While the film plays, the audience magically, mysteriously loses all contact with the outside world. Cell phones go dead. The theater doors lock and seal. People who look inside the glass doors from the street cannot see anyone inside, even if the people inside are standing right at the door, pounding away to attract the attention of passers-by. There are only two ways for the audience members to escape the slasher: (1) they can stop the projector of the film-within-a-film; or (2) they can outrun him until the film-within-a-film ends.

The film proper, the one we are watching, is an 80s-style slasher film with a  level of splatter and gore appropriate to that era rather than ours, seasoned by just a tiny hint of modern torture porn. The film-within-the-film is a 60s-style B&W film called The Dark Beneath, and it adds a little much-needed comic relief to the package. Although Midnight Movie is too intense to be classified in the horror/comedy genre, the B&W film mimics both the filmmaking styles and the culture of the 60s with comical exaggeration. In fact, both films evoke the styles of the eras they limn, and they combine effectively to produce a solid overall horror package. There's really nothing new here. Neither the concept nor the presentation are innovative, but all the required genre elements are handled with style and dramatic tension, and the two-film gimmick is used very effectively.

The characters watching the B&W film comment on the silly nature of horror films in general, little suspecting that they are also in one. By having the main film's characters comment on the film they are watching, all the while saying the kinds of things real teens would say about such a film, the screenwriters are able to avoid the kind of clumsy self-referential device used in Scream, wherein the characters realize they are in a horror film situation and try to create a survival situation by using the known parameters of the genre.

Early in the film, there's another clever use of the two-film device. (Minor spoiler of an early murder.) The kids watching the movie are really impressed when they see their friend being murdered on screen after he excuses himself to go to the restroom. After all, they reason, he's an AV wizard, and he has just punked them by figuring out a way to insert himself into the old-time action. Surely he just pretended to go to the restroom so he could set everything up, right? Didn't they assume what any of us would assume? The other teens watch their friend get slaughtered and disemboweled, all the while laughing at his plight and talking back to the screen, never realizing at any time that he has actually been pulled into the movie, and is truly being ripped apart in gruesome and painful ways. The best part of the situation is our realization that we would also be laughing and hooting at our friend's pain if we were in their situation!

Pretty slick!

There are only two minor elements of Midnight Movie that don't quite work:

(1) Since the ability of the slasher to jump on and off the screen is ipso facto supernatural and illogical, as admitted by the characters themselves, the powers of the slasher seem to be inconsistent, remain undefined, and are theoretically unlimited. In the universe of the sealed theater, for the duration of time in which the B&W film is running, the slasher is the God of that time and place. It is therefore impossible for the prospective victims to have a chance to survive. He will simply have whatever powers are necessary to counter whatever strategies they conceive. The nature of that situation limits the possibilities for escape, or even for creative counter-strategies. After all, how does one defeat God in his own universe? He can do whatever he (He?) chooses to do. He cannot be killed or affected by bullets. He simply does not allow escape from the theater by any means. He does not allow those outside the theater to enter his universe or even to be aware of its existence. The sense of certain doom tends to undermine the ambiguity and uncertainty necessary for an intriguing storyline.

(2) The last minute or so of the film is clumsy and anti-climactic. Just before the final scene, the filmmakers did manage to figure out a pretty nifty way to end the film, but they didn't have the sense to wrap it up smoothly after that denouement. The film either needed to end about a minute earlier, or it needed a re-write of the anti-climactic final scene in which previously unseen characters comment gratuitously on the action.

With those relatively minor reservations, I'd say you should ignore the low IMDb rating and go for it if you like 80s-style slasher films. It's an unheralded and unexpectedly good one. On the other hand, there's no crossover potential. It's an "insider" horror film made for horror film buffs.

Some old school nudity from Kathryn Aagesen in the film-within-a-film.


  • * Yellow asterisk: funny (maybe).

  • * White asterisk: expanded format.

  • * Blue asterisk: not mine.

  • No asterisk: it probably sucks.


Catch the deluxe version of Other Crap in real time, with all the bells and whistles, here.









Nuns on the Run


Offbeat comedy starring Robbie Coltrane and Python's Eric Idle. The naked chicks are Helen FitzGerald and Tatiana Strauss.

1920x1080 film clip here, Samples below










Today is a "Babe in Bondage" day. Chloe Hunter is all tied up and showing full frontal in "Spun." Caps and a film clip.



From TV Land today's leg & thigh show is Chelsea Handler paying a visit to Jay Leno.








Notes and collages


"Las Vegas"

More of Nikki Cox in season three.

s3, e12

s3, e15












Savage Grace


How often have you heard a young person say "my mother is driving me crazy"? In thismovie based on a true story that spans 1946 to 1972, the statement turns out to be the literal truth.

Former actress and salesgirl Barbara Daly (Julianne Moore) marries way above her class when she snags Brooks Baekeland, heir to the Bakelite plastics fortune. They have a son, who is doted on and adored by his mother, but not well received by his father, who would prefer his wife spend her time on pleasing him.

Barbara is a social climber who is well received by society, but at the expense of her marriage. As the son grows, his mother lavishes attention on him while his father loathes him. Now a teenager, he adopts a bisexual lifestyle that is unacceptable to his mother, who attempts to solve his sexual identity by having incestuous relations with him.

As you might expect, the pressure on the son leads to a volcanic and unpleasant ending. Not a pleasant movie, and draggy in parts because it delves deeply into the relationships of the principals, it still offers a fascinating look into the lives of the rich and famous.

Elena Anaya






"Durham County"

(2007) season 1

Drama series about a cop (Hugh Dillon) who moves in next door to a shirtless serial killer (Mark Louis from the Saw franchise). No nudity other than a couple of obligatory strip club scenes.

(1) Laurence Leboeuf: fully clothed sex

(2) Helene Joy: fully clothed sex

(3) Sonya Salomaa: fully clothed sex

(4) Kathleen Munroe: fully clothed sex

(5) Kate Campbell: sexy but dead

(6) Catherine Berube: sexy as schoolgirl

(7) Sarah Smyth: sexy as schoolgirl

(8) Jayne Heitmeyer: sexy

(9) Kim Doucet: nipple pasties as stripper.

(10) strippers: boobs and buns.








More AnnaLynne McCord bikini pics

Eliza Dushku in The Alphabet Killer

The preternaturally ginormous butt of Kim Kardashian

Marisa Tomei in The Wrestler

Isla Fisher's "asshole double" from Wedding Crashers.

Because her asshole just wasn't cute enough?

Jamie Lee Curtis in Trading Places, 1920x1080

Maggie Fitzgerald in The Satanic Rites of Dracula

Valerie Van Ost in The Satanic Rites of Dracula

Mischa Barton upskirt

Hayden Panatierre upskirt. Great illusion of pantilessness.

Zhang Ziyi on the beach. She's the chick from Crouching Tiger. She's almost 30 now, but still has a teenager's body.


Film Clips

Hayley Atwell in Brideshead Revisited. (Sample right). Emma Thompson is a prospective Oscar nominee for her performance in this. As for me, I've already revisited Brideshead too many times.
Malena Alterio in Una Palabra Tuya. (2008. Spain. Sample right.)
Sheridan Smith in the UK show "Jonathan Creek," in a wild scene that may have exposed more of her than planned. The sample right doesn't really represent the scene very well.
There is just about nothing else to compare with Julia Ormond in The Baby of Macon. Julia has conducted 99% of her life with a quiet, non-controversial dignity onscreen and off, but when she fell off the track, she derailed in spectacular fashion with graphic nudity and violence! I can't immediately name another otherwise sensible actress who has gone so far off the deep end. Don't fret that the clips are in German. I've watched the film many times, and it makes no more sense in English. It's one of those "play within a play within a play, none of which have a fourth wall, all of which are bizarre" things. It's so surreal and unconventional that it would make Salvador Dali turn on The Brady Bunch to cleanse the palate.

Jane Cardew in The Flesh and Blood Show (1972)

Sophie Marceau in Descente aux enfers