Tuesday, 21 February 2017

An Exploration of Grossness

I am jumping ahead a few years now in my teen movie exploration, contrary to popular belief I am able to sit down and watch a film made after 2002, and Excision is one of them. Richard Bates Jr's new film TRASH FIRE has landed on Netflix, and boy it's really good. You may remember RBJr from such films as Suburban Gothic and his breakout teen gross-out EXCISION.

Excision is a slow-burning exploration of one teen girl's loose grip on reality, puberty and her broken family. Sound like something you've seen a million times? I guarantee not. The protagonist, Paula (played wonderfully by Annalynne Mccord in an unrecognisable role) takes you on a journey into teenage psyche, only things are a little bit too fucked up in Paula's head to really survive high school and her family who TOTALLY DO NOT GET HER.

If you think of Wetlands (review on the way sometime), this film has a lot in common with it, only it's filtered through a dank basement and repulsion abounds. I think the bravest thing about Excision is that we are never truly meant to like Paula. She has pretty much zero likeable qualities. Sure, you can feel sorry for her, but when you look inside yourself, we all had a Paula at school that we did nothing when they were getting bullied, or laughed at their weirdness. It's so easy to put the blame onto Paula herself, because she doesn't help her situation by being so awkward, but really we should be paying attention when a person is screaming to get the proper help they need. This film is not just an exploration into her life, but into our past experiences too. It gives you a lot to think about - where is that girl that always smelt like old tampons I sat next to in Religious Education? Did she ever make it out of high school alive? I can't even remember her name to look her up on Facebook.

So, I find it pretty brave to have a film centred around a teen girl who isn't attractive and eager to please and does everything on her own terms. Could Paula actually be the role model we deserve? I mean, obviously not, but yes, maybe????

If you're a fan of the macabre, the marrying of horror and religion, then this film is right up your street. The action is inter-spliced with Paula's chats with God, where she begs for her mother's death and her sister's survival. Beautiful John Waters plays Paula's priest to perfection, their quiet conversations revealing her failing psyche to a church that don't care, as long as she is a good girl. 

We're often cut to Paula's dream sequences, brightly lit, polished, tanned and lithe bodies playing in blood, playing abortion, playing doctors and nurses. It's a testament to RBJr's eye for direction that he can breezily switch between the mundane suburban existence to these cold, tiled fantasies. The film is a visual feat in so many ways, but it is the dream sequences that elevate it into the sublime art. 

If you're not yet sold on this film (which has obviously disappeared from UK Netflix as Trash Fire enters) then the cast may sway you. Joining Mccord and Waters is the always incredible Traci Lords, taking on her first role as a Good Christian Mother. Traci carries this film with the complex themes of how to love your daughter, whilst not particularly liking the person they have turned into. So many of her scenes are infuriating, because it's so realistic. If you've ever had a rocky teen relationship with your own mother, the times she tries to get Paula to open up to her are excruciating. It's hard to say who the real villain of the film is, but I'd say Lords has a good chance of being it.

Watch Excision to celebrate your feminine repulsion, watch it to feel sorry for outcasts, watch it to be thankful your home life was never this bad. Whatever you take away from it, just watch Excision.

Robyn is one half of Bimbo Movie Bash, an avid fan of Angel Delight and a Pee Wee apologist.

Sunday, 5 February 2017

A Film Without Hang-Ups - Buffy the Vampire Slayer

In this installment of our exploration into teen films, I've decided to revist a film dear to my heart, one of my favourites in fact, good old Buffy the Vampire Slayer. Released years before the tele series came into play, Buffy was once a valley girl and balanced her slaying with cheerleader practice. This is was hated by Joss Whedon (another reason to love it in my opinion) and is derided by many as the fuck up before the series took a right turn. I say fuck that, Buffy '92 was a subversive and brave masterpiece that has only gotten stronger as our views on what counts as a feminist piece have matured.

Let's start at the beginning. Buffy is a valley girl, a sweet and unattainable cheerleader, one of those girls who roams in packs so you can't get near them, who seem to have everything in life so easy. Buffy is unapologetically beautiful and talented, she's the kid of girl who would be throwing tampons at Carrie in a different era. She shops, she pretends to care about world issues, she pisses everyone off at the cinema. She is a typical teenager and that, THAT is the crux of this whole film. Buffy doesn't have to be a sassy, tormented smart ass girl to be worthy of kicking ass, she doesn't have to be matured well beyond her high school years to be respected by her fan base, she is a REAL GIRL and that is what Buffy the Series was totally lacking. I don't want to compare Buffy '92 and Buffy '97 too much, but it's safe to say I love one and feel a large amount of frustration bordering on indifference with the other.

Joss Whedon really hates Buffy '92. He couldn't stand that his dark, brooding script had been wrapped up in bubblegum lycra. He's entitled to his opinion, but I think he's basically a huge baby if he can't see a vision here. What makes this film important is that Buffy has flaws and she outgrows them, it's basically a character study of a girl about to embark of life outside of high school, but it just happens to have vampires thrown into the mix.

It's impossible to talk about Buffy '92 without mentioning the FASHION AESTHETICS of the film. There is so much 90s gymwear, and denim and clashing prints with gold earrings. It's honestly a dream, kids on instagram would kill to be this stylish these days. The careful costume design totally MAKES this film, it's a perfect capsule of the era and the best part is the more serious Buffy gets her wardrobe never changes. She's never made to grow up and start wearing dark colours, you keep wearing that lime green sheer shirt girl, you can kick a vampire's ass, do whatever you want.

Would Buffy '92 be anything without Kristy Swanson? I mean, it would probably still be a good film, but Kristy is one of those forgotten and underrated actors of the 80s and 90s and she totally makes this film what it is. It's kind of a big job, portraying The Slayer, and with her tough girl brat act and open, sweet face she nails it completely. What's better than America's Teen Dream actually being capable of killing you in seconds? It's what made this film so good and it's what makes stuff like DEADLY FRIEND so good. Kristy just has something about her and we should give thanks that we were blessed with her on this cold, dead earth.

What can we learn from Buffy '92? Well, that it's fine to outgrow your school friends. It's fine if they start to piss you off and it's not the end of the world to ditch them. Let's not pretend we still speak to anyone we went to school with here. We can also learn that broody goth boys will always be more attractive than their jock counterparts, even if they have soul patches and hang around with David Arquette. We've learnt that you can wear three types of lyrca and still perform a back hand spring, and that clashing prints aren't always a fashion disaster. We now know that Paul Reubens takes at least 30 seconds to die after you stake him so be prepared.

If you'e ever been on the fence about watching this because you love Buffy '97, I would urge you to reconsider your position. Of course you can like one or the other or both, no one can stop you enjoying what you want. I believe a lot of the militant anti-Buffy '92 stuff comes from people who haven't even SEEN the film, and despite their differences the two versions are essentially the same plot. Buffy is WELL WORTH a shot, especially if 90s gymwear is your passion in life (like it is in mine).

Robyn is one half of Bimbo Movie Bash, an avid fan of Angel Delight and a Pee Wee apologist.

Tuesday, 31 January 2017

I'm not a geek, I'm a unique weasel

I'm revisiting a bunch of teen films that I love and cherish, to see what these time capsules can teach us about modern day living. I first started with Better Off Dead and sticking with the 80s theme I've moved onto Encino Man, which was a moderate hit that derived lots of bad critical reception. But as we all know, critics don't know shit, because Encino Man is tender and goofy and a super feel good film. In these times, it's good to have feel good films to turn to, just to take your mind of the mounting doom we are facing.

Encino Man (aka California Man) is so much more than the film that brought us the greatest gif of all time (it's still a great gif though).

Not only is Encino Man a tale of popularity and getting the girl you used to share a bath with and beating the jock and surviving high school, it's about friendship and nature versus nurture and it's totally deep, man. The premise is interesting enough, finding a cave man in your backyard is pretty great, but when you can catapult yourself to high school popularity but dressing him up as a 90s high school student? That's where the magic happens.

Encino Man stands out for a big reason and that reason is Pauly Shore. Often derided, I got a huge soft spot for old Pauly. His unique inflections and slang kinda make this film, I'm pretty sure he's a sleeper genius that the world never got on board with. He was nominated for a Razzie (don't get me started on that piece of shit, smug shit show) for this, which is incredible when you think about it because he's truly the heart and soul of the film.

At a pivotal moment in the film (after Link gets sucker punched in the ear), Stoney (Shore) raises an excellent point. We are all born pacifists, and left to his own devices, with all the food he needs and no social constructs put on him about alpha males and pride, Link chooses not to fight anyone, as Stoney says "cavemen's aren't like us, Dave. They fought for food and survival, they did not fight for popularity". HOW COOL IS THAT??? That's the emotional punch of Encino Man that elevates this film above a lot of the teen comedies of the time. You don't have to fight for a girl who probably isn't interested in you, you don't need to save face if you're not a fighter, you can just BE and everything will still carry on as normal.

In fact, I wouldn't even say Matt the Jock is the real villain of this story. Matt the Jock is just a modern day caveman, beating his chest and defending his property (yeesh, the 90s was hard on female love interests). The real villain here is DAVE (Astin), a boy so wholly obsessed with being popular and getting to neck the hot girl (who used to be a plain jane when they were buddies) that he sacrifices his own friendships, doesn't consider this million year old beings feelings stuck in 1990, and is real mean to his only friend in the process. I'm still mad things worked out okay for Dave at the end of this film, he didn't really learn anything. Watching back on this, it's pretty obvious that Stoney and Link had the real friendship connection here. Everyone needs a pal who doesn't get embarrassed by their weirdness, or want them to be normal, and in the running time they find it each other. IT'S BEAUTIFUL REALLY.

Encino Man is an 90s standout for me due to it's feel good message, Pauly Shore, Brendan Fraser before George of the Jungle (you can see the beginnings of that here and all). I would totally recommend this to anyone looking for some escapism, especially if you wanna fantasize about a hot caveman drawing a cave drawing of your tits in ketchup.

Robyn is one half of Bimbo Movie Bash, an avid fan of Angel Delight and a Pee Wee apologist.

Sunday, 8 January 2017

The Other Glass Slipper: A Journey into Disney Direct-to-Video Sequels: One Hundred and One Dalmatians II: Patch's London Adventure

YES, you thought I'd given up on the Disney sequels challenge hadn't you? WELL I NEVER GIVE UP ON DISNEY. I'm back with a new review of the very punchy titled 'One Hundred and One Dalmatians II: Patch's London Adventure'. Seriously, how did that ever get the go ahead? That's nine entire words in that title, god help us all.

One Hundred and One Dalmatians is one of my favourite Disney films, it's utterly charming in the way only Disney can be with animal character designs, plus it has this totally different art style to every other Disney film, so much so that Walt Disney himself absolutely hit the roof when he saw the finished product, which he claimed looked unfinished and messy (this is a man who decided to build a funfair without any of the seedy undercurrent, after all). 

The style of the original echos the free flowing jazz soundtrack, swinging sixties London and the energy that having all those puppies on screen would cause. It's fantastically charged and a great caper story, with of course one of the most iconic villains in cinematic history. This sequel won me over from the start because it tried really hard to echo the art style of the first, it's little touches like that that make a film work, that show that someone on the production actually wanted to make this sequel work.

The sequel follows Patch, who's feeling a little out of sorts and underappreciated, having 98 brothers and sisters can be hard work, and when you're one of so many, known for being one of so many, it can be really hard to find your individual place in the world, you know? It's a pretty great theme for a kid's film and I was invested in this puppy and his hardships from the beginning. Of course things go absolutely awry, Cruella is back, the puppies are in danger, THE BARK CHAIN IS BACK, which is my favourite bit in both of these films.

The animation style is about the quality of the One Hundred and One Dalmatians cartoon series that was shown in the late 90s on the Disney Channel, I wouldn't be surprised to see that the same team worked on both of these. That doesn't mean it's bad by any means, in terms of Disney sequels it's neat and polished enough to feel like it was always intended for a feature length movie.

The design of the puppies has always been absolutely adorable, so no problems there, the scrapes they get into and the animation on their clumsy fat little bodies is enough to carry this film, however they say stuff like "whizzer!" and sound like little Tories, which either the director realised that's what American's want to hear from a British film, or someone recognised that in no way could Roger and Anita be living in a three story London house with 101 dogs to feed AND a maid without being rich as fuck. Either way it grated on me but I doubt that would be an issue for international audiences. I just think it would have been cuter to have them talking in little cockney accents, but I guess that's saved for Dick Van Dyke only.

The subplot involves a famous dog off the telly, his pomposity and bravado were very funny and it had a nice little twist, it's a great echo back to the first film as the puppies watch Thunderbolt on the telly. I'm not sure why these dogs are allowed to roam the streets of London off leash, but hey, this is a cartoon and it really doesn't fucking matter.

There's a great cultural nod as Cruella teams up with a beatnik artist who paints spots, and her yearning just to look at a fur coat is absolutely brilliant. I've always admired Cruella's design, that stick think and bony figure, her coats always falling off her shoulders and a fag in her hand, fans f her will not be disappointed with this sequel as she plays a major part and is her usual charming self.

Would i recommend this sequel to fans of the original? Yes, if you've got a spare hour and a bit, just don't watch the original and this back to back because the difference between the two will be very apparent. It's also worth watching for the cameous from other Disney animals (I spotted Eric's dog from Little Mermaid and the cat from Cinderella that for some reason I'm remembering is called Lucifer?!)

Robyn is one half of Bimbo Movie Bash, an avid fan of Angel Delight and a Pee Wee apologist.

Friday, 6 January 2017

Fright Night, for real.

You may have noticed a newish trend within the horror community, the DIY attitude that has always prevailed has evolved. All those kids who grew up watching great horror films - now they're making documentaries about them. Whether it's a 7 hour Nightmare on Elm Street retrospective, or getting all the Return of the Living Dead gang back together, the new thing is exploring these films in every minute details, putting it on film and selling it to like-minded enthusiasts. It's kind of like Christmas,

My favourite horror film, probably my favourite film of the 80s, is Fright Night. Imagine my excitement when it was announced that the franchise would be getting this in depth treatment, and imagine me wetting myself when my copy came through the post.

You're So Cool Brewster: The Story of Fright Night is a 3 and a bit look into every aspect of Fright Night, from casting to soundtrack to effects and all the near death experiences along the way. With talking heads from director Tom Holland and most of the cast and crew, it's a real fucking treat. Spending the majority of its run time on the original Fright Night film (it is after all, what we're really here for), no stone is left unturned. It addresses the queer speculation, and what the heck Billy was ANYWAY, along with just generally being a real feel good experience. I gotta say, I was kind of nervous about this documentary, because I also bought Leviathan, the Hellraiser 1 and 2 documentary, and found it WAY too in depth (I am just a little baby who can't watch anything over 80 min in length), but I needn't have worried because the running time just BREEZED by in YSCB. You can grab your copy here.

Fright Night, in case you've never seen it, explores a suburbia that is rotten in the middle. Actual dreamboat Charlie Brewster spends his time watching horror films and trying to bone down with his girlfriend, a serene existence where all that matters is making sure your GPA doesn't slip. That is until Jerry Dandrige, also a dreamboat, moves in next door. There's something up with Jerry, a nocturnal, fruit guzzling lothario, who happens to be a vampire. Or is he? Charlie recruits a band of misfits to find just that out, and the results aren't pretty.

The concept is almost Hitchcockian, a Rear Window tale updated for a new audience. It's a simple concept but the film offers so much more. You know when you just watch a film and it's just got so much heart, like everyone working on it truly believed this was the best thing they could be doing, and they had the creative freedom to have their choices heard and it all comes together in this wonderful frenzied energy and emotional punch? That's Fright Night, It's not just a horror, it's not just a comedy, it's a tale of several sexual awakenings, an exploration of vampire lore and one man's redemption after Hollywood turns their back on him. Everyone in the film is FIGHTING for something, nothing is black and white, everything is murky and covered in a smoke screen (quite literally, stop vaping on set, just kidding).

What I really took away from watching the documentary was the way in depth segment on the practical effects. A little known fact about me is that I seriously considered sinking my savings into going to practical effect school and learning to do this shit and fuck about with chemicals and latex (it was never meant to be, I was born a few years too late for this to be a stable job) so this was super fascinating to me. I know a lot of other people also look at effects and think 'how did they DO that?', well don't worry because all your questions will be answered, I assure you.

The documentary also covers Fright Night II extensively, which is great news because Fright Night II is an underrated classic. Did you know that it was directed by the guy who did Halloween III: Season of the Witch? BECAUSE I DIDN'T. Everything makes sense now.

Fright Night II follows Charlie Brewster and Peter Vincent now that Charlie is in college, and via several years of therapy, believes his encounter with the vampires was just a figment of his and Peter's imagination. Until Jerry's SISTER shows up to turn the world upside down again.

FNII is a much schlockier film than the original, but as sequels go (and y'all know how much I love sequels) it's probably one of the best I've seen. I mean, come on, it's got a rollerblading, new romantic vampire in it.

It's nice to watch the documentary and no one's got a bad word to say about the sequel, I really appreciate that because you know, even if it's not the original, people have worked really hard to make it, and I can always appreciate that with any sequel that's got it's heart in the right place. Especially when they're as charming as Fright Night II.

We even get a brief glimpse of the remake, which I actually think is an acceptable update. I mean, it's not a patch on the original, but with Anton Yelchin and Imogen Poots in the leads it can't help but be a little bit charming.

The only thing missing is Fright Night 2: New Blood, but I think that's a fine omission because 1) it's fucking SHIT and 2) I'm 100% sure this was never intended to be a Fright Night movie but the studio tacked the name on the front to try and sell more copies once they saw how SHIT IT WAS.

If you've got some pennies to spare, it's well worth chucking them at this documentary, it's bursting with facts and secrets that I didn't know and I think even the most hardcore Fright Night fan would find something new that they hadn't thought about before.

The makers are currently in the works with Robodoc which is obviously the best news ever for me, because Robocop is my most treasured, favourite film of all time!

Robyn is one half of Bimbo Movie Bash, an avid fan of Angel Delight and a Pee Wee apologist.

Wednesday, 4 January 2017

I've been going to this high school for seven and a half years, I'm no dummy!

There is something beautiful in the time capsule teen films of the 80s. The innocence, the lack of readily available porn making everyone itchy, the need to stick it to The Man (whatever The Man may be) whilst living in your nice suburban home. The world is too cynical for 80s movies now, now when it's emulated you get gruesome creations like Kung Fury or The Greasy Strangler. The very essence of the time cannot be bottled and sold on for a millennial audience. But of course the beauty of the 80s was that it was the birth of home video, so you can always revisit the classics.

Everyone has their favourite 80s teen film, mine is Better Off Dead. Have you ever seen it? A suicide obsessed John Cusack (before he was famous for being love-sick) gets dumped and must conquer a deadly ski competition to win his ex-girlfriend back. Pretty simple plot, right? But from the very start this is something completely different, Better off Dead takes you on a surreal journey, an abstract consciousness of ideas and skits that have no need to be thrown together, but are woven inside each other so majestically that it can only be a work of art. One minute you're watching a teen try and hang himself, the next there's a plasticine burger singing Van Halen.

Directed by Savage Steve Holland, you wouldn't be blamed for thinking someone with a name like that would be more suited to the horror genre, but Savage Steve carved a weird niche for himself with 80s classics like One Crazy Summer and How I Got Into College, with his favourite actor Curtis Armstrong (Booger from Revenge of the Nerds). Better Off Dead is his masterpiece, mind. The shining jewel in the crown, and do you know what? John Cusack hates it. You kind of have to feel that if John Cusack hates it, it's gotta be a good movie, right? Savage Steve goes into more detail about his fued with Cusack here, and it's well worth reading.

This film was basically my introduction to Cusack, to teen sports movies, to the 80s high school comedies. I've been watching a lot of ski movies recently (not on par with this naturally) and I just knew I wanted to revisit and write some feelings down. The vibe of this movie is so warm, you can tell everyone had a blast working on it, a real labor of love and a freedom so rarely found embedded into every scene.

Better Off Dead may have been considered a bomb upon it's release, and it's certainly overshadowed by the John Hughes of the era, but despite all its come up against it's still embedded in popular culture. "I want my two dollars", the car racing, playing sax to your girl in a burger joint, it all keeps cropping up because they're simple concepts that have a lot of heart behind them. I'M JUST EMOTIONAL GUYS. 

This film can also add 'best song ever at a dance' to its credits, featuring the great E.G Daily (Dottie in Pee-Wee or the voice of Tommy Pickles) in a silver foil dress, singing her heart out. And the song is great, like truly maybe THE BEST SONG OF THE 80S???

The twisted darkness of suicide mixed with the goofy tone of the film truly do make it one in a million, if you haven't watched it? GET IT WATCHED. You will not be disappointed. If you don't like it I assume you're having a sense of humor failure just like Cusakc. DON'T BE LIKE CUSACK.

Robyn is one half of Bimbo Movie Bash, an avid fan of Angel Delight and a Pee Wee apologist.

Sunday, 18 December 2016

Robyn's 2016 Film Round Up

This year I watched 572 films. That's a lot of hours spent, and I gotta say a lot of those films were not very good at all. Such is the risk you take when your brain decides 80s shite horror films and erotic porn parodies are the genres you just HAVE to focus on. Interestingly, despite watching 572 films, only 8 of them were films I watched in the cinema. Trying to squeeze the cinema in after work has definitely failed this year, but I'm totally adamant that next year I will step up my game. But seriously, it felt like for months I was looking to go to the cinema and there was just absolutely NOTHING on. I've couldn't even give you a top 10 of this year, because there's only 6 films I've even ENJOYED from this year which is pretty fucking dire, imo. It hasn't helped that Netflix has seriously lost the plot, I am counting this as the year that's bubble's burst, and I truly believe Netflix could not give a fuck about any of us or what terrible content it's churning out.

Some good stuff has also happened this year (film wise)! Me and Charlotte set up this blog, which is been so much fun. It's nice to have somewhere to just put your thoughts, and not worry if you don't update for a few weeks. Also Shudder and Disney Life arrived in the UK, making my reliance on Netflix that little bit weaker. It was a great year for animation, and it feels like upcoming sequels are actually gonna be truly FUN.

Top Six Films of 2016

 Kubo and the Two Strings

Without any hint of a doubt, this was the strongest and most exciting film of the year for me. I'm a huge huge Laika fan anyway, but they really outdid themselves in the sense of the sheer scale and ambition on display here. I'm so sure they will continue to produce absolute bangers, but I feel like Kubo is going to be their masterpiece.

What is there even to really say that hasn't been said? An enthralling adventure story, a road trip movie and a sick soundtrack rolled into one. If you missed out on this please get it watched as soon as you can, because there's kind of been nothing like it before, with a story on the scale of Ghibli, but with the warmth and humor of something like Pixar.


I have been waiting for Moana for so long, there were rumbles about this princess film Disney were stuck in a rut with for what seemed like YEARS before we even got a teaser for Moana, but it definitely lived up to the hype.

The songs and the characters are wonderful, plus the entire story is captivating. A young girl finding her calling in life is old hat for Disney but Moana feels special because it feels like they actively tried to break the princess mold they so well crafted from their inception. Moana is Disney being daring, I'd be well happy if my daughter was growing up in the age of the Moana's, and Rapunzel's and Elsa and Anna's. They feel like 3D characters, with more than just true love to be searching for.

Green Room

Green Room burst onto 2016 kicking and screaming and it was so exhilarating and bare but rich with guts and violence. The death of Anton Yelchin hit me hard, but I'm thankful Green Room got it's time without being overshadowed by his tragic death.

Green Room is like what a football hooligan film wishes it could portray. It's so unforgiving on us and the characters, it will leave you empty and hollow but your heart is beating a million times a minute as you process it.

Pee-Wee's Big Holiday

I got burnt badly with Big Top Pee-Wee, I never would have dreamed that another Pee-Wee film could feature in my top films list in the year of our lord 2016. Where Big Top failed (making Pee-Wee an ADULT with a GIRLFRIEND), Big Holiday rectified this by reveling in the silly concept, playing the essence of Pee-Wee totally straight, making it so much more enjoyable for all of us. Some things don't need a 'wink wink nudge nudge isn't this ridiculous?' nod, because if you've invested enough to watch this period, you're already on board for every antic Pee-Wee has up it's sleeve.

The Nice Guys

I shouldn't have liked The Nice Guys, I hate the 70s, it's like my one rule to never get on board with anything remotely 70s. But I'm glad I listened to everyone who said this was good and I'm glad I saw it int he cinema because it's probably the most laugh-out-loud fun I had int he cinema this year. The sets glitter, the patter is good and it's got Jack Kilmer in it, so there's really nothing not to like.

Honorable mentions go to The Jungle Book and Zootopia which I also totally enjoyed.

My biggest disappointment of this year has got to be The Witch. I know, I know, it's a sackable offense to admit you didn't like it, but I truly HATED every minute of it. Dreary, depressing and a million years long, give me a Black Phillip spin off and I'll reconsider.

Best First Time Watches in 2016

Killer Klowns From Outer Space

I have no idea why it took me so long to watch KKFOS because I kind of feel like it was made for me. It's so vivid and silly and just a fucking riot of fun. It's absolutely going to be a Halloween staple for me from now on, I can't think of one thing about this that doesn't just screan F U N.

Deadly Spawn

With Deadly Spawn's near silent horror obsessed kid hero, I kinda feel like I AM the kid from Deadly Spawn. Yet another film I really should have seen by now, getting the Arrow release of this changed my life pretty much. Who knew wee worms could be so VILE?

As Above So Below

Like National Treasure but with Satanic cults, I never ever expected this to be just as good as it is. This probably spooked me out, so much that I had to keep putting my torch on to check there were no monsters in my room that night. If you poo-poohed this may I just suggest you watch it before it leaves Netflix, because it's a great adventure.

Lady Snowblood

One of our first posts was me gushing about this film! It's got an elegance and slow, deliberate discipline that's lovely to watch in our fast-paced action packed screens these days. I'm still mad that Tarantino got away with ripping this off so blatantly.

Death of a Cheerleader

This is the year I started flirting with a fast-becoming obsession - LIFETIME MOVIES. This absolute classic cannot be beat, I had a ball the entire way through, this is so pure and it's got that early 90s GRUNGE all over it, I would probably choose this as one of my desert island DVDs!

So there you have it. In 2017 I am most looking forward to the Beauty & the Beast live action film, MONSTER TRUCKS and the next (real) Star Wars film.

Robyn is one half of Bimbo Movie Bash, an avid fan of Angel Delight and a Pee Wee apologist.