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Schlocky Horror Picture Show

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de_la_Nae:
Well I'd say that's an indicator of a pretty good amount of reflection you're doing on the subject, which I think is probably something a lot more fans of the genre need to do on occasion.

There are couple things you touched on that I do want to ramble a bit on myself. First, humor: Quite a few of this general style of film are really and truly funny at times. Dead & Breakfast, Sean of the Dead, Vampire Motorcycle, and many others can be by turns downright hilarious, and often a part of that is the juxtaposition they offer between the tropes, styles, effects, and events going on within them. And while there can be reasons why having fun may be wrong (see anything done in Clockwork Orange for fun), there often isn't.

In addition, just because a story is awful (in its contents or execution) does not mean it is not worthwhile. Stephen King often inflicts terrible and horrific things upon more-or-less innocent characters, often children, but I say there are rather few people that can truthfully deny that It speaks to them in a fundamentally frightening and compelling manner. The Crucible, both the play and the movie, is heartbreaking, especially when one keeps in mind the cultural context in which it was created, but it is good that it exists.

Now many of these films are no It, no Crucible, we all know that. Most of them aren't even trying to be, because they too exist within the wider cultural context of their time and peers. That does not mean they can or should be dismissed without thought though. They can be as entertaining as any more traditional action or comedy film, and besides, many of them (sometimes haltingly or fumblingly) explore important topics. Monkey Shines tells a story that's just as much about obsession and helplessness and frustration as it is about a killer helper monkey. The Lost Boys examines the excesses of uncaring and self-centered hedonism while also being about all 'rock and roll vampire gang fuck yeah!'. 976-EVIL is rather silly, but at the same time illustrates the very real allure of revenge.

Anyway that's enough out of me for a minute.

ackblom12:
I don't disagree with anything that you said, but I would like point out one thing to segue into another bit of discussion. I don't consider Sean of the Dead schlock at all. I'll go into that a bit more after I add tonight's films.

ackblom12:
Videodrome (1983):

This is one of Cronenberg's best films in my opinion. James Woods plays a sleazy network owner who believes that Television fulfills a basic human need much like that of the gladitorial arena of Rome. He seeks out and puts the most intense and controversial material on his station 24 hours a day. BDSM, torture, combat, war etc. One day he discovers a station called Videodrome, and the movie follows his eventual fall into this world and how it warps his view of reality. One thing of note for this film is it's heavy emphasis on Body Horror and surrealism, The Thing is and Uzumaki being other examples of Body Horror. But what makes this special is that the Body Horror aspects are not only important visually, but are also central to the plot's thesis on the effect of the viewing habits on the psyche of the viewers. It's a brilliant film.

DEATH TO VIDEODROME! LONG LIVE THE NEW FLESH!

//www.youtube.com/watch?v=wdOnUtHamko
It's on Netflix and is also on Youtube here.

ackblom12:
Rick 'n' Roll Nightmare (1987):

John Mikl Thor, body builder and front man for the 80's metal band THOR, stars in this movie. It's... just watch the clip.

//www.youtube.com/watch?v=dnEH3pkflsc

riccostar:
Director: So exactly what is our budget for this project?  I was just told I have to buy my own coffee...

Producer: Seventeen dollars and fifty cents, make 'em count.

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