Horrorfest 2022 Presents: Uncle Sam (1996, William Lustig)


William Lustig and Larry Cohen got together in the 1990s to give us all a slice of 1980s style cheese known as Uncle Sam. This movie has some cool kills, yet too many of them were hampered by the budget and more likely the MPAA. I loathe those censoring bastards. Anyways this movie probably should have been longer and more fleshed out, and Joe Bob Briggs does have a point that some elements are randomly left unexplained when they probably warranted some exposition.

However Darcy the Mail Girl is correct in that this is a fun horror flick, and plus it’s a rare one set around the Fourth of July. I’m a sucker for holiday related movies in general and honestly one of our most celebrated holidays should have more flicks based around it. Plus I’m down with a movie that gleefully takes aim at how much war is glorified by people in this country, and how Hollywood is partly to blame in that regard.

That smarts!

Christopher Ogden is quite good as young Jody, who slowly learns the awful truth about his Uncle Sam, who he worships at first. Isaac Hayes has a great monologue in this movie where he tells Jordy not to join the military, where as Timothy Bottoms and Robert Forster show up to be major character actor victims. P.J. Soles even makes an appearance although I barely recognized her. There is a scene where one man is killed by fireworks and then this leads to another man being impaled on the American flag in what is probably one of the most impressive displays of cheesy slasher movie violence I have ever witnessed.

Honestly you could probably remake this movie now, yet it wouldn’t be quite the same although perhaps the gore would be more present. Add in an even more pointed takedown of military propaganda and you would have yourself a great movie instead of a merely decent one. Still check out Uncle Sam for a slice of 1990s comedy violence that fits well with Small Soldiers for a nice double bill.

Horrorfest 2016 Presents: The Cars That Ate Paris (1974, Peter Weir)


This is a rather strange and yet intriguing movie. It is sci-fi, horror, and satire all rolled up into one cult low budget film package. Peter Weir before he hit it big in Hollywood created some interesting and unique movies that were centred in Australia or around Australians. The Cars That Ate Paris is one such film, and its title and subject is rather obvious. Well at least at face value.

Arthur is a young man who survives a car crash that kills his brother and leaves him stranded in the small town of Paris, Australia. He quickly discovers that no one leaves Paris, and also finds himself caught between the rebellious youth and the ruling elders of the town. This film despite weak acting and some questionable moments still is a bleak apocalyptic window into a society gone mad, ruined by their obsession with the auto.

The last act reminded me of Mad Max, which I’m sure was inspired by this movie. Weir has always been a director with something to say, and with Cars he delivers a good film that always kept me wathing. If one sits through the slower parts one is rewarded with a movie that has a crazy final act and even a funny scene out of a western. I would love to read the essay on this film written for its Criterion release.

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