John Otteni

Shocktober Day 29: The Lure

The Lure (2015)

I wasn’t sure what to expect from a “Polish Horror Musical” turns out that’s a very accurate description. The Lure or “The Daughters of Dance Party” is the story of two mermaids who join a small-time electronic pop band only to find themselves disenchanted by the selfish desires of mankind. It also has rock and roll sing-a-longs and the devouring of human flesh. It’s a well-rounded film.

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Shocktober Day 28: Antichrist

Antichrist (2009)

When I studied film in college there were certain films that would come up more than others. Memento and Inception, Fight Club (of course), and for whatever reason, Antichrist. Maybe it was only once or twice but you don’t forget an Antichrist conversation. On one hand, it’s a film lover’s wet dream with rich visuals, deep earthly colors and even deeper themes. On the other hand, its a nightmare porn film ravaged by sorrow and misery. Either way, it’s not a fun time, but is it a rewarding experience?

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Shocktober Day 24: Videodrome

Videodrome (1983)

I remember the first time I watched Videodrome. I was excited about the prospect of seeing a film so crazy. Not unlike sleazy cable programmer Max Renn (James Woods) and his excitement for the latest lurid TV show. Then I actually watched the film and I was bored and confused. Now I’ve watched it again and was less bored but just as confused and didn’t realize this film was kind of misogynistic too, but damn if I don’t love watching James Woods pull a gun out of his stomach.

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Shocktober Day 19: Salò, or the 120 Days of Sodom

Salò, or the 120 Days of Sodom (1975)

Fuck all of this. What is this piece of shit? Why are people in this film, EATING SHIT? What kind of demented sadistic sex pervert wanted to make this film? Who was it made for? Why is it in the Criterion Collection? Why did I watch it? I’ve seen gross movies before, but never have I been this insulted. Salò of the 120 Days of Sodom pushes the limits of what’s acceptable. Maybe that’s the idea. I don’t care. I hate it. I’m open to dark movies, but it’s hard when it’s this drawn out. Not to mention Salò is guilty of the worst possible offense a film can be guilty. It’s boring. It’s so fucking boring. Bury me now, please!

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Shocktober Day 18: Sisters

Sisters (1973)

I wanted to write a De Palma review without too much reference to Hitchcock, but after watching Sisters again I don’t think that’s possible. Right from the get-go this film hits you with a healthy dose of Hitch in a visually striking opening credit sequence set to music by who else but Bernard Herrmann. Though instead of dynamic Saul Bass animation, it’s colorful photos of fetuses in utero. This is where De Palma sets himself apart. He’s far more explicit than Hitch ever was. Partly because he was younger, partly because it was later in time and partly because he’s one sick fuck… but in the best way.

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Rokk Talk Ep. 11: Man in the Mirror

“Your butt is mine
Gonna tell you right
Just show your face
In broad daylight”

100 poets working for 100 years could not come up with something that good. That’s because there’s was only one Michael Jackson. In honor of the 30th anniversary of the Bad album, Colin and John reflect on the myth, the magic and the music of the legendary man in the mirror. You’ve been struck by a smooth podcast. That’s gotta be enough writing, right?

P.S. This was recorded back in late August/early September. We just wanted you to know that so this podcast can take you back to a more simple time.


Shocktober Day 15: Valerie and Her Week of Wonders

Valerie and Her Week of Wonders (1970)

It may sound like an early ’70s porno, but Valerie and Her Week of Wonders is in, fact a surrealist drama from Czechoslovakia. I don’t think I can name one fact about Czechoslovakia. Not a single person or event tied to Czechoslovakia. Does it have something to do with the Czech Republic? I’m reading now that it became the “Czech Republic” and “Slovakia” in 1992? That makes a lot of sense. I wish this movie did.

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