Published on May 1st, 2015 | by SgtKaiju


Cult Of Consume – Vol V

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Greetings and welcome to my little dark corner of Need To Consume, THE CULT OF CONSUME. This is where we look beyond the frontline of film, deep into the DVD racks, into the VOD void and around the back into the alleyway of re-releases. This isn’t the place for your blockbuster drudgery. I’m going to be bringing you hidden gems of the cult world, lost classics and certainly some films that have been forgotten for good reason.

There will be zombies. There will death. There will be terrible acting and set that move when touched. There will be nudity, violence, aliens, gods, gangsters, madmen and femme fatales. Come with me…

LATE-PHASES-SXSW-Poster-11x17-195x300Late Phases: Night Of The Wolf

A retired blind man vs a werewolf? What’s not to love… Reknown Spanish horror director Adrián García Bogliano finally steps over into the world of English-language horror with LATE PHASES: NIGHT OF THE WOLF. Long-time character actor Nick Damici takes the lead here, as a retired marine, the very definition of grizzled, caught up in some very supernatural going-on on his otherwise Stepford-esque retirement community. There is some excellent support from Ethan Embry (always love to see an Empire Records alumni) as his put-upon son and Tom Noonan as the local priest.

The film could certainly have done with a tighter edit, the middle felt slow and plodding in places, especially disappointing after a cracking opening and build of the tension. But this a minor quibble. NIGHT OF THE WOLF is a great, tense home invasion-cum-horror film brought alive by a frankly mesmerizing performance from Nick Damici. His intensity and sure-heartedness carries the film and draws you right in.

Out Now From Metrodome


God I love Pam Grier. Bloody love her. Loved her in THE BIG DOLLS HOUSE. Loved her in JACKIE BROWN. Loved her here.

COFFY tells the tale of a nurse-by-day, vigilante-by-night out to clean up the mean streets of LA. All the integral blaxploitation elements are here, from pimps to streetwalkers, with drug-pushers and corruption rife. As with every film of this genre, the rich and vibrant bit parts and minor roles make it the living, breathing, dying and fucking world it is.

But truly, this film belongs to Grier. She is the proto-srtong female character, at a time when that was still revolutionary. She roars onto the screen, with an opening in media res to rival even the best Bond film. She OWNS this film, from the sexy to the violent,  from the heartfelt to the actually happy. A classic worthy of your time.

Out Now from Arrow Films


Lets be honest with ourselves, ROLLERBALL is the sport we all really want to watch. It has fights, it has athletics, it has mutha-fracking motorbikes.

James Caan plays Jonathan E, the famed captain of the the top team, Houston. Caught between his corporate bosses desire to see him retired and his own desires to play the game he loves so much, he gets involved in increasingly violent and unhinged games.

Whilst on the surface (at least at the start), ROLLERBALL is simply another future sports film, once you delve beneath the layer, it opens up to be a meditation on the nature of individualism in the face of hegemonic corporate entities, of the role of one man in the larger world.

This version, as with almost all Arrow Video releases is packed with extras, from commnetaries from the director and writer, cast interviews (including a fascinating new one from Caan) and a plethora of behind the scenes documentaries. Take the time, dive in. Good things await.

Out Now From Arrow Films


Look, I get it. Disco is terrible. But a serial killer driven mad by the bright lights and easy beats of the music that taste forgot? Apparently so…

Sitting itself very much in the horror genre, down in the odder end of the pool, DISCOPATH tells the story of a New York cook driven insane by Disco music, resulting in his slaying of a woman in a club. Overcome with remorse, he moves to Canada to escape. But in time, the music returns and so does the killing…

The director is clearly in love with the classic giallo films of the 70s, to the point where the homages present here eventually overrun the story itself, this is a film so concerned with it’s heritage that it loses sight of itself. All the actors do good work with the material and it certainly evokes the spirit of the era it’s love so much, but in the end it’s problems leave it forgettable.

Out 4th May From Metrodome


America is lost. Overrun with domestic terrorism, food shortages and paramilitary groups, they turn to Big Brother security and outsourced military as police. But when the overlords go too far, one of their own goes on the run.

RZ-9 falls into the slight odd category of being big enough budget to have some impressive VFX and props, but also small enough to make the rest of the shots looks low-budget, almost as if the professional nature of some elements just serve to highlight the failings elsewhere. But really, in the end, that doesn’t matter. RZ-9very much wears it’s heart in its sleeve and you love it for it.

Unlike the faux-cult films of Sharknado et-al, this kind of film doesn’t take the cheap shot and instead plays itself seriously, taking the story seriously. It may not have the polished sheen of the mainstream films but if you see beyond that, there is a great film to be found.

Out 18th May From Metrodome

sleep-r-coverThe Sleeping Room

A strange cross between British social realism and a ghost story, THE SLEEPING ROOM is one of the most intriguing films this month.

Starring Leila Mimmack as Blue, a Brighton call girl who gets booked by Bill, a reclusive artist currently doing up an old brothel. As they discover a hidden room, overlooking the bedroom, ugly parts of the building’s history start to rear their heads, threatening to drag all of them down with it.

As mentioned, the films seems to be play between two camps, trying to infuse realism into an otherwise run-of-the-mill horror. And to a certain extent, it does succeed. Leila is wonderful in the lead, the right amount of naivete and confidence, playing the lost call girl as well as the avenging scream queen. And the rest of the film is no slouch either, with the direction doing great work to build the unease throughout, even if the film does retread the well-worn tropes of this genre by the end.

A great addition to a well-known genre. One for horror hounds and might even do a bit to bring in a more mainstream audience.

Out Now From Second Sight Films

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