Shivers (1975)

Shivers is the debut feature film for Canadian director David Cronenberg who would practically create an entire sub-genre with his body-horror (it is exactly what it sounds like) style films. A crazed mix of sexual content and violence that introduces the potential of a director who has been shocking audiences and impressing critics for his entire career. Plenty of controversy surrounded this film - much of it coming from an article by Canadian journalist Robert Fulford that attacked the Canadian Film Development Corporation for using tax-payer's money to fund such an explicit film. That controversy would make it challenging for Cronenberg to get funding for feature films. Compared to his future films, Shivers' violent content is surprisingly tamed, but bursts of gore and low-budget visuals don't coexist very consistently.

Harold and Maude (1971)

A young man named Harold Chasen (Bud Cort) hangs himself to the song "Don't Be Shy" by Cat Stevens, his mother (Vivian Pickles) walks in, looks at him, then goes about her business of making a phone call. Even as he gags and flails around she just continues her conversation as if nothing is happening. What a morbid opening, right? No. Somehow he lives and it cuts to his mother, Harold and two guests having dinner; Harold complains about having a sore throat but his mother is clueless as to why. And that is how Hal Ashby's cult classic Harold and Maude begins. Ashby would go on to make multiple Oscar-winning  films like Bound for Glory (1976) and Coming Home (1978) -- both films being a completely different tone from Harold and Maude. This being his second feature, Ashby was still making a name for himself with small budgets (1.2 million), lesser-known actors/actresses (Ruth Gordon being his biggest star), and virtually no experience. But like it often happens, great directors early films are their most original; Harold and Maude being a perfect example.

Suspiria (1977)

 

 Stylization at its finest, Suspiria is a horror film with all the right stuff to live on forever. But will it? Well as a recent viewer watching this film thirty-four years later I can say that it doesn't feel like the classic is was formerly considered as, but Suspiria hasn't lost very much of its flair or effect.

Zombi 2 (1979)

Rating: 1.5/4

Opening  with a splendid shot of New York Harbor with an abandoned boat being searched by two patrolmen; one is killed by a zombie, the other kills the zombie. At that point no matter what I have heard about the film can keep me from getting excited; I had this sudden rush of hope that at least a portion of the film would take place in the always fascinating New York City. But I was wrong, what a shocker. Right after that satisfying start the film becomes distasteful, situational camp.

A Boy and His Dog (1974)

Rating: 2/4

My opinions are extremely torn for L.Q. Jones' film, A Boy and His Dog, which is based on the award winning story of the same by Harlan Ellison. Starting with shots of many -- or it could have just been many different angles of one -- nuclear explosions and telling us that it is set in 2024 after the conclusion of World War IV. The world is now a barren wasteland with females nearly nonexistent and men have become desperate savages.Vic (Don Johnson) and Blood (played by Tiger and voiced by Tim McIntire) are the two title roles and they are out guides through the barren desert that is now America. John Arthur Morrill does a splendid job with the dystopian atmosphere, he even works the claustrophobic set-areas well also. Vic is 18 and his only goal is to get "laid;" Blood's age is not determined, he is experienced and has knowledge of the past which causes him to be more cautious although he does have dreams of a fairytale-like place he calls "Over The Hill." It is their chemistry that is the deepest, warmest, most tortured, and most consistent presences in the film. When they are separated about 3/4 in, the film quickly loses its strength and that is when the faltering begins.

Monty Python and the Holy Grail (1975)

The crew of Monty Python's first film feature is one to cherish. Made between their third and fourth seasons, they were given much more freedom with this film after the success of their sketch complication film And Now For Something Completely Different (1971). It is known that there was many creative differences between directors Terry Jones and Terry Gilliam, but in a way it helped this film. Each scene could be shown as its own individual sketch, their brand of humor is so original, so blissfully stilly that even there stupidity comes off seeming smart. Based loosely on the legend of King Arthur who is played with an understanding of how to make the material work gloriously by Graham Chapman. Gilliam's now legendary animation is perfect form working perfectly with the live-action; some real gems created from his animation is a representation of God who is made to almost identically resemble W. G. Grace, then there is the terrifying Black Beast of Aaargghhhh. Getting one to two really good laughs out of any comedy is always something impressive, the real reason to watch a comedy is for light-hearted fun, Monty Python and the Holy Grail is as light-hearted a film as you will ever see with a delightfully silly humor with its fair share of impressively smart social and political satire. Each Python member graduated from a respected college with Terry Jones being an Oxford graduate, so they know how to be intelligent with their stupidity. This film is not as known for its daring satire as their later films, most notably The Life of Brian (1979), but their comedic talents are just as good and truly something in a league of its own.

Le Cercle Rouge (1970)

Rating: 4/4

Jean-Pierre Melville creates a new world of crime in each of his films. His worlds are controlled by criminals who view their work like a corrupt politician desperate to not get caught while working right in broad daylight. Even an off-road coffee shop looks as beautiful as many fine-dinning restaurants anywhere else. Films like Le Doulos (1962), Le Samourai (1967), and now with Le Cercle Rouge make life look like one endless glamorous moment, even with crime and murder as a key element. I would be surprised if Melville ever considered the making of any of his films actual work. Everything always flows so easily, when I watched one of his films it makes me feel like I could make something just like it, but as we all know he was a master. Le Cercle Rouge is not powered by any one performance and Melville has created more lasting characters in his previous films, but what is does here is make characters that work perfectly with a plot that shows him reach plotting greatness.

Switchblade Sisters (1975)

Rating: 1.5/4

By viewing Jack Hill's Switchblade Sisters we are given a glimpse of the look and feel of exploitation films when they were at their prime. Set during a time where the U.S.'s involvement in the Vietnam war was ending, but American social problems were still at an angry blaze. Youths of that generation were aware of the civil unrest and economic struggles that were keeping the entire country restless. When youths feel their situations are hopeless it is inevitable for them to become angry and settle on momentary pleasures that will take their mind off of their troubled situations. With that it is very gradual transition for youths to become addicted to drugs and involved in crimes of all sorts.

Deep Red (1975)

Rating: 3.5/4

When stylized violence meets a patient plot a horror film becomes much more than just an entertaining time. Shot in slasher movie style, but avoids glamorizing the violence while still making it very entertaining for gore freaks. Dario Argento creates blood-soaked ugly murders that are meticulously plotted with a dash of sloppy execution that reminds us of that even with the most organized murder attempts there is never any real organization is something so unnatural. Not that this movie is meant to be viewed in a realistic point-of-view, I'm not saying that, at all. Argento puts a supernatural feeling into most of his films, most notably with Suspiria (1977), where a cult of witches reek havoc on an acclaimed dance academy. Deep Red's mysterious murderer always seems to know exactly when and who to kill, which takes away from the realism but makes the plot all the more suspenseful and engrossing.