Rupert Pupkin Speaks: Film Discoveries of 2016 - Matt Lynch ""

Tuesday, January 17, 2017

Film Discoveries of 2016 - Matt Lynch

Matt Lynch is Marketing Co-ordinator at the wonderful Scarecrow Video, one of the greatest stores known to cinephile-kind(It is a place I have yet to visit myself, but I hope to correct that before the year 2020). To say Matt watches a metric shit-ton of movies would be an understatement. Following his film watching exploits on twitter,tumblr& Letterboxd, is highly recommended. You should also listen to this interview I did with him a back in 2012:http://ggtmc.libsyn.com/bonus-36-interview-with-matt-lynch
Matt also occasionally reviews movies for Inreviewonline.com and The Stranger.

Here's his lists from 2012 -2015:
http://rupertpupkinspeaks.blogspot.com/2013/01/favorite-film-discoveries-of-2012-matt.html
http://www.rupertpupkinspeaks.com/2014/01/favorite-film-discoveries-of-2013-matt.html
http://www.rupertpupkinspeaks.com/2015/01/favorite-film-discoveries-of-2014-matt.html
http://www.rupertpupkinspeaks.com/2016/01/film-discoveries-of-2015-matt-lynch.html
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1. HANDGUN aka DEEP IN THE HEART(1984; Tony Garnett)
Should also be AKA TRIGGER WARNING
Very blunt, very straightforward rape/revenge film, about a meek young woman who arms herself after a sexual assault. Clinical, with an almost industrial-film-like simplicity in its depiction of not just the rape itself (an absolutely harrowing sequence on its own, so be warned), but also its forensic aftermath, the patriarchal dismissal of the crime and her trauma, and even gun culture. Doesn't have the searing punk fire of something like MS. 45 but just as sharp a cutting tool.
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2. THE INSTRUCTOR(1981; Don Bendell)
Somebody scraped a few grand together to make this tantalizingly borderline-competent homebrew martial arts/stunt-reel movie, about a karate instructor/possible Burt Reynolds impersonator (Tae Kwon Do champion Bob Chaney) whose amazing adventures this film seems to have accidentally stumbled into. A classic example of sheer willpower and enthusiasm trumping near-total ineptitude. Features vaguely post-apocalyptic punkers, a rape-revenge plot, a 20-minute car then motorcycle then foot chase through Akron, OH, followed by a chainsaw/axe fight, and an unexpectedly killer soundtrack. Also if it had wrapped up a scene earlier it'd have the same ending as PICKPOCKET. Wow.


3. SHOOT IT BLACK, SHOOT IT BLUE (1974; Dennis McGuire)
Cheap little burner about a black kid who proceeds to clandestinely make a documentary about a corrupt, racist cop (a typically unhinged Michael Moriarty) after witnessing his hands-up-don't-shoot murder of an unarmed mugger. Slows way down to savor good old thwarted masculinity, the universal motivator, before letting cinema itself take its revenge. Never quite blisters the way you wish it would but tantalizing and irresistibly prescient.
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4. FOR A COP'S HIDE (1981; Alain Delon)
Alain Delon wrote, directed and stars in this weirdly laid-back detective movie about a PI who stumbles into a weird missing-persons case. Has the strange jocular humor, sudden nasty violence, labyrinthine plot, and simmering sexism you find in Shane Black's work (I wouldn't be surprised if he'd seen this; there are even some obvious parallels to KISS KISS BANG BANG). Look out for the bizarre soundtrack, which includes Neil Diamond.
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5. BLACK HEAT (1976; Al Adamson)
Sticky-icky Al Adamson wave, ostensibly a blaxplo but really a desperate working-poor crime epic. Timothy Brown (from DYNAMITE BROTHERS and the "MASH" TV series) plays a Vegas cop looking to bust up a high-class brother run by a rarely-skeevier Russ Tamblyn. Shitty apartments, strippers and dive bars, racist police, sexual blackmail. The worst imaginable transactional world. Features one of the most nonchalantly cruel rape scenes ever in exploitation film, so big trigger warning. Originally meant to be spliced together with a bunch of softcore footage and released in different markets as a sexplo called GIRLS' HOTEL.
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