Friday, July 29, 2022

El Charro de Las Calaveras (1965)

In the dusty towns of Mexico's vast countryside, innocent people are threatened by monsters. Wolf men, vampires, headless horsemen, and more! Only the Rider of the Skulls is a match for these terrible creatures of the night, and sure as sombreros are round, he will pledge his life to doing battle with them...

El Charro de Las Calaveras (translating to Rider of the Skulls) is an interesting artifact from 1960s Mexico. The first notable thing is its genre. It's a horror themed western, which makes it a unique experience (unless these are dime a dozen in Mexico, in which case it's your average western). And like all Latin westerns, it serenades us with some Mariachi players as the movie begins.

Second is the film's structure. I'm not 100% sure on the details. El Charro was either originally a prospective TV series that got edited into a movie, or began life as it is, with the intention of kickstarting a series. Either way, you can tell it's not your average film. There are three distinct stories, each running at about 26 minutes.

Each segment begins the same, showcasing the new threat, and who it threatens. If this is all set in the same place, you wonder how there's a town left if at least 1 person dies each 'episode'! There is a lot of variety, and not just in the main three monsters. The first town is threatened by a werewolf, and El Charro must discover the monster's human identity before it's too late for a local family.

There is also a witch present. At first I thought she was a villain, and was orchestrating all these threats. But it turns out she's a more neutral figure.She doesn't exactly seem good per se, but she helps El Charro out. Specifically, by raising the dead to give him clues!

Next is a vampire, who kills a woman's father, then sets his fangs on her, seeking a new partner to spend his undead days with.

Last is a headless horseman roaming the land, searching for his lost head, which is inherited by a local woman. While El Charro attempts to fight off the horseman (apparently not having realised bullets have no effect on monsters), the woman tries to dispose of the macabre object, eventually leaving it in the care of one Don Lupe, which promptly gets him killed. Now the horseman has his head back, and aided by a mysterious group of skull-faced priests, he begins a terrible plan.

The stories in El Charro are fairly simple and to the point. The first two are very nearly copies of one another, following the same beats, but with enough different. The third stands out a bit, through a different structure, and a more packed plot. There's almost a little too much going on for one short 'episode', and it risks being a little confusing. But if nothing else, it is a fun way to end the movie! Cowboy vs undead swordfights are always needed! There is a slightly abrupt ending, but satisfying, and ends with one more Mariachi reprisal.

The setting appears to be the old west, until about an hour in, when we suddenly see cars, telephones, and a modern city, showing that this is set in the present day.

El Charro is a fairly cheap production, but as a western it's hardly a tall order. All you need are a couple of horses, some sombreros, and in this case some papier mache masks. The monsters all look fun. Often cheesy and hilarious, but fun to look at, and creatively designed.

The wolf man is probably the best, and has a very creative (if baffling) transformation! The vampire's mask is the least convincing, but has adorable giant bat ears! The headless horseman is true to his name, which can only mean one thing. That poor actor! In a Hollywood film you would presume a mix of stuntwork and clever effects would pull off the visual of a headless rider. In Mexico? Just hide the dude's head, pat the horse on the backside, and watch him go!

El Charro looks quite good. I like how it uses black against light backgrounds, and the film has a striking palette in black-and-white, and no doubt would have been in colour too. A lot of the film is actually supposed to take place at night (indeed, most of the enemies here are allergic to sunlight), but every scene is clearly shot at daylight. This leads to a lot of unintentional hilarity. It's just so brazen that in a movie supposed to take place at night, there's not even the slightest effort.

The hero has a great costume. I love the amount of skulls! More than you ordinarily expect heroes to wear. That's Mexico for you! Good guys wear black, and skulls! There's one hilarious moment where some villains try and garotte El Charro from behind, despite him wearing the widest sombrero on earth.

The film is full of lovely ladies, each serving much the same purpose. The first is the mother (sister?) of a friendly boy. It's up to El Charro to save her, but despite his best efforts she is killed by a wolfman. Second up is the woman the vampire fancies. I did wonder if her curse would be lifted when the vampire was staked, but then the segment ended with what I presume is the Spanish for "Though she may be dead, her soul is free". Luckily El Charro does eventually ends the movie with a surviving love interest.

'Aiding' the Charro is the portly comic relief sidekick Cleofas. El Charro gains a pint-sized sidekick in the first story. He seemed to return in the next two parts, but apparently it's a different boy. I thought he looked different, and seemed related to the second woman, but I thought nothing of it. Goes to show how interchangeable they are.

The acting is fine for what it is. I was impressed by how little we see lead actor Dagoberto Rodriguez's face! I suppose it shouldn't surprise me too much, since this is Mexico, land of the luchadors. Pascual García Peña is amusing and visually distinct as Cleofas. The actors playing the monsters all do well under their masks. Lastly, the kids are fine, as are the women, with their sometimes bouffant hair.

El Charro de las Calaveras is a great time! Short and to-the-point, it's a great throwback to classic western TV, with a bit of horror and monsters thrown in for good measure. It's the kind of film that could only come from Mexico, and shows why they have such a vibrant and colourful cinema. Even their z-grade efforts are something special...

La Casa del Terror (1960)

Casimiro is a lazy lump, who does little but sleep and eat all day, in-between dates with his exasperated girlfriend, and a night job for a scientist. Little does he know Dr. Sebastian is a madman, who experiments on human subjects! To this end, he steals a newly presented mummy, and successfully brings it back to life, only for it to transform into a werewolf. Now the monster is a threat to all, unless it can get a new brain. And the doctor thinks Casimiro's will fit the bill perfectly...

La Casa del Terror is a Mexican comedy-horror that has a special place in cinema. It was the last time horror legend Lon Chaney Jr. portrayed the character that made him famous-The Wolf Man! Not in a Universal picture, and thankfully not some z-grade trash either.

The film stars comic actor Tin-Tan. Oftentimes you'll watch a horror film with an obtrusive comic relief character, who hogs the screen so much you can't help but think "If you're that funny, go away and get yourself a stand-up show"! Well in La Casa del Terror's case, there's no need. The comic relief IS the lead, and the film is designed for him. It's a good vehicle for his humour and persona. It never overtakes the monster shenanigans, and vice versa.

The plot itself is the weakest link. All the pieces and characters are in place, but the story itself feels a bit lacking. For a comedy like this, it's admittedly not the most important thing, but things just happen here, and it would've been nice to have a little more tissue.

The film makes great use of its wax museum setting, which has its share of uneasy looking figures. The mad scientist's lab is cool, with enough bits and bobs, and shiny lights to convince.

Casimiro is a naughty boy, with a habit of crying wolf...literally. But he has his redeeming qualities. One cute moment was when he demands statue of Paquita. His role in the climax does verge on unbelievable, but fun all the same.

His girlfriend Paquita is way out of his league, which makes for a fun romance. It's interesting seeing relationships like this. She's a great partner. I like how she defends him from others, but criticises him for his faults. She is not blind, and wants him to improve, but also doesn't tolerate anyone insulting him. It shows how much she really cares for him, despite his somewhat slovenly ways.

Despite the wolf man's habit of killing everyone he sees, naturally he only abducts Paquita, because all monsters love a beautiful woman! It is amusing how her aunt goes out at night alone to buy bread, just so her niece can be home alone to be kidnapped by a werewolf.

The wolf man is a fun presence, always attacking people and smashing things up, while also carefully handling and unlocking doors. My only complaint is that he looks nothing like an ancient resurrected mummy. Once he's been steam-cleaned, he just looks like your average dude, in modern clothes, not like an ancient man. Him being a mummy at all is a strange choice. You're getting two monsters in one here!

The villainous Dr. Sebastian is an amusing guy, aided by his henchmen Rito and Nacho. What he's actually trying to achieve almost feels secondary, and it's just his bad luck that the mummy he randomly chose to resurrect also happened to be a werewolf! Good for scientific research, bad for life expectancy, as he finds out.

One weird thing is how he performs a brain transplant to make the wolf man docile. Not only does it not keep the wolf man in check, he still retains his original mind. Also, considering the professor totally got Nacho killed, I can't exactly imagine his resurrected brain being willing to help.

The acting here is good. Tin-Tan (Germán Valdés) is great fun as the lead. Comic relief characters like this can go either way, but he was a beloved comedian for a reason. Yolanda Varela is spunky enough, with a nice streak. The duo get a song too, which is fun, even if the lyrics do repeat a little too much. Yerye Beirute is entertaining as the mad scientist, hamming it up just enough.

Lon Chaney Jr. is a treat in his last turn as the Wolf Man. Despite having limited screentime and zero dialogue, he does a very good job in capturing the desperation of his character! An old 54 due to poor health, there are stuntmen to help pick up the slack, and they're never too noticeable. I always wondered, since the wolf man is sometimes more agile than you expect from a paunchy 50 year old, but the make-up hides this well.

The effects here are very good! The wolf man's make-up is convincing, just as good as the Universal classics, and the transformation is right in front of our eyes (complete with an adorable nose!). The rooftop climb and battle at the end are well done too! Yeah, you can easily spot the rear projection, and it's silly seeing how agile Casimiro is supposed to be, but it entertains, and it never looks bad.

One interesting bit of trivia to discuss before the end is Face of the Screaming Werewolf. Fantastic title, terrible movie! 'Directed' by Jerry Warren, it's a Frankenstein product cobbled together out of a redubbed Casa del Terror and The Aztec Mummy, with some new footage. It's as bad as it sounds, and is what you expect from Warren. I'm actually partial to the guy's works when he's being original, and this certainly has a 'so bad it's good' element, but its very existence is a failure, and doesn't compare to the simple but reliable charm of the original films.

La Casa del Terror is a funny picture, and a good Mexican comedy to check out. It's definitely one of the best films Lon Chaney Jr. appeared in during the twilight of his career, and I'm grateful to it for that...

Thursday, July 21, 2022

Manos Returns (2018)

Ever since its appraisal as one of the worst movies of all time, Manos, The Hands of Fate has become an icon of z-grade cinema, and enjoyed a healthy second life. I've always been partial to it, and genuinely enjoy it in a way. Since the late 2000s there have been a few abortive attempts at making a sequel, some involving original cast members, others not. Out of all these, the film finally got an official sequel, released in 2018. Does it live up to the hype of the original film's badness? Could it be actually good? Or is it even worse?...

Four friends, Clara, Jay, Nicki, and Pat are out for a drive, headed towards a holiday booking. The idea is to take Clara's mind off of the abusive situation she recently escaped. They are unable to find the advertised Valley Lodge, until a sign that wasn't there before leads them the rest of the way. Upon their arrival they are warned way by the enigmatic housekeeper Torgo, who takes care of the place while Debbie and the Master are away. Since it's getting dark, they decide to stay, and soon the old ghosts of this place begin to emerge...

Manos Returns is a film I went into with an open mind, and it didn't disappoint. While not perfect, I found it a genuinely really neat little watch! I'd heard the film described as a comedy-horror. It starts off with a slightly meta conversation about bad movies, and there are a few attempts at laughs, but it never overdoes it with the humour.

The film becomes surprisingly serious as it goes, covering themes of abuse. I also liked how female the movie was. Directed by a woman, with three of the 4 protagonists being female! A nice touch.

The original Manos had an offbeat atmosphere, despite its clear flaws. The sequel manages to improve on them, knowing their appeal, and being able to approach with hindsight, knowing what to aim for. Some of the imagery wouldn't feel out of place in a David Lynch production, especially his recent output, like the digitally shot Inland Empire.

Manos Returns runs at only 68 minutes long, which is a very wise thing. Not only does this emulate the original Manos, it also ensures the film won't outstay its welcome. I've long since espoused more movies should be 60-75 minutes long, like they were back in the day. I never found this boring, and there's always something going on. It's hard to be bored when there's not really a lull in the action.

Manos Returns does seek to emulate the original film's badness, but in the right ways. It's also a subtle kind of 'badness' (if you could even use that word here). Short lived too, as the film seems to quickly moved past that and try and do its own thing. Which is something I'm glad for, as knowingly funny sequels to classic bad movies almost always fail.

There are a few callbacks throughout, mainly through the dialogue, which echoes many of the 'classic' lines from Hands of Fate. This reused dialogue always makes sense, and it never felt like they were just parroting for the sake of it. The original dialogue is alright, if occasionally stilted. There's also an Emma Peel reference! I will always respect an American who knows that Avengers!

The protagonists are typically snarky young people, and crack wise a fair bit early on. But they do have some depth to them in places. Namely Clara, who's a well-written lead, strong without needing to be a superhero. Nicki and Jay have a propensity for making out, which is a good way of including that classic element in the film without feeling forced. There's a slightly clunky line about Pat being a lesbian, but the film never makes a big deal about it, or makes her character revolve around it. It's just there.

Torgo starts off how he was back in the 60s, but we soon see there's more to him now. He has become a more sympathic figure, and you really feel for the poor dude. The analogy to an abusive relationship works well, and allows for a natural connection between he and Clara. I like how everyone remember his name, and just as in Hands of Fate, it's funny hearing regular people use a bizarre name like Torgo, like it's no big deal.

Having only been a child in the last movie, Debbie has undergone a big change over the years. She is the villain here, and the next master of the domain. Though the old one's presence is still felt and revered. Her role is good, but she has very few scenes early on, and doesn't interact with any heroes until the end. I suppose that was how it was in the original, but then again it was weird there too, how the Master is someone who simultaneously wants visitors yet hates visitors.

I'm not sure if I was a fan of how psychotic the brides were made to be, but I guess it is a logical extension of their behaviour in the original, amped up to make them a threat to others besides themselves. I thought the blood bathing was a bit overdone though.

Manos Returns doesn't expand on the mythos a lot. It's important to keep the mystery alive, but there's not much point making another film in this world if you're not going to explore it further. Overall though I wasn't unhappy by the end. I'll say this-It explores it just enough for the first entry in a series

The Valley Lodge in this film is a little different. More abstract, like an interdimensional place, not of this earth. While we're on the subject, it is a little weird that the Valley Lodge is in a green wooded area here, when in the original it was a more arid desert-y location. Not a big deal, since the location is used very well here, but anyone who's seen the original will notice (Once you've seen the notorious 9 minute driving sequence, you're intimately acquainted with the scenery forevermore).

Manos Returns isn't the most action-packed movie. I've seen some criticise it as nothing but people standing around doing nothing, and talking endlessly. I disagree, and found it low-key, but never badly paced. I liked the tense way it builds up just to the death of the first main character. Such a simple thing, yet made important. The climax is mixed. The fate of the remaining friends is a bit sudden and underwhelming. But what follows is great, with Debbie's mother getting a surprising and hands-on part.

The ending itself is melancholy. Unfortunately Clara and Torgo don't get away together as a happy couple, which is strange, considering the mother seemed to know what she was doing by freeing him, but at least it all makes sense with the logic of the house (namely, why is he still young after all these years, and survives fatal injuries?).

What comes next though is a bizarre twist that I felt totally ruined the moment. The ending was effective enough already, without throwing in a last minute shock, especially when it doesn't even make sense.

The acting in Manos Returns isn't the best, which is perhaps intentional, but also perhaps because of a lack of experience on the part of the cast. But despite any shortcomings, they get a some genuinely good moments, and even when they're not as good, they exude a sense of earnestness to their performances. I liked how normal they look too, rather than perfect supermodels.

Getting into specific players, Steven Shields is a great fit for the role of Torgo! He not only looks the part, and gets all the mannerisms down pat, but also brings heart and depth to the character. Danielle Daggerty does a good job too! She sells the psyche of her character, and shares good chemistry with Shields. Nuria Aguilar's Spanish accent is a little thick in places, and her performance can be clunky, but I liked her. Christina Pezzo gets some nice non-verbal moments later on. Christopher Barnes is the weakest link. He has his moments, but delivers most of his lines pretty softly, which is fine in places, but I felt genuinely let down his final scene.

Jackie Neyman-Jones is a fun presence. You can tell from her delivery that she isn't an actress, but she plays the role of a villain surprisingly well, especially considering her innocent role 52 years prior. The film uses Tom Neyman in a good way. He was in his 80s when this was produced, and so probably wasn't able to take part in a large capacity. Far from disappointing though, I never felt he was sidelined. And lastly, Diahne Mahree Rystadt, the mother from the original, returns. Again, not a professional actress, yet she does a surprisingly sad and effective portrayal of the broken Margaret.

There's a fairly sizable supporting cast too, from the many brides (one of whom is director Tonjia herself!), to the ghosts and/or hallucinations that populate the lodge, and some friendly police officers.

The music is a real high point! One of the highlights to Hands of Fate was its unusual soundtrack, comprised of mellow jazz tunes, along with discordant pieces (and most famously of all, the 'haunting' Torgo theme). Returns builds on this, and with a composer who knows what to aim for, we get a neat score, which even manages to redo music cues from the old film, and actually make them good! We also get a callback to Row Row Row Your Boat. And if you're wondering, yes, they do actually finish it this time. Although given the mental state of who's singing, it would actually make total sense to forget the end and loop back!

Another highlight is a surprisingly light but strange song that plays later on. It's almost out-of-place, but soon adds a lot. The music also has a very Lynchian tone to it. Lastly, the film ends with a new version of Forgetting You at the end, the romance song that played out the original film. It's a perfect way to wrap things up

The film utilises mostly practical effects, and they look decent. Computer effects are used but in minimal and unobtrusive ways. A lot of it is superimposing and overlaying images and filters. There are great costumes and props, all faithful to the old film. Much of the credit goes to Jackie herself, who plays a big role behind-the-scenes too. I wasn't a fan of the brides' outfits though. They just seemed a bit too skimpy. Not that I'd ordinarily complain about that, but they look less like brides and more like strippers.

A big concern I had going into Manos Returns was that it's shot on digital. I much prefer how movies used to look when shot on film, but modern ones, especially low-budget, have an unappealing digital sheen to them. It's hard to describe, but there's just something...wrong to me about how they look. Well I'm happy to report that Returns actually manages to look good! I mean, it's still got that clean look to it, but the way the movie is presented, how it looks, etc, help mask this.

The direction here is a highlight. While modern in some ways, it does take cues from older cinema, like classic zoom ins, etc. There's a great final shot! The idea of someone with a name like Tonjia Atomic handling a project like this would probably make grumpier people go "Jesus Christ, we're getting a new Manos film and the director is some hipster who doesn't even have a real name!", but she knocks it out of the park!

I liked the credits, which are a mix of the usual kind, and a montage of the cast, which is always nice to see. There's an extended moment where all the backers who helped fun the project on Kickstarter are credited My regret is that I didn't know about it. I would've been glad to put my name there, and I'm sure all those who did are very happy with the product they got. I know I would be!

While some people may have been afraid the idea of a Manos sequel would be a gimmick, or a genuinely rubbish disaster, Manos Returns manages to avoid this fate, and succeeds in everything it sets out to do! I had a blast with it. It's a great companion piece, and I feel it both brings out the inherent good qualities of the original, and is also improved when you see the first movie's flaws, side by side. Definitely worth checking out for bad movie aficionados...

Sunday, July 17, 2022

Mindhorn (2016)

In the years since The Mighty Boosh's end, I've been interested to see what Noel Fielding and Julian Barratt do next. I haven't been entirely successful though, since a lot of what they've been up to doesn't air on Aussie TV, or I've just missed it. Case in point, the 2016 film Mindhorn, which I somehow managed to sleep on for 6 years, despite being a rare leading role for Barratt! I knew I had to watch it right away, even before discovering what it was...

Richard Thorncroft is a struggling and out-of-work actor, 25 years after his biggest success-Mindhorn. About the exploits of a detective with a robot eye that can detect lies, who solves crimes on the Isle of Man, it was a classic in the 80s, until Richard's ill-advised trip to Hollywood, and public spectacles with drugs. He's given another chance to restore his career when a suspected serial killer will only speak to Mindhorn, not realising he's a fictional character. There may be more than meets the eye, however, and Richard will not only struggle to get his life back together, but struggle to keep alive ...

Mindhorn is a pretty entertaining time, and a nice example of modern British cinema producing something worthwhile. It's fairly predictable in terms of plot, but it's the content itself that manages to be unique. The film is framed around a great 80s tv homage, with the titular program being a great parody of high concept cop shows. It's reminiscent of Garth Marenghi's Darkplace, except here the show is a springboard for a greater plot.

The story is told fairly well, getting off to a good start. We're introduced well to our lead and his miserable life, and he is quickly called over to the Isle of Man for his second chance. Even though it seems the film is about a deranged serial killer, it's never at odds with the comedic tone.

Once Richard is on the case and meets chief suspect Paul Melly, alias The Kestrel, we quickly discover his innocence, and that there's something bigger going on. This is swept to the side for a while though. Since the authorities think the case is closed, Richard goes about his business on the island. This is all fine, but it goes on for a little bit too long. We get no advancement with the main story.

When the film eventually gets back on track with the mystery/adventure, it's great fun. I enjoyed seeing the quirky pairing of 'Mindhorn' and The Kestrel, and how the plot developed. The mystery does end up being a bit obvious, but at least the movie doesn't try too hard to keep it under wraps.

I wasn't so much of a fan of how Richard ends up looking though. After a dip into the sea, the Kestrel does him up with a bit of make-up, costuming, and super glue, and the result is pretty unappealing to look at! His skin especially, which has a deep fake tan/sunburnt look to it, and glistens disturbingly. It get a bit better as the film progresses, but I kinda wished he'd just been dressed in the regular Mindhorn costume. I suppose that was considered too predictable though, which I understand.

The climax is engaging, with a few twists and turns, and a little action. The Ginga scene is presented a bit weirdly, and I wasn't entirely sold by it until the end, when it came across like The Mighty Boosh lite.

The ending is pretty abrupt. It feels a little like scenes weren't filmed, but I did like the little illustrated vignettes along with the character profiles, and on reflection the ending/closing lines did mirror a classic 80s tv show.

Mindhorn isn't the kind of comedy that made me really laugh loudly, but moreso one that made me smile. Which I can get behind. Sometimes it's enough that a movie make you smile, without needing to get a belly laugh from you. The film also has its more thoughtful moments too, that give it some depth.

Richard is a good lead. He's flawed enough to be convincing, but in spite of this, the film manages to make him still likeable. At no point did I hate him, even though he makes a couple of boneheaded decisions here and there. I felt 25 years was a bit too much of a gap though. It felt like life and romance have well and truly passed him by at that stage.

His old flame Pat is nice. It's a bit depressing she shacked up with such an asshole for so long, but it is sweet that Richard is able to be a big man about it once thy get back together by the end (though the real paternity of his 'daughter' is a bit of a bummer). On that note, young Jasmine is decent enough, but I wish she appeared more, especially in the last act.

Paul Melly, alias The Kestrel, is lots of fun. His loony attitude might grate on some, but he doesn't appear enough for that to be a problem. I was hoping he'd actually appear a bit more often! I liked the mix of childlike whimsy, mixed with an adult understanding of certain things (like gadgetry, and a surprisingly mature understanding of death, in spite of his regressed personality).

Richard's agent, the slovenly Jeffrey Moncrieff, is a friendly bloke, as well as a bad influence, whose poor decisions have an unintended effect. His old costar, and star of the wildly successful spinoff Windjammer, makes for an amusing rival. I like how the movie doesn't go out of his way to villainise him. He's still a prat, if his phoney home life and apparent ignorance of his own daughter are any indication, but it's not like he's the murderer on the tape, nor is there a scene where he's conveniently punished. Richard's happiness at the end never seems to come at his expense. Which would've been fine enough to see, but pretty cliche.

The villains are alright, but don't quite appear enough to make the best impact. Detective Baines doesn't appear consistently, and was never at the forefront. When she finally shows up again, looking completely different, I barely even recognised her.

Cheesy Dutch stuntman Clive has his fun moments, and is a bit of a weirdo! Put on a shirt, man! The young PC Green appears well early on, but vanishes a bit in the last act. The grumpy police chief appears pretty consistently though, and is a great foil.

The cast here is a good one. Julian Barratt is a fun lead, and manages to tow the line well of playing a pretty rubbish fellow who's not quite so bad. Stealth Australian Essie Davis is good, and it's nice seeing a middle aged love interest. Russell Tovey is a treat! It's always fun seeing him, especially in a more exaggerated role like this. He brings an adorable sweetness. Andrea Riseborough shines in the last act. Nicholas Farrell is good as the main antagonist.

While good in places, I found Simon Farnaby's performance a bit annoying. I don't have anything against Farnaby himself, since I like him in other things. I think it's just the comedy Dutch accent. Few things annoy me like them! Comic Scotsman Richard McCabe is fun, and Steve Coogan gets a good supporting role. There are also some hilarious cameos too, with Kenneth Branagh's role deserving special praise. I may find his movies hit or miss, but he's a top bloke with a sense of humour.

The setting is a great one, with the Isle of Man being a perfect choice both in a comedic way (who doesn't want to see cyborg coppers fight crime in the Isle of Man?), and a serious one too! It's very pretty to look at, and should inspire a few holidays.

One last thing to mention is a bonus feature for the movie-An accopmanying song and music video! Entitled You Can't Handcuff the Wind, it's fun, ridiculous, and genuinely a good song! It captures the decade of the 80s really well too, by not overdoing it.

While not a modern classic (to me at least), Mindhorn is an entertaining and pretty refreshing watch. When compared with the more abstract material Noel Fielding has put out, this is definitely more grounded, but with enough to make it stand out, and enough laughs to make for a fun occasion...