Film marathons: an ode to the cinema experience
The cinema experience as a concept is bewitching. A room full of friends and strangers, all watching a giant screen with various levels of enjoyment. There is magic to being a part of that. Filmmakers often talk about preserving the cinema experience like it is a fragile unicorn. It is certainly at risk with numerous cinemas closing, but I do wonder if some of these filmmakers have stepped foot inside a cinema with the general public in the past 10 years or so. The allure of a cinema experience still exists, but for me, it has often been compromised due to obnoxious crowds.
I’m not saying that people shouldn’t vocalize enjoyment in the cinema. Many of my favorite memories in the cinema have involved crowd participation. I’m talking more about people at the major cinema chains disrupting the film and not caring about how loud and annoying they are being. I see it far too much, and the staff rarely do anything to stop it. There is a disrespectful attitude some people have in big theaters where they treat it like a place to hang out and banter with friends. The film on screen is just background noise. All that negativity aside, when all the stars align, and everything falls into place the cinema experience is wonderous and worth the occasional headaches.
Many of my favorite film memories have been at local independent and arthouse cinemas. I rarely have negative crowd experiences at those. One, in particular, is the Aero in Los Angeles. Easily my favorite cinema in the city. I remember my first time going there was to see a screening of Joshua Oppenheim’s brilliant documentary The Look of Silence. I remember finding out they do all-night movie marathons in October for Halloween, and I was excited beyond belief. I have now attended 6 of those marathons. It is a magnificent experience every time. I will not detail everything that happens there because that would require a novel of details. I will say it involves multiple people in costumes and in jokes that I will never understand but always laugh at.
The first couple of times I went to these marathons I didn’t stay the entire time. The screenings end at around 7 am, so it is quite an endurance test. I started to develop a system for staying awake the whole time. This can switch around if I don’t feel like carrying too much. I always wear pajamas and bring a pillow. Those are an essential part of the experience. For the rest, I bring a small bag containing a few snacks, a reusable water bottle, and a thermos of coffee or tea. Then I get situated in my seat and I am good to go for 12ish hours. I could technically do a marathon like this at home with a few friends, but it wouldn’t be the same as sharing the madness with a room of strangers.
There is a genuine sense of familiarity with going to your local cinema. I often see the same staff and attendees, though that can depend on the day. Before I enter the building, there are posters on either side of me with films that have previously screened. I don’t go to the Aero as much as I would like to since it is a bit far from me, but I always love attending when I can. This blog piece is focused on a recent 7 film marathon I attended on Saturday. It is a tribute to a unique and glorious exploration of film.
This was the 7th anniversary of the organization Cinematic Void. All the films were a mystery to the attendees until they started playing. We all had no idea what to expect. Some may find that idea daunting and off-putting. I understand why. I wouldn’t blame someone for not wanting to take the risk of sitting through multiple films of questionable quality. For me, that gamble is part of the charm. You’re letting go of your expectations and letting the cinema curate your day. The journey is not without bumps. There are occasional jolts along the way. Some film choices don’t land as well as others. I recall them showing the 2005 remake of House of Wax at a previous horrorthon, which has some cool visuals but is mostly insufferable.
So, let’s get to this most recent marathon and break down each film in order of appearance to detail why I keep going to these events.
1. The Warriors
This is a 70s classic that I have never seen on the big screen before. Seeing it in 35mm is fantastic. It adds to the gritty setting and story. Before the film was announced, I pondered how they could start this marathon. Going with a well-known fun film was a good call. Curating a series of films is a bit like creating a playlist for a road trip. You can’t just play ABBA, though I totally would, you have to mix it up to make the journey enjoyable. The Warriors sets the tone and eases you into the chaos.
It’s a simple yet effective tale. A gang from Coney Island, The Warriors, try to get back to their turf after being framed for murdering the leader of the biggest gang in the city, Cyrus (Roger Hill.) The expedition home is far from easy. Every gang in town is after them. They clash with numerous colorful gangs such as the Baseball Furies, a group of guys in Baseball outfits and face paint carrying bats. These are not the most realistic-looking characters around, but they are well-defined and fit with the tone the film is going for. Swan (Michael Beck) becomes the new leader/war chief of the Warriors after the previous lead Clean (Dorsey Wright) is taken out in the chaos following Cyrus’ murder. Not every character is fully developed, but they each are defined enough to be relatable. I’m glad the theater went with this film to start because the next choice was a tad different.
2. Beyond the Darkness
This is the point of no return. If you can sit through this film, there is very little that will phase you. I had heard about Beyond the Darkness before. It has quite a notorious reputation if you are familiar with Italian horror films. There is a specific style in a lot of Italian horror films I have seen. Lots of blood, sex, and nudity are common. Combine that with questionable acting, surreal atmosphere, delightful music, and nonsensical plot and you have a weird stew. Not everyone will like the taste, but those who do will chow down like it’s the last meal they will ever eat.
I am a big fan of Italian horror and I can deal with on-screen brutality, but my god this film tested me. In a good way though. It’s about a young taxidermist Francesco (Kieran Canter) whose fiancé Anna (Cinzia Monreale) dies in hospital thanks to Voodoo interference from his housekeeper Iris (Franca Stoppi.) Side note, this marks the first time I have used the term “Voodoo interference.” So, Francesco injects Anna’s body with a preservative and digs her up to be with him forever. What follows from here is nauseating and sleazy, yet oddly engrossing. It takes a while to get going, but once it does the film is a bleak descent into depravity. One I will not forget anytime soon. Seeing this after The Warriors was a sharp left turn. Now it’s time for some comfort food.
3. Halloween 3: Season of the Witch
I remember hearing this film referred to as a dud for years. More recently it has rightfully been reappraised as a gem. I first saw it at one of the previous all-night horrorthons. There is something quite special about it. I think it’s easily the 2nd best film in the Halloween series, after the 78 original of course. Not everything about the film works well. The romance between the main character Dan (Tom Atkins) and Ellie (Stacey Nelkin) is rushed and awkward. Atkins’ character is hilariously sleazy and hits on everything that moves. Somehow that blatant sleaze makes his character endearing. Not many actors can pull that off, but he manages it. Halloween 3 should have been the turning point for the series where it pivoted away from rehashing the same Michael Myers story repeatedly. Unfortunately, it was a massive flop.
I loved the original idea to make Halloween an anthology series. It would have been far more interesting than rehashing the slashes formula over and over. Halloween 3 is one of the weirdest horror sequels ever made. There are a ridiculous number of bizarre ideas. On paper, they would clash and cancel each other out, but the film makes them all work. It fully commits to the gradually unfurling insanity. Even when it can be messy and not all character development is exceptional, the sheer audacity of the story is what makes it click. There is one scene in particular involving a mask that remains one of my favorite horror moments in film. This was a perfect palette cleanse after the trashiness of Beyond the Darkness. Around this point, I got a box of donut holes from the concessions and stuffed my stupid face.
4. The Funhouse
Tobe Hooper had quite an eclectic career. Not many filmmakers have a resume that includes a genre classic like Texas Chainsaw Massacre and the baffling Lifeforce. He had a fair share of duds, but The Funhouse is not one of them. I hadn’t seen this film before this marathon. I was expecting a cheap circus-themed slasher. The Funhouse certainly has slasher-inspired moments. There is a final confrontation with the villain, but it is more of a slow burn than I was anticipating.
It sets up a typical ensemble of slasher trope characters. You have the shy girl Amy (Elizabeth Berridge) her frat bro-dude date Buzz (Cooper Huckabee), her hot best friend Liz (Largo Woodruff), and Liz’s comic relief date Ritchie (Miles Chapin.) These are well-worn character traits in the 80s. There is also Amy’s little brother Joey (Shawn Carson) who is the least developed of the bunch. He spends most of the film wandering the carnival looking for his sister. What makes the film good is how it doesn’t rely on gore. There is violence in the film, and it has more blood than Texas Chainsaw, but it is still used sparingly. The characters transcend their cliches and become more vulnerable and defined throughout. It takes a while to establish the villain. We see him briefly early on, but the film lingers more on establishing the world and the characters. It does an excellent job of immersing you in a carnival that feels real. Of course, the eventual shift into survival against a monster doesn’t exactly break new ground, but it’s still a well-done horror gem.
5. Joysticks
And now for something completely different. Joysticks is exactly the kind of film to follow up a trio of horror gems. This film contains every 80s stereotype you can think of. Plot-wise, if you saw the Asspen episode of South Park that makes fun of 80s movies, then you know exactly what to expect. Just with an arcade instead of a rec center. Joysticks has the goofy nerd (Leif Green), the John Belushi knock-off McDorfis (Jim Greenleaf), The disapproving authority figure Joseph Rutter trying to shut down the arcade (Joe Don Baker), his valley girl daughter Patsy whose voice I found impossible to understand half the time (Corinne Bohrer), the cool ladies’ man who runs the arcade Jeff Bailey (Scott McGinnis), etc.
All this plays out in the most predictable way possible. There are wacky hijinks galore and it doesn’t do anything that numerous other comedies haven’t already achieved. Sometimes, that is all you need in a fun comedy. Especially when you’ve seen multiple horror films in a row. It’s like the road trip playlist idea I mentioned. When we’re all taking this film journey together. Ideally, a marathon shouldn’t feel like a chore to sit through. It requires a balance of tones and styles to maintain audience interest, so nobody burns out. I wouldn’t have stayed the entire time if every film was like Beyond the Darkness. Now we reach the only one that kinda fell flat for me, but that is always a possibility with these marathons. 6 films out of 7 being home runs is commendable.
6. Silent Rage
Silent Rage has the makings of a solid B movie. It’s got a capable action lead with Chuck Norris. He’s not the most charismatic performer, but he knows how to beat people up and look cool. The biggest issue the film has is the glacial pacing. It starts with a man, John Kirby (Brian Libby) going through some kind of mental breakdown. He ends up murdering two family members, including his wife, before being riddled with bullets by the cops. This is where we are introduced to Norris’ character Sheriff Dan Stevens and one of his deputies, the loveable and goofy Charlie (Stephen Furst.)
While in the hospital, Kirby’s psychiatrist Dr. Tom Halman (Ron Silver) works with two doctors, Dr. Phillip Spires (Steven Keats), and Dr. Paul Vaughn (William Finley) to save the mortally wounded Kirby. Dr. Spires decides to inject Kirby with an experimental formula he created with Paul. This is meant to accelerate cell growth and strength. It works far too well and turns Kirby into a mute killing machine on a rampage. All that setup could kick off a fun action thriller. The film takes forever to get to the point. Dan spends a substantial portion of the running time romancing the psychiatrist Tom Halman’s sister Allison (Toni Kalem.) She is good in the role, but her character isn’t developed enough to be interesting. If the film trimmed the fat and sped up the comatose pacing, then it could have been more enjoyable. As it stands, the film is a bit of a dud with some good action scenes. Including a bar brawl that is the pinnacle of the film. At this point, I wanted more donuts, but I didn’t buy any. That’s the end of that story.
7. Burial Ground
Plot and characters are so overrated. So are logic and storytelling. Throw out any expectation that you’re going to see anything adjacent to the same galaxy as normal when you watch Burial Ground. All you need to know is there are zombies and a group of poorly introduced characters. After watching the film I’m still not entirely sure why anything happens. It starts with a professor in a cave discovering a stone artifact. He says a few cryptic words about what he has found and then zombies. That’s all the setup you need.
The director Andrea Bianchi seems to have a fetish for the clay masks used to create the zombies. It feels like half the running time is spent zooming in on their faces. That, along with the constant trippy music in the background turns the film into a fever dream. These zombies are cleverer than your average undead. They can use weapons and tools to get into the villa the characters are hiding in. These characters are friends of the professor whom he invited to share his discovery. What is his discovery you may ask? Doesn’t matter, stop asking questions. Hey, look it’s a grown man with dwarfism playing a child. That man is Peter Bark whose character Michael is the most memorable and bizarre part of the film. I lost count of the number of times I was baffled. Sometimes it was just small moments; like when a zombie rose from a flower planter, and I couldn’t help wondering why the gardeners didn’t notice the corpse when they planted the flowers. So, is this film any good? God no, but I loved it. I can think of no better way to end this marathon. I left the theater in a daze and went to bed at around 2 am. I am looking forward to going back for future marathons.
