where did she goooo?
…
mah luuuv-ly?
ah wanna nooooo…
wh-r do u whar do u goooo?
“what?”
i’m talkin’ ‘boute that one renter,
you know,
with the smokin’ hot bod
and the mini pincher dog,
who we only ever saw
when they’d test the fire alarm?
the babe, not the dog.
h-h-h-ho-ho-way
h-h-h-ho-ho-way
“who’re you
yammering about now,
hm?
i told you the girl at Jasper’s funeral was
probably twelve.
it’s the GMOs in the food:
that’s why rule of sevens, dude.”
I haven’t been fortunate enough to watch Alex Cox’s other populist films Sid & Nancy and Repo Man, but if Walker is anything to go by then I should be adding them to my list. He’s fallen off the radar since this – his last major studio production – but similar to other cinematic artists like Richard Stanley and Richard Rush who Hollywood execs refuse to work with (since some of us have integrity beyond a paycheck) they never really went away. Stanley just released his Lovecraft adaptation Color Out of Space; Rush is old AF but still working as a film professor (and I liked Color of Night, but I also like Jane March); and Cox seems to be pumping out independently-financed features whenever he can get the money, in addition to teaching. It’s a twofer.
Continue reading
brent, like taylor, is a survivor. after travelling through the same break in space time, he crash lands on post-apocalyptic earth of the year 3978 where man is all but extinct and the planet is ruled by intelligent apes. they are losing numbers to a supernatural force preventing them from encroaching in to the forbidden zone, an area where monuments from the past still rise from the ashes of society as we knew it. brent escapes imprisonment by the apes and enters the forbidden zone to look for taylor, and finds a race of humans living underground. they are physically mutated, presumably from radiation poisoning, and have evolved a telekinetic ability that has prevented the apes from marching on their territory. however, as the apes grow wise and close in, the humans threaten a second doomsday on the planet with an atomic bomb they worship at the altar like jesus on the cross. all hope to prevent annihilation are moot. the apes enter the encampment. brent is killed in a flurry of machine gun fire. taylor, who is revealed to be alive and held captive by the mutants, is mortally-wounded. with his dying breath he actives the bomb, and the film ends.
on the list of great movie sequels beside star trek and the godfather, beneath the planet of the apes is unfairly treated. every couple of years a new planet of the apes movie comes out in an attempt to revitalize the franchise and the original sequels, from beneath to battle, are forgotten in this stream of endless reboots and sequels. those who have seen beneath as it rests within the timeline of the original series can agree though that it expands on the mythology of the original in a slick, fast-paced (ninety lean minutes) package. and the abrupt, nihilistic ending (courtesy of charlton heston, apparently to make sure his appearance in further sequels was never going to happen) is the definition of awesome. everyone dies horribly, especially brent in the third-to-last shot of the film (literally). the planet is effectively destroyed. fade to black. end credits. there was nowhere left to go from there but back in time.
theory of a daskeman 