Tag Archives: gay stuff

Is there something you’re trying to tell us?

Something new today as Vegan Voorhees hands over the writing reins to Ross Tipograph, who looks into some of the most popular horror flicks that seemed to be hiding parts of themselves in a subtextual closet with only a little more subtlety than this:


The horror and slasher genres are notoriously for carrying weirdly sexual undertones… It’s really unavoidable, when you think about it: One predatory killer (always a man, or for shock value – gasp! – a woman) stalks and obsesses over a group of usually gorgeous, usually young characters, waits for that one dark night or empty hallway moment, gets up to them real close in a one-on-one moment and… penetrates them, usually with something sharp and phallic (if not shooting, decapitating, or creatively terminating them in any way other than stabbing).

The sexual is imagery is RAMPANT! So, as a focus, we’ll take a look at an underrated way of observing the horror & slasher genre(s), through this sexual lens:


1.  A Nightmare on Elm Street Part 2: Freddy’s Revenge (1985)

This sequel was abysmal, not only because it was following / attempting to cash in on one of the greatest horror movie classics of all time, but also because it was just downright horrible and unwatchable. The entire movie follows one guy, Jesse (played by Mark Patton), as he tries to escape the taunting, phallic knives of predatory Freddy Krueger.

First of all – why the hell is Freddy setting his sights on a teenage boy? In almost every other Elm Street movie, Freddy stalks a luscious young girl, staying true to the weird psycho-sexual stereotypes of movies – a creepy man chasing a girl. So, what is the aggressive, arguably heterosexual genre audience supposed to gain from Freddy chasing a guy? The answer is: nothing. Except for weird parallels to gay porn.

At one point, Jesse has a nightmare that takes place in a bar with his gym teacher… Which leads to a naked shower scene with said character… Which leads to a series of wet and wild ass-whippings. In another scene, Freddy literally emerges from Jesse’s body, tearing through his flesh, coming out from within. Explanations? None.

Why confide in your girlfriend when your unnaturally-hot sparring partner will do?

2. The Lost Boys (1987)

(What is it with these eighties movies?)

A cult classic with some definite gay undertones, The Lost Boys is awesome. It is also, yes, kinda gay. The brooding, buff Michael (Jason Patric), his eager younger brother Sam (Corey Haim), and their cool, single mom (Dianne Wiest) move to a new town on the coast of sunny California. Already, we have a queer vibe of “the outsiders” trying to fit in. And soon, they sort of do, when they meet a gang of snarling, hungry vampire teens – a group of touchy-feely guys with one hot girl (Jami Gertz), whom they virtually ignore.

The girl is so neglected, she’s actually used to lure new boys into this vampire coven. She bounces around and shows off her goods, leading these unsuspecting newcomers to a seriously scary Kiefer Sutherland, complete with bleached-blonde mulleted hair, along with Bill & Ted reject Alex Winter and others. Also, in one scene, Corey Haim has a poster hanging up in his closet of a naked Rob Lowe. Go see for yourself.

The vampire genre has always been pretty gay, drawing parallels to homosexuality with its intense man-on-man eating (seen here in The Lost Boys), secrecy and self-hatred (seen here in The Lost Boys), and post-1980 comparisons to the HIV/AIDS  crisis, passed on through blood, just like vampires (see: The Lost Boys).

"I have so much to show you, Michael..." Never trust anyone with a peroxide blonde mullet.

3. Rope (1948)

Alfred Hitchcock’s notorious attempt at a eighty-minute continuously-shot movie, tied together with a few suave editing tricks (which surely tricked the crowds of the late ‘40s) is so entertainingly, blaringly gay you can’t help but wonder if it was intentional. Taking into account the casting of two closeted Hollywood actors and the rumors of Hitchcock’s own sexuality, anything is possible.

The film opens in a Manhattan loft, where two men… do something sinful, in the dark, with the blinds closed. John Dall, one of the two, is more suave and accepting of it, lighting a cigarette after the deed is done and wanting to open the blinds. The other man, Farley Granger, is much more terrified, disgusted by this act they’ve committed together and wanting to die. What they’ve actually done is kill a man, but with lines like “Don’t open the curtains yet; let’s just stay this way for a minute,” and moments like the killers removing each others’ rubber gloves – you decide.

The movie amps up when the two guys have a dinner party with several guests, trying to keep their secret quiet and acting like nothing is wrong. It’s up to old Jimmy Stewart, their professor from their boarding school days (gay!), to figure out what’s really going on between these two men. A thrill.

"I can't believe you didn't choose orchids for the centre-spread!"

More ‘mo fun to look for:

Jeepers Creepers (2001), in which a mythical man-hungry beast stalks and eats a teenage Justin Long. Written and directed by shady gay filmmaker Victor Salva

Interview with the Vampire (1994), in which Brad Pitt, Antonio Banderas, and Tom Cruise (of course) battle for Most Theatrical Queeny Performance while sucking each others’ necks, wearing corsets and crying

Fright Night (1985), another eighties (and another vampire) entry, in which a guy who can’t have sex with his girlfriend because he’s too distracted by the charming man next door and this neighbour’s creepy, unexplained male “roommate”.

Scream (1996) – there’s always been a thing between Skeet Ulrich & Matthew Lillard. (Ever notice how Stu screams “yeah baby, get it up!” when inviting Billy to knife him? – Hud)

Ross Tipograph is a film buff and Emerson College screenwriting major. When he’s not reviewing movies, he’s writing about Halloween costumes.


So there you have it Voorheesians, vampires are gay, Hitchcock might’ve swung wider than a pendulum and, well we all knew Elm Street 2 was one big pride parade, didn’t we?

Lesbian camping trip – and not a powertool in sight


2.5 Stars  2003/18/99m

A.k.a. Lesbian Psycho (DVD reissue)

“Be careful what you wish for.”

Director: Sharon Ferranti / Writer: Lauren Johnson / Cast: Moynan King, Hollace Starr, Virginia Baeta, Melanie Freedom Flynn, Amanda Spain, Lava Alapai, Nora Stein, Neil Wilson, Eric Vichi.

Body Count: 8

Dire-logue: “I just don’t like to see ladies bothered by people who’re bothering them. It’s…bothersome.”

A lesbian camping trip slasher film immediately sounds like blood-coated porn for 15-year-old boys, stocked with silicone-boobed blonde bombshells making out with each other. Well think again, Pizzaface, Make A Wish is about proper lesbians.

In what was most likely the first gay-centric slasher flick (despite what the producers of HellBent might say), a group of gal-pals gather for Susan’s birthday camping trip where they become the victims of the customary off-camera psychotic. Could it be the jealous boyfriend of the gone-straight hasbian? A horny hunter who keeps turning up to perv? Or the escaped patient being tracked by a private detective?

Sloppy murders ensue and the running time is padded out with intermittent sex scenes that would look exploitative if the director weren’t herself a family member. At least she creates an interesting group of gay women, which includes a childlike wiccan and a tree-hugging vegan and almost all of the group have had liaisons with birthday girl, Susan and all have an array of sensible shoes. Ferranti doesn’t force any issues of sexuality or feminism, much as it’s gay-boy brethren HellBent, the orientation of the characters is more or less incidental.

Now, I’ve been camping with lesbians and they’re nothing if not prepared for the wilderness. I hoped the last chick standing would go all A-Team on the killer’s ass with a gadget she’d been previously had no use for, or at least throw a cat at them.

Essentially, it’s nothing more than Friday the 13th‘s gay cousin with a confusingly inconclusive finale that’s lacking in the clarity department. All the same it’s a fairly diverting product worth a once over.

Disturbingly re-titled Lesbian Psycho for a later DVD release.

All you can do is step back in time

campdazeCAMP DAZE

1.5 Stars  2005/95m

“The only way out is death.”

A.k.a. Camp Slaughter (DVD)

Director: Alex Pucci / Writers: Alex Pucci & Draven Gonzalez / Cast: Anika McFall, Joanna Suhl, Matt Dallas, Eric McIntire, Jon Fleming, Kyle Lupo, Miles Davis, Bethany Taylor, Ashley Gomes, Jessica Sonneborn, Jim Marlowe.

Body Count: 45+

Direlogue: “Backwoods…scary noises… Haven’t you heard of Jason?”

Idea. Excellent. Setting. Perfect. Costumes. Authentic. Execution. Uhh… Can I grab a hall pass?

On paper – or indeed the webpage – Camp Daze reads flawlessly: a quartet of teenagers driving to Maine find themselves stranded at kooky Camp Haiwatha, which is stranded in the summer of 1981, perpetually reliving the night when a psychopathic killer went on a bloody rampage. Fucking awesome.

As an homage to a certain groundbreaking summer camp slasher film, complete with a block-like title card smashing through a pain of glass before it was renamed Camp Slaughter for DVD, mixed with a Groundhog Day riff, this takes some amusing pot-shots at the most famous franchise in slasherama but ultimately chokes on its shoestring budget, which make it look unwatchably cheap and badly made. Y’know, worse than the films it apes.


Most of the film’s problems lie in the visual: careless edits and amateurish gore effects work don’t pack a punch and appear odd under the impressive orchestral score. Slot this in next to terrible acting and poorly conceived characters who suck the fun out of it all, with no real central figure to root for. The eventual sole survivor, Jen, is the sassy black girl who says ‘fuck’ a lot and keeps bringing up Jason, much to the confusion of the camp counsellors.

Even with the strange, not-quite-sure homoerotic undertones and a ballistic body count – possibly a sign of a poorly thought out script – nothing stands out and the obnoxious twist ending just induces rage at the laziness of the plot.

With a better collection of actors and shot with more care, this could’ve been a minor classic but it’s destined to become just one more post-millennial DTV slasher film that claimed it was recapturing the old school methods but failed miserably.

Blurb-of-interest: Jessica Sonneborn returned to camp in Bloody Bloody Bible Camp; director Pucci and actors Fleming and Taylor all contributed to Frat House Massacre.

Sister Psychosis

psychosisterPSYCHO SISTERS

2.5 Stars  1998/18/97m

“Stay together… Slay together!”

Directors: Pete Jacelone & Michael L. Raso / Writers: Pete Jacelone & James L. Edwards / Cast: Theresa Lynn, J.J. North, Anthony Bruno, Mac Winslow, John Knox, Nancy Alison, Edward Burrows, Michael Devin, Stacy Mathewson, Matthew Fisher.

Body Count: 28

Dire-logue 1: “These bikers have been killing all these kids and sacrificing their dorks to some kind of penis god!”

Dire-logue 2: “Just because I hate men does not mean I wanna munch carpet!”

A man confesses to his Mrs that he once raped somebody so she shoots him and then cuts off his dick before turning the gun on herself.

Their three daughters, Jane, Jackie and Janice, are later gang raped and Janice is killed by one of the assailants, sending her older sisters off to the asylum for X years.

Jane and Jackie are eventually released and pass their time by kidnapping and killing college-age boys and keeping their cocks in jars in a cupboard. All goes well until Jackie begins to develop feelings for some of the captives and, under the advice of the ghost of Janice, decides to give a chance to nice guy Todd, who she meets at the sperm bank where a sign reads: “We’re glad you came.”

Jane is less than happy about this and will do anything to ensure that the sisters who stay together, slay together. Meanwhile, local cops trying to solve the College Boy Slasher case (which, at the beginning of the film has amassed 35 victims!) and a group of greasy bikers are out to avenge the deaths of two of their own.

ps1Psycho Sisters is a rubbish film. Really, it sucks some big castrated cock – but I think it knows that. At the beginning I went in under the assumption-slash-fear that it was going to play it straight or attempt to make me laugh with crap Scary Movie-level comedy. Fortunately, it soon became an amusing so-bad-its-good film with the genuinely amusing moments, such as Jane abusing a neighbour who is aroused by being beaten by a woman (“what the hell is wrong with you!?”) and a scene where the girls can’t decide what weapon to pull out of Jane’s handbag to off a couple of horny bikers.

There’s a hack reporter who keeps calling the cops to inform them that they’ve solved the case and it’s the ghost of a sitcom character and Jane’s attempts to get the attention of a victim who can’t hear her are also pretty funny. Meanwhile, the bodycount goes ballistic, with a huge shootout between bikers and cops at the end and a foreseeable but fun twist ending.

Crap film is rarely this funny.

Crystal Lake revisited. Without the lake.


3.5 Stars  2009/18/82m

“These girls are so hot, a maniac killer must put them on ice.”

Director: Geoff Klein / Writers: Geoff Klein & Jeff Ross / Cast: Cindel Chartrand, Danielle Doetsch, Ivan Peric, Christina Sciortino, William Jarand, Caroline Faille, Jarek Gader, Kerri Taylor, Suzi Lorraine.

Body Count: 12

The very basic outlay of a slasher film is something so generically simple that there’s no shortage of camcorder toting idiots around who think they can make one with a gaggle of nubile hotties, some tits, some blood and a hulking retard for a killer. It’s little surprise most of these films suck. What most of these budding filmmakers seem to miss is that even the cheapest of the early 80s progenitors contained a degree of workmanship and talent, a genuine enthusiasm for the project and not just the chance to get half a dozen girls to strip under the illusion it’s art.

A film with the word ‘bikini’ in the title should really adhere to this parade of shitness and yet, even before I’d seen the box or the trailer for Bikini Girls on Ice, I had a feeling it would be different…and it is.bgoi1

What BGOI has that these other misfires lack is a splash of colour and functions as an apparent love letter to your average Friday the 13th sequel, something it resembles in tone and composition from time to time. The best analogy I can make is to that film itself – the scene where Marcie is stood in front of the sinks and the camera slowly approaches was what won me over. Bikini Girls reminds me of that scene.

An all-female college soccer team on their way to a charity bikini car wash break down at the abandoned garage where, just the night before, an unrelated bikini chick was murdered. With repairs to their bus likely to take some time, the group decides to have the car wash there, once in a while wandering off, calling out the name of someone they cannot find and falling victim to the greasy homicidal mechanic who resides out back and looks like Sawyer from Lost after a particularly bad run in with The Others.bgoi2

After some of the girls decide to leave, the remaining numbers quickly shrink until clear heroine Jenna and her friend are the only ones left and then it’s botched escape attempts and into the killer’s lair.

The girls are largely indistinguishable from one another and I identified them only via bikini-top colours: black boobs was the bitchy nasty one, blue boobs was Jenna’s BFF, yellow boobs and heart-pattern boobs were faux lesbians. There are a couple of horny guys chucked in, some French tourists, an old man who warns them they’re doomed if they stay, some sporadic sex between heart-pattern boobs and a patron and very little actual boobage – something many of the other reviews I read seemed peeved about. Were I not such a big ‘mo it might bug me too, I guess.


Anyway, why did it earn three n’ a half, uh, bigguns? I was more than likely overtly generous because it reminded me of how I felt about the early Jason films: the setting, lush colours, dumb behaviour that isn’t too idiotic, largely likeable characters and back to basics filmmaking that works. Slow tracking shots, fragmentation, claustrophobic meandering through shelves, hidey-holes, a full moon above. But mostly, no pretenses, it’s straight down the line, making the most of what it has rather than striving to appear as something more.

There’s always room for improvement: I’d have liked the killer to have worn a creepy mask and maybe have a motive and it was a little light on bloodletting, with most kills obscured by the camera placing or off-camera completely. These are minor flaws, it’s certainly no drier than the cut editions of Fridays we had here in the 80s.

bgoi5Ultimately it sounds like I’m championing it too much probably but it hit the spot for the most part: fun without being glib or downbeat, amusing without resorting to parody and sometimes tense without looking like every other DTV bodycount flick of the last ten years.

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