Where the Day Takes You (R)
Anchor Bay Home Entertainment
Oh boy. You have got to see this. Where the Day Takes You is a hilarious, laugh-a-minute romp featuring the best and brightest of early '90s young actors (Sean Astin, Balthazar Getty, Lara Flynn Boyle), dirtying themselves up and playing runaway teens trying to live on the rough streets of L.A. They are led by the 20-year-old King, played by a comically 40-year-old-looking Dermot Mulroney. It's an utterly classic "Hollywood Cares" wannabe-movie-of-the-week melodrama, complete with facts like, "Every 2.1 seconds a teen runs away from home" coming at the end. You can just see the actors patting themselves on the back, the smell of self-righteousness steaming off the screen. Get together with some of your gutter-punk pals, buy a case of Natty L, and just MST3K the hell out of this! — Louis Fowler
Anvil: The Story of Anvil (NR)
I'm still not entirely convinced this wonderfully bittersweet documentary isn't a put-on. I know it's not ... but I want it noted that if we learn differently later, I totally called it. Anvil was — or so we're told by filmmaker Sacha Gervasi — an awesome 1980s Canadian heavy metal band that somehow failed to make it as big as contemporaries Metallica and Guns n' Roses. Today, the washed-up yet enchanting band members continue to stick together, rock on, and hold out hope for their big-in-Japan moment. If Lars Ulrich and Slash enthusiastically vouching for them isn't suspicious enough, one of the Anvil guys is called "Robb Reiner" — like the director of This is Spinal Tap — and another, Steve "Lips" Kudlow, used to play his guitar with a dildo. OK, this has gotta be fake — I say it's all a fictional exercise in encouraging kids to stay in school. — MaryAnn Johanson
Staunton Hill (NR)
Anchor Bay Home Entertainment
Yes, Cameron Romero is the son of George Romero (Night of the Living Dead). Let's get that out of the way right now. Apparently he's gone into the horror movie business like Daddy and delivered Staunton Hill, a lukewarm, backwoods would-be-thriller that is watchable enough, but no great shakes. A group of teens on their way to "the rallies in D.C." in the late '60s make a detour in a small town and get butchered by a hulking, sweetly mentally disabled kid and his redneck family, made up of leftovers from The Texas Chain Saw Massacre. Teens are mutilated; Bible verses are quoted. You'd think with such a pedigree that Romero would give us a movie with far more imagination and thought; instead, this is simply everything you've already seen. Well, we all gotta start somewhere, and maybe this is just Cameron's foot in the door. Maybe. — Louis Fowler
Stepfather II: Make Room for Daddy (R)
Last week, I reviewed (and highly recommended) the classic thriller The Stepfather. The original release was a hit on home video, so its sequel, Stepfather II: Make Room for Daddy, was quickly made in 1989. While other critics have been quick to deride it as a sloppy cash-in, I actually liked it quite a bit, finding it a worthy follow-up to the first film. The menacing Terry O'Quinn is back as the ever-changing stepfather, having miraculously survived his death in the first installment and broken out of an asylum to take up with Meg Foster and her son, Jonathan Brandis. Cult director Jeff Burr does a great job on an even more limited budget, amping up the suspense and action, complete with a wedding-cake-fueled knock-down drag-out. Now here's the big question: Which DVD maker is going to come up with Stepfather 3: Father's Day? — Louis Fowler
The costumes were amazing and added to the brilliant production.
The striking colors and textures are reminiscent of Southern Colorado and New Mexico. Lovely work.