#cult comedy

[theersatzcowboy]

Down with Love (2003)

This tongue-in-cheek parody of the early 60s films of Rock Hudson and Doris Day went under-appreciated on release, despite the delightful chemistry and gumption of era stars Renée Zellweger and Ewan McGregor (both never better) AND the comedic stylings of Gay Icons David Hyde Pierce and Sarah Paulson. It’s aged like a fine wine.

Director: Peyton Reed

Starring: Renée Zellweger, Ewan McGregor, Sarah Paulson, and David Hyde Pierce

Cinematographer: Jeff Cronenweth

Costume Designer: Daniel Orlandi

[kekwcomics]

Yvonne de Carlo as Lily Munster (TV Times, 1964)

[lifewithaview]

Mike Mayers in "Austin Powers: The Spy Who Shagged Me" (1999)

Thirsting for revenge after the events of "Austin Powers:International man of mystery"(1997)despicable Dr Evil gets his hands on a diabolical machine and travels back to groovy 1969. But everyone knows that bad habits are hard to break, and this time, apart from world domination, the ambitious megalomaniac is bent on stealing everything Austin holds dear: his undeniable charm and swagger and his vaulting libido. As an insecure Powers returns to the psychedelic 1960s, teamed up with blonde CIA bombshell Felicity Shagwell, the out-of-time British agent must do the impossible: salvage what's left of his once-unstoppable sex drive and thwart Dr Evil's latest lunatic plot. Can Austin Powers, the man who lost his mojo, avert the inevitable for the second time?

[drinkingdrunk]

@giftober 2022 | Day 12+13: Antagonists and Fashion.

Madeline and Helen ~ Death Becomes Her (1992)

[felixhculpa]

A tribute to one of the greatest British films.

[schlock-luster-video]

Today in buddy cop / 80s action movie history: on March 17, 1990 Turner and Hooch debuted in Japan.

Here's some fan art to mark the occasion!

[punkypedro]

Self explanatory

[videoreligion]

Trick or Treats (1982)

“1978’s Halloween was not the first slasher by a long shot; it wasn't even the first to use a holiday as a backdrop. The film was, however, (arguably) the catalyst that propelled the subgenre into the popular culture hive mind. It gave Americans their most accessible killer in a mask and final girl combo while solidifying several horror genre tropes for the mainstream. By the budgets of the time, it was inexpensive, but with meager resources, John Carpenter created a simplistic masterpiece as well as a nuanced blueprint that begged to be followed. Just as Halloween had pulled heavily from those that came before, it too inspired others. The successful release cemented masked killers and teen victims as an entertaining way to print money at the start of the 80s and changed horror forever. An army of teenage murdering, (often) calendar-marking prowlers invaded the screen throughout the era and has bled into every generation since. Halloween is directly responsible for big-screen killers, now considered classics themselves, with established lasting trends of their own. The flow of influence branches out like a circulatory system pumping blood into an entire section of cinema--that I happen to love more than most things on this earth. Of course, it’s an extensive gene pool, so It goes without saying that not every one of Micheal Meyers spawnlings can kick off a worldwide sensation like Jason Voorhees. So along with the impactful tributes that further evolved the tradition, we have films like Trick or Treats (1982)...”

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