by Patrick Bromley and Stephanie Crawford
Patrick: Stephanie! You and I are both avid movie collectors. In fact, one of the things that first bonded us online was the cool collection you are curating, which you would post pictures of or talk about and caught my attention.
I was saying a few weeks back (during a massive Kino Lorber sale) that there were a bunch of movies I wanted to see but didn't want to blind buy, and you came up with the great idea to share movies by sending them to each other. You are smart! You also had the idea to create content for the site based on this exchange. You are smarter than me! You are running the site now. Take good care of it.
I'll start with one of the titles I borrowed from you, because it was my favorite of the three that I saw: 1985's Certain Fury, starring Tatum O'Neal and Irene Cara as would-be convicts who escape sentencing and go on the run, like a mid-'80s Black Mama, White Mama. What a feeling!
Do we need to talk about the shower scene?
Stephanie: We may need to talk about the shower scene eventually, Patrick, but until then, we have to mention how intimidating your film collection is. People have written articles about their experiences with your collection. I suggested putting your movies in a database online, and once I saw the size of it, I felt really bad and guilty about that. Still, the idea of the movie exchange was too exciting to me to let pesky human empathy get in the way.
I live in a city with one small rental store, and I love it, but sometimes I still crave the laziness of movies coming straight to me. Bromley Video is a great idea, and I wish you’d at least look at my PowerPoint presentations. Pushing that aside, the first movie I watched from Bromley Video (Eh? Hear that ring?) was Knightriders, George Romero’s 1981 renaissance faire motorcycle opus. I saw it before years ago, and I’d been meaning to revisit it. Romero’s death made that need a moral imperative, and I’m so glad you had it. From Stephen King’s cameo to the genuine dramatic moments between Ed Harris and Tom Savini, Knightriders will always be able to stand tall as a true original.
Patrick: Nowhere is that more true than in Knightriders, which is one of my favorite of his movies and the one I still think is his most underrated. It’s his warmest movie, too: one that’s about love and friendship and doing what’s right for you even as that means not judging what’s right for someone else. As someone who loves George Romero very much the same way you do, the way Knightriders celebrates the idea of building your own family -- something Romero did throughout his career, whether that meant the cast he often re-used, the crew who worked on so many of his films or even us as fans -- makes it beautiful and special in a way that even his other masterpieces aren’t. And that last thing you said about Romero seeing us for who we are? That’s maybe my favorite thing I’ve ever read about him. You win.
On the subject of my “intimidating” collection, it should be pointed out that a) it’s literally the only thing that has ever been intimidating about me and b) Erika and I have been collecting movies since DVD first began in the late '90s and c) I have been getting discs to review for close to 15 years, so that goes a long way towards explaining how it has been amassed over the last 20 years. Also, I forgot to mention that Bromley Video is having a special this month where if you rent two movies for free, you also get a third movie for free.
Do I need to have seen The Stud to really appreciate this movie? It’s so weird because I love the title and the marketing and Collins and the theme song but not the actual movie itself. What am I missing? And what’s your next title?
Stephanie: Ha! I’m going to brag that card around like no one’s business, thank you! The Bitch truly is a very tepid soap opera wrapped in really sexy packaging. I’m not ashamed to admit that my love of a few specific Jackie Collins books and the poster art got me to buy this one. I haven’t seen The Stud either, so we’re both in the dark when it comes to the Fontaine Khaled extended universe and what intricacies we’re missing out on.
Patrick: The FKEU!
Stephanie: My next film is misleading in a completely different way. Truck Turner isn’t about a truck, nor a truck driver, although being the director of a movie with that title apparently got Jonathan Kaplan the job of directing the truck movie without “truck” in the title, White Line Fever.
Patrick: I’m so glad you liked Truck Turner! I love that movie so much and one that I love showing to people because I know they’ll love it. It’s one of my top two blaxploitation movies and one of my favorite movies of the ‘70s period.
Stephanie: So, what was your last pick?
Patrick: My last pick was Count Dracula’s Great Love, a 1974 Spanish horror film written by and starring the great Paul Naschy, of whom I know you, too, are a big fan (which makes sense, seeing as this came from your collection!). This felt like a lot of Naschy films, which is to say there was really great atmosphere, a whole bunch of nudity/sexuality, and some gratuitous violence that’s usually poorly handled in the best way. I had fun with it as a Naschy fan, even if I wouldn’t make a case that it’s a great movie.
Thanks so much for lending me these movies! It’s nice to know people with such cool taste.
Stephanie: Thank YOU for lending me yours! This was fun, and I hope we can keep it going. On the Naschy scale, Count Dracula’s Great Love ranks low on the crazy and high on him being dreamy and romantic: I’m a fan. I do think he’s hot, but he also reminds me of John Belushi, who I also think is hot, so there’s my barometer.
Finally, you were nice enough to send me Julie Darling from our mutual favorite company Code Red. You warned me. You told me it was crazy. I laugh, Patrick. I’m not proud of it, but I laughed. I’ll never question Bromley Video’s employee picks ever again, though. While Spider Baby may be the maddest tale ever told, Julie Darling is the bug fuckiest one. Wow.
Say, how strict are you about those late fees again?