MasterChugs Theater: ‘Cemetery Man’

A rollicking good time that doesn’t care one what about visual excess or maximum gore, Cemetery Man will entertain far more people than I presume would expect to enjoy it. Rupert Everett’s star qualities, finally made known to a broad audience since his killer turn in My Best Friend’s Wedding, are the perfect blend of smirkiness and swarthiness to hold together this tale of a graveyard attendant who is constantly, wearily assaulted by the corpses of people who just don’t feel like being dead. The buzz of Rupert’s doorbell usually signals the arrival of one such zombie, whom he promptly and even politely kills, then buries with the help of his mishmouthed, hunchback assistant Gnaghi. All in a day’s work for Rupert, whose name in this baroquely perverse film is Francesco Dellamore Dellamorte, which literally translates to “Francesco of Love, of Death.”

Continue reading MasterChugs Theater: ‘Cemetery Man’

MasterChugs Theater: ‘Cemetery Man’

A rollicking good time that doesn’t care one what about visual excess or maximum gore, Cemetery Man will entertain far more people than I presume would expect to enjoy it. Rupert Everett’s star qualities, finally made known to a broad audience since his killer turn in My Best Friend’s Wedding, are the perfect blend of smirkiness and swarthiness to hold together this tale of a graveyard attendant who is constantly, wearily assaulted by the corpses of people who just don’t feel like being dead. The buzz of Rupert’s doorbell usually signals the arrival of one such zombie, whom he promptly and even politely kills, then buries with the help of his mishmouthed, hunchback assistant Gnaghi. All in a day’s work for Rupert, whose name in this baroquely perverse film is Francesco Dellamore Dellamorte, which literally translates to “Francesco of Love, of Death.”

Continue reading MasterChugs Theater: ‘Cemetery Man’