Fantasmo Cult Cinema Explosion

Fantasmo Episode 69: Team Fantasmo Vs. The End of the World

2012-01-17T17:08:00.002-05:00

Hey Superfans!
The New Year is off and running, and we're not slowing down one bit! Following hot on the heels of a special presentation we just did at MarsCon, your Team Fantasmo will be screening films of the post-apocalypse for our February edition. There's a lot to choose from under this heading, so we've picked out one of the cheesiest films, as well as THE movie which arguably is the highpoint of the genre. Of course I'm talking about Damnation Alley and The Road Warrior! That's right a night that runs the spectrum between Jan-Michael Vincent and Mad Max . . . should be one to remember that's for sure :)

Damnation Alley, for those who may not know, was supposed to be the big movie from 20th Century Fox in the summer of 1977. They poured most of their effort into it, while virtually ignoring another little movie coming out in May called Star Wars. On paper I guess giant scorpions, flesh eating cockroaches, and a wicked battletruck seemed more exciting that droids and Wookies, but we all know how that turned out. The Road Warrior on the other hand really launched the post-apocalyptic craze of the 80's, and made Mel Gibson an international star. His Mad Max character became a full blown icon which would spawn a third film to complete the trilogy, as well as a host of imitators (but few equals). So without further ado, here are your full Episode 69 details:

When: Friday, February 3rd @ 8:00 p.m.

Where: Chesapeake Central Library, 298 Cedar Road, Chesapeake, VA 23322

Films:

8:00 p.m.: Damnation Alley (1977)

9:45 p.m.: The Road Warrior (1981)

So there you have it Superfans, the ultimate post-apocalyptic lineup! You dare not miss these cautionary tales back on the big screen . . . THE WAY THEY WERE MEANT TO BE SEEN! See you there!

You'd Better Watch Out: Volume 3

2011-12-16T12:57:00.007-05:00

For the past couple of years I've posted lists of unconventional Christmas films around the holidays, to provide an alternative viewing roster for those inclined toward something off the beaten path. Titles have included such cheery favorites as 12 Monkeys, Brazil, Trancers, Die Hard, etc. This year I ended up watching a great one out of Finland called Rare Exports. The film tells the story of a small group of villagers in present day Finland, whose lives are upended when a mining company discovers the real Santa Claus buried deep within the heart of a local mountain. The problem is that this isn't the Santa we all know and love, but the Santa from myth and legend. This Santa does more than leave a lump of coal for those who are naughty, sees reindeer as a source of protein rather than a useful means of conveyance, and does not arrive with the charming red suit and hat.

Of course once Santa inevitably escapes the restraints the mining company attempts to impose, he runs loose and wreaks havoc in the village. A young boy, his father, and a couple of hapless locals manage to corral him, but intend to make the mining company pay top dollar due to all the reindeer Santa took out along the way. One of the most creative pieces of business is that everyone has to be careful not to swear or do anything naughty, or Santa will focus his radar on them. It's sort of like having to remain motionless to avoid the dinosaurs in Jurassic Park, not feed Gremlins after midnight, etc. There a lots of little touches like this that make the film unique and fresh.

I went into this movie pretty much free of any expectations, and have to say it mostly was fantastic. What you have is a combination of the isolation and wintry chill of The Thing, mixed with "magic of childhood" vibe of 80's Spielberg, and a dash of overblown modern action. I could have probably done without the last element, because it somewhat diminished the wonderfully creepy atmosphere established in the first 2/3 of the film. Not a deal breaker though by any means, and when we finally see the true Santa it is truly a jaw dropper.

So if you're looking for an alternative to A Wonderful Life or A Christmas Story marathons, check out this daring little gem . . . and we'll see you all at Fantasmo in the coming New Year!

Fantasmo Episode 68: Team Fantasmo Vs. Lovecraft

2011-12-07T08:30:00.003-05:00

Hey Superfans!
Thanks to everyone who came out for our BIG holiday episode, and especially to Santa Claus himself who was on hand for picture taking and wish list hearing! It was truly a Fantasmo to always remember : ) Never ones to live in the past, we're already looking to the future and our groundbreaking first episode of 2012. For this very special Fantasmo we are paying tribute for the first time in our history to legendary horror writer H.P. Lovecraft. Filmically adapted on numerous occasions over the years, Lovecraft's brand of fright involves creatures from another dimension trying to force their way back into our world . . . and in the process driving anyone they come into contact with totally insane.

Although Lovecraft was most famously essayed by horror director Stuart Gordon with the likes of Re-Animator and From Beyond, we have chosen to focus on some of the more obscure efforts: Die Monster Die! & The Dunwich Horror. These two come from the horror factory that was American International Pictures during their glory days of the late 60's and early 70's. It's drive-in schlock meets Lovecraftian terror, and the results are pure cinematic gold! Die Monster Die! features Boris Karloff delivering a trademark mad scientist role, squaring off against B-movie legend Nick Adams. Classic. The Dunwich Horror on the other hand is an exercise in pure weirdness, as Dean Stockwell turns in one of the most bizarre performances of his career. It's a really strange movie befitting the source material. So without any further ado, here are your full Episode 68 details:

When: Friday, January 6th @ 8:00 p.m.

Where: Chesapeake Central Library, 298 Cedar Road, Chesapeake, VA 23322

Films:

8:00 p.m.: Die Monster Die! (1965)

9:30 p.m.: The Dunwich Horror (1970)

So there you have it Superfans, another exercise in cinematic perfection to kick off the New Year! You dare not miss these creepy classics back on the big screen . . . THE WAY THEY WERE MEANT TO BE SEEN! See you there!

Movie Review: Endangered Species (1982)

2011-11-28T12:19:00.008-05:00

It is a widely held opinion among genre fans that the greatest summer film season ever was the summer of 1982. I've written about it here on the blog, and we've screened several of the films at Fantasmo. To give you some idea of how it has earned this reputation, films from that summer include: Conan the Barbarian, TRON, Blade Runner, Star Trek 2, Cat People, Poltergeist, The Thing, E.T., etc. Without question E.T. was the box office champ among the crowded field, with some of the darker films (e.g. The Thing) falling prey to negative reviews in the shadow of that feelgood crowdpleaser. Even so Blade Runner, The Thing, and Cat People, to name a few examples, were reassessed and eventually obtained the appreciation they deserved. Another genre film released late that summer, also featuring equally dark subject matter, has yet to undergo a hindsight evaluation.

Endangered Species came out in early September of '82 and, from my recollection, disappeared quickly. I caught it on a late night cable screening a year or so later, and remembered it being quite creepy. It featured mutilated cattle, strange lights in the sky, intense chases, and Robert Urich making the jump to the big screen. Without question it is a clear forerunner to the X-Files. I've always wanted to catch it again to see if it would hold up, but it has been out of circulation for many years. Now thanks to the Warner Archive on demand program, it is available at last (and thankfully in its theatrical aspect ratio). I could at last find out if Endangered Species was a lost classic, or a dated dud better forgotten lest it blemish the sterling reputation of that storied summer.

So what's it about? TV legend Robert Urich (Vega$, S.W.A.T., SOAP, Spenser For Hire) stars as Ruben Castle, a celebrated New York cop who is attempting to overcome a battle with alcoholism. In order to get his head on straight, he pulls his teenage daughter out of school and the two head to rural Colorado to visit his old newspaper friend Joe Hiatt (Paul Dooley). Instead of finding a little peace and relaxation, Castle finds himself in the middle of a mystery involving a series of local cattle mutilations. The newly elected local sheriff (JoBeth Williams), unable to find a trace of evidence, has considered theories ranging from U.F.O. abductions to Satanic cultists. However when Hiatt turns up dead and Castle gets involved, the two discover something far more sinister than they could have ever imagined.

I don't know if Chris Carter saw Endangered Species prior to making The X-Files, but I'm guessing it had to be one of his sources of inspiration. Wild card male cop, straight arrow female cop, and extra-terrestrial conspiracy theories. Sounds pretty familiar. If it had no other redeeming features, Endangered Species would certainly qualify as important for being the first out of the gate with the subject matter. Luckily director Alan Rudolph manages to sustain a nice level of suspense, and there are some terrific highlights here and there. In particular he spends a good deal of time up front with some quiet scenes of "something" chasing cattle from an airborne point of view. There's something unsettling about it that's hard to put a finger on, but if forced my finger would land squarely on the deliberate pacing. Rudolph takes his time with these sequences, which are interspersed nicely with the introduction of Castle and his daughter, investigations the crime scenes, and town meetings discussing the phenomenon. The first 15 minutes or so truly prepared me for potential greatness.

Unfortunately the early momentum is not evenly sustained throughout the film. For lack of a better description things become choppy. The remainder of the running time feels like an assemblage of parts rather than a cohesive whole. It's like Rudolph knows all of the stock situations required of a thriller and proceeds through a checklist, splicing them together with little consideration of how they flow. Some of these scenes are downright excellent. For example, there's a scene where Urich is being chased across the plains by a menacing black helicopter that could stand tall against the best thrillers. However for every one sequence like this there are three flat scenes that aren't up to par, mostly of repetitive exposition regarding the tension between the local cattle baron (Hoyt Axton), the sheriff, and Castle.

This uneven quality runs across every aspect of the film. Urich and Williams are solid in their roles, but then you have genre vets like Peter Coyote and Hoyt Axton dropping the ball. They so overplay their villain roles that it becomes laughable. And speaking of Coyote he dons the worst fake mustache I've ever seen in a big budget studio film (thanks HD television and your gloriously high resolution). That sort of attention to detail deficit rears it's ugly head time and again. Just taking body hair once more as an example, Dan Hedaya wears a wig that makes him look like a disco refugee instead of the menacing thug he's supposed to be. It's bizarre that these small, yet glaring details get overlooked when big effects items are executed so well. The ominous black helicopter is cooler looking than Blue Thunder, and some of the laser graphics and optical effects would have been fantastic for the period. It really is puzzling and frustrating that things don't come together the way they should.

One final item that bears mentioning is what a time capsule experience Endangered Species can be. It plays up the tensions between the U.S. and Russia that were so prevalent, and this aspect factors large in the narrative as events progress. It's amazing how many genre films of the time ranging from Wargames to Gymkata used the arms race as a plot point. Certainly every era will have examples of how reality filters into fantastic entertainment, and the 80's function as a prime example of that phenomenon. Most of all, for better or worse, music here is a real flashback to cinematic signs of times. Whenever there's a tender or tough moment between Urich and Williams or Urich and his teen daughter, we're treated to a sappy montage with a love ballad. No doubt this happens in movies now, but never was it done so cheesily as in the 80's. On the subject of music, the score for Endangered Species is an interesting electronic concoction. Some reviewers have suggested it's reminiscent of John Carpenter, and when it's at its best that's a fair statement. Like so many other elements in the film however, when it's firing on all cylinders the music is great, but when it isn't it REALLY isn't.

The overall problem with Endangered Species is that while it has plenty of good moments, they never add up to greatness. It is absolutely worth seeking out, particularly if you're a fan of X-Files type shenanigans, just be prepared for an uneven experience. The real tragedy of the film is that it was Urich's leap to movies, and its lackluster reception likely stalled his career. He then followed with the cult favorite The Ice Pirates, which sent him right back to television. It's a shame because he has a great presence and deserved better. Interestingly Williams and Coyote had both found big success earlier that same summer in Poltergeist and E.T. respectively. Guess that helped them to write this one off and move on.

Fantasmo Episode 67: The Holiday Episode

2011-11-08T14:50:00.008-05:00

Hey Superfans!

Hard as it is to believe, another year of Fantasmo is coming to a close. Of course this can mean only one thing - it's time for our annual holiday episode! Those of you who have been with us since the beginning know that for years we screened the Village People classic Can't Stop the Music as our December highlight, but we've been taking a break and maybe we'll dust it off next December. For this very special holiday episode we're screening two seasonal classics in the form of Tim Burton's The Nightmare Before Christmas, and Joe Dante's original Gremlins. But that's not all, we've also arranged for Santa Claus himself to be on hand to kick off the proceedings, hear wish lists, and take pictures with our younger Superfans! Truly an evening filled to the brim with holiday cheer!

Without any further ado, here are your full Episode 67 details:

When: Friday, December 2nd, 8:00 p.m.

Where: Chesapeake Central Library, 298 Cedar Road, Chesapeake, VA 23322

Films & Special Guest:

7:00 p.m.: Pictures with Santa!

8:00 p.m.: Tim Burton's The Nightmare Before Christmas

9:30 p.m.: Gremlins

So there you have it Superfans, another perfect holiday episode to celebrate with your Team Fantasmo! See you there!

Special Fantasmo Halloween Event!

2011-10-17T15:06:00.007-04:00

Hey Superfans!
Your Team Fantasmo is doing something a little different this Halloween, having decided that Monster Fest just wasn't enough to last us through October! For the first time ever we are holding a special edition of Fantasmo on Halloween night, and will be showing the original War of the Worlds on the big screen. It may not be Orson Welles, but George Pal's 1953 epic is still terrifically creepy! Of course we'll also have a plethora of candy and refreshments as always, certainly everything you could want for Halloween :) Without any further ado, here are your full Halloween Special Edition details:

When: Monday, October 31, 8:00 p.m. (doors open at 7:00 p.m.)

Where: Chesapeake Central Library, 298 Cedar Road, Chesapeake, VA 23322

Film:

8:00 p.m.: War of the Worlds

So there you have it Superfans, our first ever Halloween episode! Hope to see you there!

Fantasmo Episode 66: 80's Action Cheese Festival

2011-10-07T16:37:00.009-04:00

Hey Superfans!

A BIG thank you from your Team Fantasmo to all who came out to support our 8th(!) annual Monster Fest event! It was a blast for us to put on, and we hope you had as much fun as we did :) For November, we thought we'd switch gears from horror and have our first ever 80's action night. For the record we did celebrate Chuck Norris specifically, but this is more of a general, loving tribute to that decade. There are certainly plenty of titles to choose from, and many outstanding ones to be sure, but we thought we'd focus on two films that include every cheesy cliche the 80's had to offer: Commando and Cobra!

Everyone is familiar with Schwarzenegger and Stallone, and the many iconic characters they have portrayed over the years (e.g. The Terminator, Conan, Rocky, Rambo, etc.). Along the way they also found themselves in starring vehicles that, while less iconic, weaved their way into the hearts of action fans around the world. Commando was Schwarzenegger's first film in which his very presence (not the character he played) sold the film. It was a movie where Schwarzenegger played Schwarzenegger, and it cemented his as a bankable star. It's also perhaps the most outrageously over-the-top movie in his long career of over-the-top movies! Here is where the one liners became a trademark, and where moviegoers experienced their first brush with The Matrix (John Matrix that is).

Where Commando was a certified box office hit, Stallone's Cobra was not quite so successful in its initial run. The Italian Stallion was at the height of his Rambo power, and chose a project in which to work with his significant other Brigitte Nielsen. It was roundly dismissed by critics, and failed to be embraced by audiences. Even so the character of Marion Cobretti has earned a special place in the pantheon of cult cinema, and we feel Cobra is long overdue for reconsideration! Believe us when we tell you there are enough needless explosions, cheesy one-liners, ridiculous villains, and scenery chewing performances to fill several 80's B-grade action films. Crime is the disease, and he's the cure!

So without any further ado, here are your full Episode 66 details:

When: Friday, November 4, 8:00 p.m.

Where: Chesapeake Central Library, 298 Cedar Road, Chesapeake, VA 23322

Films:

8:00 p.m.: Commando (1985)

9:45 p.m.: Cobra (1986)

So there you have it Superfans, our first ever tribute to 80's action. At the risk of overstating the case, this may very well be the greatest episode in the history of Fantasmo! You dare not miss these bigger than life titles on our bigger than life screen . . . THE WAY THEY WERE MEANT TO BE SEEN!

Monster Fest 8: The Trailer!

2011-09-20T16:46:00.001-04:00

Monster Fest 8!

2011-09-19T15:03:00.007-04:00

Hey Superfans!

It's that time again, time once more for our annual Monster Fest convention, an all-day celebration of horror films and literature! We have what may be our best lineup yet this year, with a full day of programs, a full house of special guests, and a full evening of classic horror films. Best of all, the event is 100% free! The event takes place on Saturday, October 1st, starting at 9:00 a.m. here at Chesapeake Central Library (298 Cedar Road, 23322). Our full schedule for the day is as follows:

9:00 a.m.: Classic Horror Movie Trailers

10:00 a.m.: Ghostly Apparitions: Seeing Is Believing - Presented by: Lee Anne Ball, Angela Ghataora, and Laura Carr Griffith from Spirited History Radio

10:00 a.m.: Can Good, Scary Literature Translate to Film and Television Successfully? - Presented by: Pamela K. Kinney, Elizabeth Blue, Jim Bernheimer, Debbie Painter, and Tony Ruggerio

11:00 a.m.: "Hi There, Horror Movie Fans": Documentary Film on The Bowman Body - Presented by: Sean Kotz and The Bowman Body

11:00 a.m.: Writing Scary Stuff - Presented by Tony Ruggiero, Jim Bernheimer, Elizabeth Blue, Teresa Bane, and Pamela K. Kinney

12:00 p.m.: Torres Vs. Zombies: Tips on Surviving a Zombie Attack - Presented by Alfredo Torres

1:00 p.m.: Horror Costume Contest (all ages welcome)

2:00 p.m.: Special Preview of Dr. Madblood's Halloween Hijinks Show - Presented by Dr. Madblood

2:00 p.m.: The Human in the Monster - Presented by: Tony Ruggiero and Elizabeth Blue

3:00 p.m.: Super 8 Horrors: Early Video Horrors of Yesteryear! - Presented by: Craig T. Adams

3:00 p.m.: The Lesser Known, But Equally Frightening Films of Bela Lugosi - Presented by Debbie Painter

3:00 p.m.: Beyond Godzilla: More Beasts from the East - Presented by: Tony Mercer, Lee Hansen, and Chris Johnson

5:00 p.m.: Library Closes

7:00 p.m.: Library Reopens for Fantasmo Horrorthon - Movies begin at 8:00 p.m.

Movie Schedule:

Big Movie #1: House of Dracula

Big Movie #2: Godzilla, Mothra, and King Ghidorah: Giant Monsters All-Out Attack

Big Movie #3: Jeepers Creepers

Big Movie #4: Fright Night (The Original!)

So there you have it Superfans, another amazing Monster Fest lineup! For even more info be sure to visit the official site at: www.monsterfestva.com. See you there!

Fantasmo: The App!

2011-09-16T12:10:00.003-04:00

Just a quick heads up about the link and QR code over on the right side of the blog. For those of you iPhone users out there, there's a nifty new app called Bloapp which essentially converts blogs to apps. Just download the Bloapp app to your iPhone, scan the QR code, and presto you have the Fantasmo app! Great for those of you who need to have ready access to the latest Fantasmo info 24 hours a day (and really isn't that all of us : )

Fantasmo Episode 65: The Price is Right Vol. 5

2011-08-30T12:27:00.004-04:00

Hey Superfans!

It's once again time for another round of awesome Vincent Price films, as your Team Fantasmo proudly presents the 5th(!) edition of our always popular Price is Right series! This time around we're screening another one of Price's Poe collaborations with Roger Corman, as well as an unhinged horror comedy from legendary director Jacques Tourneur (Cat People). Best of all both feature all-star supporting casts which include the likes of Boris Karloff, Peter Lorre, Basil Rathbone, and even Jack Nicholson. In addition to all this greatness you'll of course have the always delightful Team Fantasmo commentary, and a cornucopia of free snacks. So without any further ado, here are your full Episode 65 details:

When: Friday, September 23rd, 8:00 p.m.

Where: Chesapeake Central Library, 298 Cedar Road, Chesapeake, Va 23322

Films:

8:00 p.m.: The Comedy of Terrors (1963)

9:45 p.m.: The Raven (1963)

So there you have it, another fantastic of evening of Vincent Price classics . . . and a perfect warm up for Monster Fest 8 on October 1st (more details coming soon)! See you there!

Freeplay Update

2011-08-25T08:28:00.004-04:00

Hey Superfans,
Due to the impending hurricane this weekend, Freeplay 2 has been canceled. Those keeping score at home may remember we had to cancel once before due to a snow event, but we came back stronger than ever! So keep watching the blog (and most importantly attending Fantasmo), and we'll keep you updated on a new date for Freeplay 2. In the meantime have a safe, and hopefully uneventful weekend!

Freeplay Returns!

2011-08-10T16:05:00.004-04:00

Hey Superfans!

Thanks to all of you who came out to our Planet of the Apes marathon this past weekend! It was a blast, and you can look forward to more of these series type mararthons in the future : )

Not content to take a rest, we'll be back with another full day of action on August 27th for our second annual Freeplay event! If you missed it last year, Freeplay is a full day and evening filled with classic video game consoles, arcade machines, movies, and guest speakers. If you miss going into the arcades of the 80's, it will be a true trip down memory lane . . . and if you missed it the first time around you can now experience what all the fuss was about!

The fine folks of South Eastern Virginia Gaming make this event possible, and have a full list of games up at their site (with more to come). The gaming and programs will run from 9:00 a.m. to 5:00 p.m., after which the Library will close. We'll reopen at 7:00 p.m. for a special evening Fantasmo featuring Tron Legacy at 8:00 p.m. and Scott Pilgrim at 10:00 p.m.

As an added bonus we'll also be featuring our own Library developed game, $ave $teve, throughout the day. If you play it here on the day of Freeplay you'll get a free t-shirt and be registered for a chance to win an iPad (for adults) or Nintendo 3DS (for kids). Life doesn't get any better than that!

So come out and join your Team Fantasmo for a full day of free gaming, free game movies, and free game programs . . . you can leave your quarters at home! See you there!

The Cinema of Joe Don Baker

2011-07-29T15:59:00.011-04:00

A few weeks back I detailed my shock at discovering Lee Majors had a robust (if brief) film career back in the late 70’s/early 80’s. Well, courtesy of Netflix I have once again made another such discovery, this time with respect to prolific character actor Joe Don Baker. Folks from my generation will remember Baker from memorable supporting roles in 80’s films such as Fletch, The Living Daylights, and the unfortunate Leonard Part 6. Other than a few appearances on Mystery Science Theater 3000, and his iconic role as Sheriff Buford Pusser in the original Walking Tall, I was not well versed in the Bakerverse . . . until now. I was browsing through Netflix again, and came across a movie called Golden Needles. This wouldn’t have necessarily caught my eye, save for the fact that instead of poster art the graphic displayed with the title was just a headshot of Baker. Now that in and of itself wouldn’t draw me in either, but the combination of Baker in a film called Golden Needles raised my curiosity. So I plunged deeper and things started to get really crazy.

Golden Needles is an early 70’s martial arts film directed by Robert “Enter the Dragon/Gymkata” Clouse, starring Baker and Jim Kelly as the heroes, and Burgess Meredith and Roy Chiao (Lao Che from Temple of Doom/Van Damme’s father in Bloodsport) as the villains. The madness does not stop there, as the plot is just as unusual as the talent roster. The action takes place primarily in Hong Kong, where gangsters, antique dealers, and the police are all trying to obtain an ancient statue. The statue, which includes a set of golden acupuncture needles, shows the locations on the body where the needles can be used to make one practically immortal. The film opens promisingly with a sequence in which an expert in the ways of acupuncture is summoned to the home of an elderly businessman to use the needles. After inserting the needles in the specified locations the man is miraculously healed of his infirmities, thus verifying the efficacy of the statue’s wisdom. Unfortunately everyone in the room managed to miss the fact that two guys dressed in full reflective silver/flame retardant suits, carrying huge backpack style flamethrowers, snuck in during the procedure. They then proceed to torch the room, and everyone in it, and flee with the statue.

This opening scene is completely outrageous, and prepared me for what I was certain would be an equally ridiculous 90 minutes to come. While the film doesn’t quite manage to maintain this over-the-top vibe, there are plenty of worthwhile moments. My favorite is a rooftop battle where Baker dispatches a number of thugs by continually throwing them through skylights (you think they’d watch out for that after the first couple of guys fall prey). What is just incredible however, and makes it all worth it, is the film’s insistence that we buy into Baker as both an action hero and a ladies man. Perhaps he is, but it’s not really where my mind goes when I think of the Baker persona. To see him depicted as such here is both astounding and refreshing. It’s also a perfect example of why the 70’s were so amazing, because an actor like Baker could be promoted as a leading man. These days actors have to be ridiculously perfect and fit to warrant such treatment, and that’s a real shame because a number of talented folks are pushed to the wayside in favor of looks over ability.

To get back to my original point, as with discovering Lee Majors in The Norseman, seeing Baker in Golden Needles made me wonder if there was a whole roster of Baker vehicles out there I wasn’t aware of. Sure enough, a quick trip to the IMDB revealed that he had a lengthy run as a leading man throughout the 70’s, before ultimately becoming a sought after character actor. As with my survey of Majors, I’m going to run down the list and give brief descriptions. To be clear these are just the films where Baker was the lead in a theatrically released film, and the list excludes his long history of supporting roles. I haven’t seen most of these, but several look quite intriguing!

Walking Tall (1973)
Unquestionably the ultimate Joe Don Baker performance, and the film that put him on the map. Baker plays Buford Pusser who, upon returning to his Tennessee hometown, discovers that corruption has run rampant. Not one to sit idly by he runs for Sheriff and starts to clean things up. Unfortunately the criminal element doesn’t take this well and proceeds to wage war, injuring Pusser and his family . . . and then things get really crazy!

I saw this on cable many years ago, and my memory is that it is a solid revenge film. I also recall that Baker does an excellent job in his characterization of Pusser, particularly when he voices his principles to corrupt officials. It’s not surprising that he rose to stardom on the back of this, and the film launched two sequels (not to mention remakes starring The Rock and Kevin Sorbo).

Charley Varrick (1973)
Baker co-stars with Walter Matthau in a no-nonsense heist film. Matthau robs a small town bank, inadvertently taking mob money. Baker plays the hitman sent to retrieve the stolen funds.

Reading the reviews of this, folks are comparing it to some of the greatest films of the 70’s (e.g. Taxi Driver, The Godfather). Wow. Lending credence to this high praise is the fact that it was directed by the legendary Don Siegel (Dirty Harry), and features an all-star cast including Andrew Robinson, John Vernon, and Norman Fell. Definitely a must see.

The Outfit (1973)
Baker co-stars with Robert Duvall as a pair of ex-cons out to avenge the murder of Duvall’s brother by the mob. Hollywood legend Robert Ryan plays the mob boss, with a supporting cast featuring Karen Black (Trilogy of Terror), Joanna Cassidy (Blade Runner), and Richard Jaeckel (The Green Slime). Seems hard to go wrong here.

Framed (1975)
Baker reteams with Walking Tall director Phil Karlson for another revenge film. This time around Baker plays a gambler who is ambushed after a big win, and is wrongfully convicted for killing a cop during the altercation. After serving his time he goes to work getting revenge on the corrupt officials who sent him away.

All accounts indicate this is a solid revenge film, plus it features legendary character actors Brock Peters (To Kill A Mockingbird, Soylent Green) and Paul Mantee (Robinson Crusoe on Mars, Day of the Animals).

Mitchell (1975)
If you want to point to any one movie that is responsible for undermining Baker’s reputation as a great actor, this would be the one. Mercilessly skewered by Mystery Science Theater 3000, Mitchell is a pretty lackluster affair that plays like a TV movie of the week. When I used to work at a mom and pop video store back in the day, I used to put the MST3K version on a couple of times a week. Customers loved it, I loved it, and it is easily one of the show’s finest episodes. But none of that helps Mitchell or Baker, except for purpose of condemning them to infamy. John Saxon and Martin Balsam lend their considerable talents to the mix as the bad guys, with Linda “Dynasty” Evans as the romantic leading lady. The horror, the horror.

Checkered Flag or Crash (1977)
Apparently an off road racing movie in which Baker plays a legendary racer being written about during a major race by embedded reporter Susan Sarandon. Larry Hagman plays the bad guy. This one sounds pretty iffy from the reviews, but seems to get positive marks for the stunt footage. The pairing of Baker, Sarandon, and Hagman also sounds bizarre enough to be mildly interesting.

The Shadow of Chikara (1977)
On IMDB this is classified as a Western horror film, and some have likened it to Predator. Following the Civil War, Confederate Captain Wishbone Cutter (Baker) and a band of motley companions search for a treasure trove of diamonds on a cursed mountain. Along they are assailed by demon spirits.

Directed by the writer of The Legend of Boggy Creek and The Town That Dreaded Sundown. Co–starring Sondra Locke, Ted Neeley, and Slim Pickens.

Every review I’ve read of this has me thoroughly intrigued. It sounds like a grim, 70’s supernatural movie, with great atmosphere. Would love to see a quality release of this one.

The Pack (aka The Long Dark Night) (1977)
This one I remember being absolutely terrified by as a kid. A wild pack of dogs are loose on an island resort and start terrorizing vacationers. Joe Don Baker plays a marine biologist(!) who takes the lead in handling the situation.

The trailer for The Pack turned up recently on a 42nd Street Forever trailer compilation, and I would love to see it again if it ever hits DVD. What I didn’t realize as a kid is that this is directed by none other that Robert “Enter the Dragon/Gymkata” Clouse. Unbelievable. For my money this is the ultimate Joe Don Baker film. Seriously. Robert Clouse directs Joe Don Baker as a marine biologist battling a horde of killer dogs. How can you argue with that?

Speedtrap (1977)
So Baker had four(!) releases in ’77, two of them car chase films. In this one he plays a private eye who helps cop Tyne Daly track down a car thief called the Road Runner. Not too sure about this one, but it apparently has a notable stunt where a car jumps across two tall buildings. Richard Jaeckel and Robert Loggia are along for the ride.

Wacko (1982)
Okay there’s a little bit of a gap from ’77 to ’82. Baker did a short-lived TV series called Eischied, and two TV movies before returning to the big screen in this slasher movie spoof. Baker plays police officer Dick Harbinger, who tries to warn his small town that the dreaded Lawnmower Killer has returned to wreak havoc. Directed by Greydon Clark (Satan’s Cheerleaders) and co-starring George Kennedy, Stella Stevens, and Andrew “Dice” Clay.

Oh how the mighty have fallen. I remember the previews for this but never saw it . . . I do not feel bad about that. This is really the last movie I remember being a theatrical release for Baker as leading man. He did play the lead in Greydon Clark’s Final Justice, also mercilessly skewered by MST3K, but I don’t believe that made it to theaters in any sort of significant fashion.

So there you have it, the theatrical leading man run for Joe Don Baker. All in all I’d say not too shabby, with a fair number of interesting genres represented. I do wish he’d thrown in a post-apocalyptic action film, but The Pack kind of compensates for that. So on this hot summer weekend if you find yourself looking for some worthwhile endeavor to pursue, why not check out a fine early work from Joe Don Baker. As his character in Final Justice, Deputy Sherif Thomas Jefferson Geronimo III, might say – “Go ahead on!”

Team Fantasmo Goes Ape!

2011-07-25T11:41:00.004-04:00

Team Fantasmo's first ever commercial, produced and directed by Fantasmo/Monster Fest/FantaSci guest lecturer, occasional Fantasmo co-host, and Original Superfan Tony Mercer! If ever a Fantasmo event were befitting of such royal treatment, it's our all day Planet of the Apes marathon!

FantaSci 9: Return of the Krackle Botz!

2011-07-06T16:40:00.012-04:00

Hey Superfans!

It’s once again time for our annual FantaSci sci-fi/fantasy convention here at the library, and this year promises to be one of our best yet! The date is Saturday, July 23rd, and it will run from 9:00 a.m. – 5:00 p.m., with a special Fantasmo taking place that evening. Our theme “Return of the Krackle Botz” heralds the release of an online game called $ave $teve we designed here at the library, featuring a sci-fi steeped story, including the appearance of the mysterious Krackle Botz. All day at the event we will have our computer lab open so that attendees can play the game and save Steve . . . those who do will get a free t-shirt and a chance to win a fabulous prize (details coming soon at www.savesteve.org). But that’s just the beginning! Other highlights include:

* A special Transformers display courtesy of Regal Cinemas, featuring a 10 ft. tall Optimus Prime made out of real car parts (on display at Central Library now through the event)!

*A Star Trek Blood Feud in which you can donate blood on the American Red Cross Bloodmobile, while also helping defeat either the Klingons or the Federation!

But that’s still not all! We’ll also have a full day of panels and programs, authors and artists, and fan groups and vendors. Our full schedule is as follows:

10:00 a.m. – 4:00 p.m.: Mysteries of the Krackle Botz Revealed! Come be among the first to play $ave $teve and uncover the mystery!

10:00 a.m. – 4:00 p.m.: Star Trek Blood Feud: The American Red Cross Bloodmobile will be present throughout the day, as Star Trek factions compete in a race to donate the most blood!

11:00 a.m.: Buying the Right Lightsaber – Presented by Rick Baer

11:00 a.m.: World Building for Fantasy Fiction Writers - Presented by Leona Wisoker

11:00 a.m.: The Incredible History of Uncle Forry – Presented by Deborah Painter (Author of Forry: The Life of Forrest J Ackerman)

12:15 p.m.: Primal Paper Comics Q&A – Presented by Justin Cristelli, Bob Fresh, Mike Federali, Drew Moss & Vince White

12:15 p.m.: Classic Dr. Madblood Episode – Presented by Craig T. Adams

12:15 p.m.: It’s Star Trek, Captain, But Not As We Know It -- The Future of Trek – Presented by Starfleet Atlantic

1:30 p.m.: Klingon Makeup 101 – Presented by IKV Devastator

1:30 p.m.: Grab Your Reader on the First Page! – Presented by Pamela Kinney, Jim Bernheimer, Daniele Lanzarotta, Deborah Painter, Tony Ruggiero & Betty Cross

1:30 p.m.: Of Gods and Men: Star Trek and the Supernatural – Presented by Christopher Johnson

2:45 p.m.: Ask the Writer: From Craft to Publishing to Promotion – Presented by Tony Ruggiero, Theresa Bane & Leona Wisoker

2:45 p.m.: Jedi Temple Invasion - Live performance by the Tidewater Alliance

5:00 p.m.: Library Closes

8:00 p.m.: Library Reopens for Fantasmo Cult Cinema Explosion: Special Lance Henriksen Edition! – This special edition of Fantasmo celebrates the release of Lance Henriksen's new biography Not Bad For a Human, as well as the 25th anniversary of Aliens! For our BIG double-feature we will be screening both Aliens and The Terminator!

It’s going to be a full day of sci-fi and fantasy, with literally something for everyone . . . and in particular if you are a fan of giant robots, video games, Lance Henriksen, or any combination of those ingredients!

Lastly, a word about two special programs we have coming up in August (for those of you who have been asking : ) Our August Fantasmo will take place on Saturday, August 6th, and will be a full day event in which we will screen all of the classic Planet of the Apes films. Details on times will be coming soon. On August 27th we will hold our second annual Freeplay event, in which we will fill the library with classic video game machines and consoles. If you want to know (or reminisce on) what it was like to walk into an 80’s video game arcade, you don’t want to miss it! Plus we’ll have related talks and programs, video game film screenings all day long, and a special edition of Fantasmo featuring Tron Legacy and Scott Pilgrim!

There’s a LOT of summer left to go, and we’re just getting started! See you on the 23rd at FantaSci!

For even more details on guests and goings on at FantaSci visit www.fantasciconvention.com.

The Cinema of Lee Majors

2011-06-16T13:11:00.003-04:00

As a kid growing up in the 70’s, fixated on genre television and cinema, there were a few pieces of filmed entertainment that stood tall above all others. These were: Star Wars, Star Trek, Superman, and . . . The Six Million Dollar Man. Clearly the last entry there, at least in the year 2011, is not on the same level as the others. It hasn’t aged particularly well, and the principals have long been out of the limelight. Even so, to this day Lee Majors ranks high in my book of actors who are on the highest planes of coolness. In his iconic role as Col. Steve Austin, he was every bit the equal to the likes of a Captain Kirk or Han Solo back in the day. Shortly after the show left the air, Majors actually turned up in my hometown in Kentucky to shoot a movie called Steel, which ultimately became famous for a terrible accident. After that there was a long silence until he found more success on television with The Fall Guy. So as far as I knew, Majors had only that movie to his credit and no more. All these years I’ve labored under the misconception that his television typecasting confined him to the small screen during the interim period between Steel and The Fall Guy. Boy was I wrong!

Recently I was digging through Netflix and came across a movie called The Norseman(1978). I’m not particularly a fan of Viking movies, but the poster image looked very cool. It’s one of those wonderful, painted posters that were so common in that era, and it inspired me to investigate further. Lo and behold it turned out the star was Lee Majors! I sat there dumbfounded wondering how I’d missed that during my youth. Needless to say I added it to my queue, and gave it a quick sample. In the course of about 10 minutes I understood exactly how I’d missed The Norseman. As many of you who frequent our program know, I have a high tolerance for schlock, and a special fondness for the lowest of B-movies (I’m looking at you Gymkata). The Norseman plunges to an epic level of bad however, and offers a grueling test for the most tolerant of critics. Let’s just say that Majors, a fellow Kentucky native, has no business being cast as a Viking. His delivery and accent don’t ring anywhere near the vicinity of truth (sort of like Keanu Reeves in those period dramas folks were intent on casting him in during the 90’s). This was his first big screen role following The Six Million Dollar Man, so I guess the filmmakers hurtled forward with the singular goal of cashing in on his name recognition. It’s a miracle Majors survived this. Rarely do I say don’t bother watching, but I urge you to stay away. Life moments you’ll never get back await you.

Following The Norseman Majors landed the lead in Steel (1979). Even though Steel was filmed in my hometown, and had its premiere at a local historic movie house, I didn’t end up seeing it until cable. This is a bit of a miracle because we frequented the drive-in, and no doubt it ended up there at some point. My memory of the film is not at all bad, but it failed to register as an action classic. The setup is pretty awesome, and typical for the early 80’s. In a nutshell a reluctant/renowned expert is drawn out of retirement/seclusion to do what he does best (e.g. accomplish an impossible mission), and assemble a team of skilled experts to help him in the cause. In this sense it is not unlike a few Seagal movies, save for the fact Majors is portrayed as having human flaws. Majors plays Mike Catton, a legendary construction foreman who has lost his way due to a terrible accident (leaving him afraid of heights). Fortunately for action movie lovers everywhere George Kennedy shows up to lure him out of retirement, so that Majors can help him build a building before an evil developer closes in.

Aside from an appealing setup, the movie has a few other interesting items of note. As I mentioned it’s infamous for the stunt accident which cost stuntman A. J. Bakunas his life. I can remember the shot in the trailer of the fall in question, and it was pretty spectacular looking. Apparently they shot the footage without a hitch, but reshot it to achieve the record for high falls. The fact that it was so unnecessary makes it all the more tragic, and I also recall there being a significant backlash to the film as a result. Beyond this regrettable aspect, Steel boasts an all-star cast featuring the likes of Jennifer O’Neill (Scanners) and always reliable villain Richard Lynch (The Sword and the Sorcerer), and at the helm is cult director Steve Carver (Big Bad Mama, Lone Wolf McQuade). Most interestingly it was produced by Peter S. Davis and William N. Panzer who would go on later to make all of the Highlander films. I need to track this one down again, as I suspect at this stage in life I would appreciate this film a great deal more (having immersed myself in low-rent, DTV action films and learned to love them).

Despite the controversy surrounding Steel, the Majors big screen express could not be stopped. Next up he starred in an Italian Jaws rip-off called Killer Fish (1979) with Karen Black and James Franciscus. This one mixes jewel thieves and piranhas, which sounds like a no lose proposition as far as I’m concerned. Plus it’s directed by Antonio Margheriti, director of Yor, the Hunter from the Future! I can’t imagine that it is a quality film in any respect, but the talent roster guarantees that it will be entertaining. It would have to go a long way to top Enzo G. Catellari’s awesome The Last Shark (aka Great White), which also starred Franciscus a year or so later (Castellari must have been impressed with his emoting during piranha attacks), but I can’t wait to find out how close it comes to doing so when I finally locate a copy.

So Majors had done Vikings and piranhas in addition to his construction man action piece, and I managed to remain blissfully unaware. How does one top such a triple threat? Easy! By making a political thriller on the dangers of subliminal advertising, beating Michael Crichton’s Looker to the same thematic punch by a couple of years. In Agency (1980), Majors plays an ad agency worker who discovers the dark motives of his firm’s new owner (played by Robert Mitchum). Again I neither saw this during its release, nor have any recollection of it whatsoever. The reviews I’ve read mention that it opens with an over-the-top deodorant commercial that is unforgettable, and quite frankly that alone is enough for me. Plus it has another cool poster and a Can’t Stop the Music Connection by way of leading lady Valerie Perrine.

If you’re keeping score here, since his departure of The Six Million Dollar Man in 1978, Majors made four films in the span of 3 years. Continued television success was just around the corner in 1981 with The Fall Guy. Surely it would be impossible to squeeze one more theatrical release into that period, right? Wrong! Majors capped off a five film run with the ecological thriller The Last Chase (1981). I vaguely remember this one on cable, and it has recently been given a special edition DVD release by Code Red (so I will be refreshing my memory of it very soon). In the not too distant future when oil is scarce, the United States government has outlawed all gas guzzlers. Majors, a former race car driver, rebels by taking his old car and heading out for California (which has seceded from the Union). Along the way he hooks up with Meatballs star Chris Makepeace, as they are pursued by a fighter jet piloted by retired Korean War vet Burgess Meredith. I don’t know about you, but the idea of Burgess Meredith chasing Lee Majors in a fighter jet is outrageous enough to sell me on this one! Perhaps even more interesting than that however, is the fact that this plot sounds incredibly topical 30 years later with oil prices being a major concern.

I can speak with personal authority only on The Norseman, but across the board each of these films has received horrible reviews online. That being said you have to admire Majors’ drive in making five films, covering a host of genres, in such a remarkably short period of time. Perhaps that time factor has a great deal to do with the quality of the efforts, but they all sound intriguing and feature interesting cast/talent rosters. The process of writing this has in fact made me inclined to go back and retract that statement warning you away from The Norseman. I hereby take it back and encourage you to watch The Norseman immediately! Hey, at least it’s easy to come by. I just checked on Steel at Amazon, and OOP VHS copies are starting at an absurd $2,475 dollars (doesn’t sound like a “steal” to me . . . couldn’t resist : )

Regardless of the quality of these films, Majors’ choice of subject matter in selecting projects which I was wholly unaware of has only increased my respect for him. And besides, regardless of what you may ultimately think about the films, you have to admire a guy who is willing to parody his action hero status in the mini-movie The Night the Reindeer Died in Scrooged. To me that type of self-deprecating humor speaks volumes about what a cool guy he must be in real life. To reiterate, go watch The Norseman immediately!

Fantasmo Episode 64: The Urban Fables of Walter Hill

2011-05-11T10:26:00.000-04:00

Hey Superfans!

Summer is in full swing at Fantasmo HQ, and we’re rolling on with a truly awesome June show. For this very special episode we’re focusing on the fantastical works of director Walter Hill. A few years back we screened what many consider his best film, the 1979 cult favorite The Warriors. The version we screened however was a re-envisioned cut, featuring some dramatic artistic choices that altered the flow of the film (in a way a lot of folks didn’t warm up to). So in the spirit of satisfying fans, and as an excuse to see The Warriors on the big screen again, we’re holding an encore that will feature the original cut of the film! But that’s not all . . .

First up we’ll be showing one of Hill’s most underrated works, the 1984 “rock & roll fable” Streets of Fire. This movie was intended to be a huge summer blockbuster, but its quirky combination of action, sci-fi, and rock failed to catch fire at the box office. The fact is that the film is a wildly original, one-of-a-kind experience that deserves to be rediscovered. It features great performances from an all-star cast led by Michael Pare and Willem Dafoe, incredible production design, and of course an amazing soundtrack (we guarantee you’ll know several of the songs). If you’ve never seen this one before you owe it to yourself to make it to this screening!

So without any further ado here are your full Episode 64 details:

When: Friday, June 3rd, 8:00 p.m.

Where: Chesapeake Central Library, 298 Cedar Road, Chesapeake, VA 23322

Films:

8:00 p.m.: Streets of Fire (1984)

9:45 p.m.: The Warriors (1979)

So there you have it, a rocking double-bill for your June Fantasmo. You dare not miss these urban fables from the legendary Walter Hill projected on our BIG screen . . . THE WAY THEY WERE MEANT TO BE SEEN! See you there!

The Henriksen Principle of Elevation

2011-05-02T13:33:00.005-04:00

Today marks the beginning of the epic Lance Henriksen Blog-A-Thon, and for my part here at Fantasmo I’ve chosen what I believe to be the most interesting facet of the talented actor. Having appeared in an extensive list of genre films over the years, his filmography includes titles ranging from amazing (e.g. Aliens) to the not so great (e.g. Sasquatch Mountain). What is absolutely true however, despite the quality of any particular film, is that Henriksen’s participation guarantees that there will always be something worth watching. You see no matter what the project may be he gives it his all. Whether you are watching him in an A-list film like The Right Stuff or Dog Day Afternoon, or in any number of direct-to-video cheapies, you get the same top notch level of performance. Honestly I have never seen a Henriksen performance I didn’t like, and I can think of few actors out there for which I could make a similar claim. I challenge you to put this assertion to the test. Watch a “prestige” picture like Appaloosa back-to-back with something like Screamers: The Hunting, and tell me you disagree that Lance is any less engaged in the latter, low-budget affair!

Bearing this in mind, I’d take things just a bit further. Because Henriksen consistently gives his all, he actually raises the watchability of lesser films. Using the 4-star scale of film ratings as a starting point, if Henriksen is in a movie it would automatically get a star in my universe (maybe two depending on the extent of his participation). For the purpose of this essay, I’m going to refer to this as the Henriksen Principle of Elevation. To illustrate this principle in action, I thought it would be interesting to examine one of his all-too-rare leading man appearances in a theatrical release, the 1989 film The Horror Show. No one will ever mistake this movie as a classic, nor is it particularly noteworthy in terms of its place in horror cinema. However it is a textbook example of how a pedestrian film, which basically amounted to a lazy copy of the Elm Street movies, is made worthwhile by Henriksen’s contribution.

For those who have not had the pleasure of seeing The Horror Show, the film features Henriksen in the role of Detective Lucas McCarthy. McCarthy has finally captured the legendary serial killer Max Jenke (Brion James), but has begun having nightmares in which Jenke has come back to kill him. After attending Jenke’s execution, McCarthy believes life can return to normal. Unfortunately as it turns out, Jenke has perfected a way to return via electromagnetism, and proceeds to inhabit the circuits at McCarthy’s home. This allows Jenke to bend reality and stalk McCarthy and his family. McCarthy learns from a local college professor that he will have to force Jenke back into reality via a massive jolt of electricity, leading to a climactic final battle spanning McCarthy’s home and the hereafter.

The Horror Show opened theatrically in late April of 1989, essentially kicking off the summer movie season. More accurately it was dumped out by the studio in the quiet period before Batman and Indiana Jones arrived, in the hopes that it might have a shot at generating at least a little revenue. The fact is that The Horror Show is little more than a blatant attempt to rip off the 80’s slasher/otherworldly killer hybrid made popular by Friday the 13th, A Nightmare on Elm Street, etc. Unfortunately the movie was about 5 years too late in this endeavor. All of the major series had already been ripped off several times, and even the continuing installments of Friday, Nightmare, and others were themselves failing at the box office. Incredibly the film was produced by original Friday the 13th mastermind Sean S. Cunningham, who should’ve known better at that point. Likely he was hoping to reignite his faltering House series, with this as its next installment (The Horror Show was actually released as House III overseas). Needless to say this gambit failed to pay off. It might have worked if it had premiered in October, but the remarkably similar Shocker by Wes Craven would have been in direct competition.

The chief problem with The Horror Show is just how transparent the intentions are behind it. Max Jenke is clearly meant to be a new Freddy, and many of his fantastic appearances seem lifted directly from Elm Street. For example there are sequences where Jenke appears as a turkey creature during a family dinner, he shows up on a television show the family is watching, and he appears as McCarthy’s lawyer following an interrogation at police headquarters. One could easily insert Robert Englund into any of those scenarios without missing a beat. Despite a solid effort by the always reliable Brion James, the whole thing just feels tired. The turkey creature might have been shocking circa 1983, but by 1989 we’d already seen Freddy morph into any number of creatures, rendering the whole business well past the prime of such tom foolery. Perhaps indicative of the ingenuity not at work here, one of the writing credits belongs to Alan Smithee.

Further compounding The Horror Show’s problems is the look of the film. No question it is a low budget effort, but that can often be overcome with imagination on the part of the filmmakers. Here the execution is workmanlike, with very few truly interesting visuals. In a movie that involves the merging of reality and a nightmarish, otherworldly plane of existence, you really have to make a point of interpreting the fantastic in an interesting way. The only thing consistent in terms of a vision on display is, ironically, murky lighting. The Horror Show has a muted color palette and is sometimes so darkly lit that it’s hard to see what’s going on (particularly in basement sequences where much of the action takes place). There are also occasional flashes of neon pink and blue, an unfortunate reminder of the worst trends of the 80’s. In a nutshell the whole thing is a muddy mess. Apparently the original director on the project was let go, and James Isaac (the special effects guy on House 2) was brought in to finish the job. I don’t know how much to lay at his doorstep, but he later went on to do Jason X which has similar problems, make of that what you will.

So The Horror Show is uninspired thematically and visually, how about the rest? Fortunately this is where the filmmakers really got things right. A number of familiar faces pop up including genre vets Thom Bray (Prince of Darkness), Dedee Pfieffer (Vamp), and Lawrence Tierney (Reservoir Dogs). Their presence helps to distract from the other elements lacking in the picture. Better still was the decision to put Brion James in the role of the Jenke, a part he was born to play. James is terrific in the role and is clearly having a ball with the material. I can’t help but believe Jenke’s creepy laugh, which James executes very well, was meant to be a signature trademark that would have carried through any number of Max Jenke adventures (never to be). Above and beyond all of these players though, we have the element that holds it all together . . . Lance Henriksen.

From the first frame of the film Henriksen takes the proceedings seriously. There’s no wink in his eye that he’s in on any joke, or slack in his step because he’s not working with James Cameron. He exhibits an intensity and weariness that register as genuine. His trademark chiseled appearance and deep voice of course help in this endeavor, always coming in handy for his portrayal of tortured souls. And make no mistake, McCarthy is tortured. Having seen Jenke’s wicked path of destruction, including the grisly loss of a partner during his apprehension, he is at the end of his tether. A lesser actor viewing The Horror Show as a throwaway B-picture might have phoned in the performance. Not Lance Henriksen. He makes McCarthy a real person that the audience can identify with. He’s not a supercop by any stretch of the imagination, just a dedicated professional trying to make sense of that which has no explanation. After Jenke’s execution, as he starts to hallucinate and potentially endanger his family, Henriksen makes us feel like we’re in his shoes. His dedication to creating a believable character pulls the viewer in, making one forget (at least for a time) that they are watching a cheapo Nightmare on Elm Street rip off. In a way Henriksen’s performance as McCarthy reminded me of his character in Millennium, who is haunted by the unending struggle to shield his family from the ugliness in the world. McCarthy is a little less cerebral than Frank Black, but they certainly share a great deal in common.

Because Henriksen is so invested in the role, it also elevates the effectiveness of Brion James’s Jenke character. If you had a bland actor in the role of McCarthy, who was merely there because of affordability, James would be utterly overwhelming. Henriksen has no problem holding his own, and the confrontations between the two leads are a lot of fun to watch as a result. It’s like you’re seeing a cop from a great crime film confront a most convincing, raving lunatic. I kept thinking while watching the film recently that Henriksen would have been terrific as the lead in something like Prince of the City (in which he co-starred). Or imagine him as one of the principals in Michael Mann's Heat. Instead he has to settle for The Horror Show, but that doesn’t matter. As far as he’s concerned there’s no difference between the two, he’s still going to give the same committed performance. Honestly the pairing of Henriksen and James alone is enough to recommend The Horror Show regardless of any reservations. The problem is they don’t have enough screen time together, but what there is makes the trip worthwhile. It’s a shame the creative folks behind the project couldn’t match the ability of their talented leads.

Let's be honest, there are better films out there featuring Lance Henriksen in a leading role. Near Dark, Pumpkinhead, Survival Quest . . . and even Piranha 2(in my humble opinion) come to mind. Nevertheless, The Horror Show still figures as an important entry in his filmography, mostly due to the inspired pairing of Henriksen and James. Also, given his leading man status, it provides an abundance of evidence of how Henriksen invests himself in every performance, no matter how big or small the production. There is no moment in The Horror Show where I felt Henriksen (or James for that matter) was involved only for the paycheck. In some ways it was almost a dry run for his iconic character Frank Black, and on that note alone quite enjoyable. In terms of the Henriksen Principle of Elevation, The Horror Show is a fine exemplar on two counts. First, Henriksen’s performance allows the audience to identify with the lead character, compensating for the lack of positive elements in other areas of the production. Secondly, Henriksen’s investment provides a solid presence to counter James’s over-the-top performance. A lesser actor would have been completely overshadowed in the situation. I rest my case!

For the sake of full disclosure, it should come as no surprise that I’m a big Lance Henriksen fan, with Millennium being one of my favorite pieces of filmed art ever. Even so again I challenge you to find a Henriksen film where you think he’s on autopilot. I have yet to experience anything of the kind, and I’ve sat through a LOT of DTV my friends : ) I would also encourage you to seek out a Henriksen move this week that you haven’t seen before, especially if you know him only from theatrical movies like Aliens and Hard Target. And if you do know Henriksen, be sure to join in the Blog-A-Thon by writing up your thoughts. Click on the link to the right for all the details on how to get in on the party! Not bad for a human indeed!

Drive-In Super Monster Rama Returns!

2011-04-29T12:17:00.007-04:00

Hey Superfans!

I've written about the wonderful Drive-In Super Monster Rama hosted by the Riverside Drive-In each fall, and am thrilled to report they have posted this September's lineup. In my personal opinion it is their best yet! It includes Mario Bava's Black Sabbath, The Last Man On Earth (the original I Am Legend adaptation), both Dr. Phibes films, the original Count Yorga, and more! All of these are 35mm prints and you'll also get to see a ton of vintage trailers and promos. Team Fantasmo ventured up there a couple of years back and it was a blast . . . I think we'll definitely be returning this year for a pre-Monster Fest warm-up : )

Also don't forget Monday kicks off the weeklong Lance Henriksen Blog-A-Thon celebrating the forthcoming release of the biography Not Bad For A Human. For more details or to participate click the image on the right. I'll have a post up on Monday offering my thoughts on one of my favorite Henriksen films, as well as its importance in the context of his larger oeuvre. Satisfaction guaranteed!

Fantasmo Episode 63: Creepy Anthologies

2011-04-20T16:52:00.003-04:00

Hey Superfans!

May kicks off our BIG summer season here at Fantasmo HQ, and we’re starting things off with a couple of horror anthology classics! Anthologies are one of our favorite areas of horror filmdom, as they offer such a variety of tales. Sometimes the stories work, and sometimes they don’t. The beauty is they come at you so quickly that if you don’t like the one that’s onscreen, there’ll be another to come along shortly that is possibly a classic. For this very special Fantasmo we’ll be screening two of the best ones out there, each featuring heavy participation from horror masters Stephen King and George Romero. Our first film is the 80’s classic Creepshow, which was essentially a cinematic translation of the E.C. horror comics from the 50’s. It is also perhaps the best anthology film ever made! Second on the bill is a big screen version of a small screen 80’s staple, Tales From the Darkside: The Movie. In some ways the television show was inspired by the likes of Creepshow, and the movie carries on its mischievous spirit. If there’s a better time at the movies this summer, I can’t imagine what it would be! Without any further ado, here are your full Episode 63 details:

When: Friday, May 6th, 8:00 p.m.

Where: Chesapeake Central Library, 298 Cedar Road, Chesapeake, VA 23322

Films:
8:00 p.m.: Creepshow (1982)

10:15: Tales From the Darkside: The Movie (1990)

So there you have it, a terrifyingly fun start to our Fantasmo summer lineup. You dare not miss these classic anthologies as they unfold on our BIG screen . . . THE WAY THEY WERE MEANT TO BE SEEN! See you there!

This Just In . . .

2011-04-11T13:52:00.002-04:00

Fantasmo All-Star Daniel Perry has just started a cult cinema blog called The Celluloid Coffin! I am honored to also let you know that he has chosen for his initial posting to discuss our headliner from last week's show, the 1982 Hal Needham masterpiece Megaforce! Most amazing of all, Daniel has broken down the plot into an intelligible synopsis. Honestly I've seen Megaforce several times over the years, and reading his post was the first time I had any understanding of the specifics of the plot (likely due to the fact that my jaw was on the floor in shock from the horrendous costumes and special effects). Be sure to check it out for some great reading!

Lance Henriksen Blog-A-Thon

2011-04-11T09:03:00.004-04:00

Hey Superfans!

Longtime friend of Fantasmo Joe Maddrey, who recently visited Monster Fest with his excellent documentary Nightmares in Red, White, and Blue, has checked in regarding a cool event. In celebration of the upcoming publication of Lance Henriksen's biography Not Bad For A Human, there will be a weeklong Blog-A-Thon to discuss all things Henriksen. Being a huge fan you can expect a post here at Fantasmo, and there will be many others across the web. For more info visit the link above, or check out the host site over at John Kenneth Muir's Reflections on Film & Television. I for one am looking forward to lots of great writeups about Lance and his prolific career, as well as what promises to be a very interesting book!

Movie Review: Up the Academy (1980)

2011-04-06T16:50:00.005-04:00

As a kid I can think of few sources that were as important in fostering my love of reading as MAD Magazine. I remember trading the magazines on the playground from first grade onward, and spent many an hour absorbed in the sophomoric humor contained within its pages. In particular I was fascinated by the movie parodies, as I had developed that love with an unparalleled rapidity. MAD skewered all my favorites including Jaws, Star Wars, Alien, Superman, etc., and I couldn’t get enough of it. It even eclipsed my love of comic books at the time, which was no small feat. So just imagine my excitement, given that movies and MAD were pretty much my two favorite things in the world as a pre-teen, when I learned that a MAD movie was being release in the summer of 1980. It’s a wonder I didn’t pass out from shock when I saw the first television ad featuring a live action Alfred E. Neuman. Unfortunately the movie was rated R, and although my parents could be coaxed into the likes of Alien or Saturn 3 style monster movies, they were not about to take me to what looked to be a riff on Animal House. My disappointment was profound.

I ultimately ended up watching MAD Magazine Presents: Up the Academy a few years later on cable, but was surprised to see no references to MAD or Alfred E. Neuman (more on that later). Furthermore, not only was it a cheap knock off of Animal House, it was kind of dreadful. I had outgrown MAD by that point so it wasn’t a devastating experience by any measure, but more of an odd footnote to the saga. This past week in anticipation of our Schlock-O-Thon, I revisited the film which now has the MAD connection fully restored. The story behind the two versions of Up the Academy is more interesting than the film itself, and the inclusion of the cut footage elevates an awful movie to a bona fide curiosity.

Briefly summing up the plot, four rebellious teens are sent to a military academy to straighten their ways. They immediately run afoul of the school’s commander and a battle of wills ensues, culminating in a soccer game where all stand to lose a great deal. In between fill in any number of lame sight gags that aren’t funny in the least and you more or less have the picture. What distinguishes Up the Academy for special disdain is that in addition to being not funny it is also offensive. I have a high tolerance threshold when it comes to envelope pushing material, but this movie targets ethnicity and gender in a way that is truly mean-spirited. There is no stereotype Up the Academy fails to embrace, resulting in a constant barrage of groan-inducing moments. Watching it I felt bad for the performers, and have to wonder how they ended up signing on to the project. Ron Liebman, who actually turns in a hysterical performance as the evil commander, felt so strongly he had his name removed from the credits.

This brings us to the major controversy regarding the film, the participation and subsequent withdrawal of MAD magazine. Apparently after National Lampoon had enormous success with Animal House, MAD wanted to lend its support to a similar effort. In this case not only did they “present” the film, but they also provided their signature character Alfred E. Neuman to the proceedings. Following the opening credits of the film a live-action version of Neuman opens the film shrugging his shoulders in the “what me worry” mode. He shows up again toward the end after the wild soccer game finale. In addition he was featured in the poster art and the trailers, leaving no question that the spirit of MAD infused the film. After seeing the final product, and being none too pleased, MAD paid $30,000 to Warner Bros. to have their name and all references (i.e. Neuman) removed (at least from the television version). MAD Publisher William Gaines even sent personal apologies to all the readers who sent in complaints. Wow.

Again it’s difficult to understand how these folks could have missed the warning signs, unless the script was somehow lacking in detail. Either that or everyone just jumped on board because it had the smell of success due to its similarities with Animal House. The fact is that Robert Downey Sr. (yes Iron Man’s Dad) executed the direction of the film competently. I don’t see any way he could have elevated the material, and the photography and performances are all on target. The opening credits sequence in particular, which features a decent sounding punk rock song played over images of toy soldiers being knocked over, is pretty cool. It gears one up to expect a much better movie. Speaking of the music, the film has an outstanding soundtrack featuring the likes of Blondie, Lou Reed, Cheap Trick, Iggy Pop, The Kinks, Pat Benatar, Nick Lowe, Sammy Hagar, Ian Hunter, and more. Clearly an effort was made to produce an outstanding musical roster, and the closing credits even play over images of a recording studio.

The excellent music brings up one of the most perplexing aspects of Up the Academy, in that it features a number of positive ingredients that it had going into battle. In addition to the music it had the participation of a well-loved magazine and iconic character, respected indie director, and a talented cast (including Liebman, Ralph Macchio, Stacey Nelkin, Tom Poston, Barbara Bach, and Antonio Fargas). Perhaps most intriguing of all, soon-to-be Oscar winner Rick Baker designed the Alfred E. Neuman make-up. That’s right he went from Up the Academy to An American Werewolf in London. I should mention as well that the Alfred E. Neuman mask is one of the creepiest things I’ve ever seen. The effect has a strange quality that hovers between real and fake-looking. Instead of being funny and comical like the persona depicted in MAD, the result is downright unsettling. Don’t get me wrong it’s an amazing piece of work as you would expect from Baker, but there’s no question it does not have the effect they surely must have desired.

I have seen many, many bad movies in my time, but Up the Academy occupies a special circle of the Inferno. It’s not “so bad it’s good” like a Gymkata or a Megaforce, and it has on display some material that is absolutely tasteless. With that in mind, on an entertainment level I can’t recommend it. There’s no denying however that as a cultural artifact it is fascinating. If you can stomach the 90-minute ride it’s worth seeing for the disturbing Alfred E. Neuman character, and the fun performance by Ron Liebman. But it’s a long haul with few rewards. That so many talented people could have been attached to a project so without merit is astounding. The bottom line is that the film has no heart at its center because it has a screenplay that fails to understand the Animal House template it seeks to copy. While Animal House is no masterpiece (and I think more than a little overrated), there’s no denying it has a lighthearted, good-natured tone. It’s gross and crude, but it never devolves into the ugly level to which Up the Academy descends. One thing’s for sure, the “what me worry” tagline for which MAD became known certainly had a prophetic quality in relation to their first and only cinematic endeavor.

Team Fantasmo @ Ravencon

2011-04-05T15:27:00.003-04:00

Hey Superfans! If you just can't get enough Fantasmo this month we have one more event taking place this weekend! We're heading up to the big Ravencon convention in Richmond once more to conduct a thrilling discussion panel on cult movies. Last year our topic was what makes a cult movie a cult movie. This time around we're taking a kitchen sink style approach and doing a discussion from A to Z, or in this case Atkins to Zardoz : ) So for each letter of the alphabet we'll be throwing out all kinds of obscurities to discuss and analyze. We guarantee that you'll learn about movies and artists you've never before encountered. We also guarantee that M will not be for Megaforce, so it is entirely safe to attend the panel! We go on stage at 3:00 on Saturday, but the convention runs all weekend. If you have an interest in sci-fi, fantasy, movies, and literature, this is a convention you don't want to miss . . . but particularly at 3:00 Saturday. See you there!

Movie Review: The Gong Show Movie (1980)

2011-04-05T12:27:00.008-04:00

Hey Sueprfans,

Some of you who have been with the blog for the duration may remember I reviewed this gem of a movie a few years back. I'm doing an encore of the review as part of a program called Scanversations we have coming up at the Library for National Library Week starting this coming Monday. In a nutshell, everyone you see on staff will be wearing a badge with a QR code (readable by smartphone and portable device apps), which will go to a review written by that particular staff member of a book, music, or movie. Naturally I'm doing a movie : ) Since it will be an introduction of sorts to the Fantasmo blog for many, I thought I would choose a greatest hit review. And I'm a big fan of the movie so I couldn't resist! Speaking of Scanversations, if you come by the Library next week definitely participate. One of the staff members will be wearing a special badge that allows you to enter a drawing to win a Barnes & Noble Nook! So without any further ado, to all readers familiar and new, please enjoy the following observations about the masterwork of one Chuck Barris . . .

Chuck Barris has always been a fascinating character to me. As a kid growing up I loved The Gong Show. It was (and still is) some of the wildest television yet to grace the small screen. Of course Barris was also responsible for The Dating Game and The Newlywed Game, but The Gong Show will always be his most well-known effort. But there's a lot more to this guy than The Gong Show would suggest. In particular he's written some very interesting novels (which masquerade as autobiographies) in the form of Confessions of a Dangerous Mind, Bad Grass Never Dies, and The Big Question. He has also written a "real" biography called The Game Show King which is fascinating, and serves as an excellent companion piece to The Gong Show Movie. The movie itself is a bit of cinematic genius, although it was universally dismissed by critics and audiences 31 years ago. No doubt this had a great deal to due with the fact that it arrived after the peak of the television show's popularity, as well as the unusual nature of the film. Instead of a feature length/R-rated version of the show, the film was an exploration of Barris's life and near nervous breakdown. Sure Gene Gene the Dancing Machine and The Unknown Comic make appearances, but this is nevertheless a dark ride.

The plot of The Gong Show Movie is almost non-existent. Essentially it depicts a week in the life of Chuck Barris. The film starts out with Barris watching some truly outlandish auditions (in part where the film earns its R-rating), and then proceeds to follow him doing everything from waking up in the morning to having dinner with his girlfriend. Most significantly we get to see how Barris is bombarded by people trying to get on the show, to the point that it becomes maddening. It's hard to appreciate now just how popular the show was, but Barris was a rock star in his day. Unlike being a member of The Beatles however, who had people hurling praise and adoration, Barris had loony folks coming at him from all directions performing impromptu auditions. According to the book The Game Show King it wreaked havoc on his personal life, until he eventually left the business and retreated to France.

While the film doesn't follow Barris to his final destination, it does protray a mental breakdown he has in the desert near the conclusion. Eventually he flees Los Angeles, but in a middle-of-nowhere diner he is still accosted. So he drives out into the desert to be alone, and is ultimately confronted by all the zany characters that have become a part of his life - on and off screen. The point is that the line between the two has become indistinguishable, and that he has to find some sort of acceptance of the situation or go insane. It's not played as heavy as it sounds, but there is a dark energy to the film that suggests the material is not as lighthearted as the comedic surface elements make it appear. In fact, the juxtaposition of the familiar trappings of the show with the darker thematic content makes for a sometimes uncomfortable viewing experience. In the end the audience is left wondering whether or not art is imitating the life of Barris.

The Gong Show Movie may not be an existential masterpiece, however there is far more to the film than its source material would indicate. It would have been easy for Barris to make a 90-minute, R-rated version of the show to satisfy fans and generate box office returns. Instead he chose to make an experimental film that defies categorization. This is further supported by the fact that original director Robert Downey Sr. gracefully bowed out so that Barris could steer the project. While Barris shrugged off suggestions of a deeper meaning to the film at the time, the end product doesn't support his protestations. Particularly when taken in context with his literary works, The Gong Show Movie plays as a trial run before his bigger success with Confessions of a Dangerous Mind. And while the book is arguably more successful artistically, I'm still partial to the film. Writing a great book is certainly a noteworthy accomplishment, but the financial/career risks associated with a film are far more significant. Certainly that proved true with The Gong Show Movie, which was more or less the small/big screen swan song for Barris.

The Gong Show Movie may never be hailed as a lost classic, but it will always be a personal favorite of mine. It's an often bizarre, wonderful film that manages to capture the essence of the period, while also uniquely exploring the personality of a television icon in a most unusual way. It's a testament to the genius and artistic courage of Barris that he chose to take the road less traveled, elevating an outrageous game show to a cinematic treatise on the nature of celebrity. Now if only Pat Sajak and Alex Trebek would follow suit!

Fantasmo 6th Anniversary Schlock-O-Thon

2011-03-29T16:00:00.004-04:00

As unbelievable as it may seem, this Friday your Team Fantasmo is celebrating 6 years of brining you the best cult cinema has to offer! That's right we've shared 6 years' worth of movies together, and this may be our best anniversary special yet! In addition to the fine feature film pictured above, we will be showing three additional movies. That's right, it's a quadruple-feature evening!! Best of all for our first feature, which will remain a mystery until Friday, we are showing the movie Fantasmo was born to show . . . what we consider to be THE WORST MOVIE EVER! It's new to Fantasmo so you definitely don't want to miss it! Of course there will also be the delightful commentary you've come to know and love over the years, and lot of delectable snacks! Without any further ado here are your full Schlock-O-Thon details:

When: Friday, April 1, 8:00 p.m.

Where: Chesapeake Central Library, 298 Cedar Road, Chesapeake, VA 23322

Films:

#1 - Mystery Feature

#2 - The Green Slime

#3 - Doc Savage: The Man of Bronze

#4 - Troll 2

So there you have it, perhaps our best Schlock-O-Thon lineup yet. Come share in the celebration as we ring in year 7, and see these on the big screen . . . THE WAY THEY WERE MEANT TO BE SEEN!

Movie Review: Doc Savage: The Man of Bronze (1975)

2011-03-15T12:14:00.006-04:00

With our BIG anniversary show just a couple of weeks away, I thought it would be appropriate to review a movie that maybe . . . just maybe . . . will find its way into the lineup. For years back in the 80’s I saw this movie on the shelf in my local mom n’ pop video store, and for whatever reason time and again I passed it up. The box cover art looked amazing, and this was around the same time Indiana Jones was still big, so it is somewhat of a miracle that I never checked it out. Well for years Doc Savage: The Man of Bronze has been unavailable on video, and now Warner Bros. has released it through their archive program. Before sitting down to watch it I did a little homework, and the film was produced the legendary George Pal (The Time Machine, War of the Worlds). That alone would recommend a viewing, however it was also helmed by Michael Anderson (aka director of Logan’s Run). Has to be quality right? Well let’s just say it’s neither of these gentlemen’s finest hour.

In a nutshell, the Doc Savage character is indeed an Indiana Jones, adventurer/explorer type of character. However he also shares a good deal in common with Batman. He has trained to the limits of human perfection and is a brilliant scientist/inventor (as the cheesy theme music lets you know on several occasions). This superhero quality also extends beyond his physical and mental capabilities. Doc has a loyal bands of sidekicks, each with their own special abilities, as well as a “fortress of solitude” in the far north, and a penthouse that includes a variety of vehicles (including a helicopter that launches out of a giant eagle’s head). Better still his official logo appears on all of his vehicles, clothing, and accessories. The logo looks just like the lettering in the poster, and you almost expect to see a little tradmark insignia on his various pieces of property. I have to admit, being a comic book fan, I’m a sucker for this sort of thing. Had Doc Savage taken off I’m sure I would have owned all of the toys!

The film opens with an attempt on Doc’s life, as a Native American marksman takes a shot with a sniper rifle. No problem though because the windows in Doc’s penthouse are all designed to refract the interior such that everything appears 3-inches off from where they actually are. Doc and his gang give chase only to find that the whole thing was a distraction. While they were out a secret map sent to Doc from his murdered father gave details of a hidden jungle oasis with a lake of gold. Undeterred Doc and company head to the far reaches of Hidalgo, where they encounter the villainous Captain Seas. Seas has teamed up with some locals of Mayan ancestry in order to gain access to the gold. Doc sets out to defeat Seas who, with the help of the Mayans, has harnessed the power of The Green Death (cheesy animated snakes) to do his bidding.

There are worse superhero movies than Doc Savage, let’s get that out of the way first. Captain America (1990), Batman & Robin, Superman IV, The Fantastic Four (any incarnation), Steel, etc., come immediately to mind as examples. Those barely manage to be watchable, whereas Doc Savage is non-stop fun from the word go. The problem with Doc Savage is that it doesn’t live up to what it could be. It has all the ingredients necessary to fire on all cylinders including a wealth of source material, a great producer and director, and a cast who appears fully game for the proceedings. Honestly this should be a perfect hybrid of Raiders and Batman, yet the ball is dropped so completely it boggles the mind. Instead of high adventure we receive high camp that makes Adam West’s Batman seem like Christopher Nolan’s The Dark Knight by comparison.

First off let’s talk about that cast. Ron Ely (TV’s Tarzan) cuts a dashing figure as Doc. On a visual level he is just about as perfect as one could hope. He’s a little wooden in the acting department, but honestly his performance worked for me. Just the right combination of overconfidence and machismo. His band of sidekicks were also well-played, with the most recognizable being Paul Gleason (The Breakfast Club, Die Hard) as Long Tom. Each has their own distinct personality and skill set which are highlighted on various occasions. My personal favorite was the brick character of Monk, who has a piglet companion named Habeas Corpus. Yep. Paul Wexler plays like a Christopher Lee substitute, but he is adequate as the villain. Making more of an impression is Pamela Hensley (Buck Rogers) in her screen debut as Doc’s leading lady. Everyone seems to be having a great time with the material . . . and that’s just the problem. It’s like the cast was told to set the volume to 11, and as a result the performances give new meaning to the word goofy. Yes this quality does make the film enjoyable to watch, but it destroys any chances of Doc Savage being a decent superhero movie.

The performances are perhaps the least of the problems derailing Doc Savage though. Coming from George Pal you would expect this to look very cool and colorful. Guess again. Crude matte paintings, cheap special effects and sets, and bland 70’s era costumes are the order of the day. The opening action sequence really sets the tone for the film, as the matte painting of Doc’s penthouse is nothing short of subpar. I am a huge fan of matte paintings in classic films. Sure they are fake looking, but they can be absolutely beautiful. This is a movie that screams for a high level of artistry. Unfortunately what’s on display is lackluster. The special effects are just as bad if not worse, with the highlight being The Green Death attacks. I understand animation was necessary given the limitations of the time, but the animation here is not good even for the period. They should have brought in Disney talent for something like this. Every time we’re treated to a Green Death sequence, what should be terrifying is instead laughable. Finally the sets look like a few steps above an Ed Wood production, with the most disappointing being the lake of gold. I kept thinking they must be saving the best for last, but it was easily the worst of the film.

There’s another element that cannot go unmentioned, and that is the unfortunate choice of music. The score is an adaptation of John Philip Sousa, theoretically designed to emphasize the patriotic aspects of Doc’s character. Sousa’s music is even given lyrics which are all completely ridiculous and over-the-top. Whenever the music kicks in the silliness of the film is ratcheted up to even higher levels, and it actually manages to detract from sequences that might otherwise be moderately exciting. In a way this would be a great soundtrack to own due to the silly songs championing Doc’s abilities, but I can’t imagine this is what the filmmakers intended. I could find no references to a soundtrack CD ever being released, but my guess is that it would do well among cult movie aficionados!

From my comments you might think that I don’t care much for Doc Savage, but the truth is that I found its many shortcomings endearing. Much like a Gymkata or a Mighty Peking Man it is so wildly ridiculous that it never ceases to be entertaining, qulalifying it as a perfect example of a good bad movie. Any disappointment stems from the fact that the character could be adapted in a way that would lead to a great superhero film, and it’s a shame that this initial outing derailed that possibility. Apparently a reboot was planned in the late 90's starring Schwarzenegger and to be directed by Frank Darabont (The Shawshank Redemption, The Walking Dead), but once the former entered politics those plans were off the table. Perhaps the saddest repercussion of the film was that it effectively ended Pal’s career. I’ve recently been reading a book of non-fiction articles by Harlan Ellison, and in one he mentions how Pal spent the last years of his life desperately trying to get another project off the ground. Thanks to Doc Savage, and the perception that Pal was out of step, this never happened. Questionable stylistic choices in Doc Savage aside, it’s a shame that Pal wasn’t given a chance to give us one more final epic, as clearly he was a talented fellow.

One final bit worthy of mentioning is that a franchise was in the works for Doc Savage. At the end of the film we are told that Doc will return in Doc Savage: The Arch Enemy of Evil. This reminded me a great deal of Buckaroo Banzai Vs. The World Crime League. Actually Doc shares much in common with Buckaroo, although the latter is more successful across the board in my opinion. Interestingly details on the always reliable Internet suggest that a fair amount of the sequel was filmed simultaneously with The Man of Bronze (foreshadowing Superman 1 & 2). Because the first outing bombed so badly it was never completed and released. Boy would that footage have made a great extra on the DVD (assuming it still exists in a vault somewhere)! After the success of Superman II: The Richard Donner Cut, I want to know where is the Internet campaign for Michael Anderson to complete his original vision?!?

Be sure to join us at Fantasmo for our anniversary show on April 1st, and you may just get your chance to see Doc Savage on the big screen . . . the way it was meant to be seen!

Movie Review: MacKenna's Gold (1969)

2011-03-11T16:36:00.003-05:00

I found myself down with the flu this week, and as a result ended up watching a fair number of movies while incapacitated. On a completely random whim I engaged in a mini-marathon of Gregory Peck movies, which included a fair number of Westerns. I’ve always thought Peck was one of the coolest actors of his generation, with standout films like Spellbound, Twelve O’ Clock High, Moby Dick, and of course To Kill A Mockingbird to his credit. He was also was no stranger to the Western genre, and I highly recommend you check out The Bravados, Yellow Sky, and Duel in the Sun to name but a few. While those are all great, MacKenna’s Gold absolutely knocked my socks off this week. I had never even heard of it, and came across it midway through my marathon. I don’t write about Westerns on the blog much because, outside of the spaghetti variety, they don’t often enter the cult film category. Without question this one qualifies with flying colors.

The first thing that caught my eye, ultimately leading me to check the film out, was the all-star cast. The film features Eli Wallach, Edward G. Robinson, Keenan Wynn, Burgess Meredith, Julie Newmar, and Telly Savalas among others. The two leads are Peck and Omar Sharif. Back in the day studios would cram pack event movies with a list of stars like this as a means of drawing folks into the theaters and away from their televisions. You still see this sort of thing employed today (e.g. Rob Zombie), but too often it literally amounts to empty cameos. In the older films each star was given their moment to shine, justifying their presence beyond simply padding the cast list. Regardless of time period I’m a sucker for big star casts, so I immediately gravitated toward the film once I noticed the roster.

Beyond the sheer volume of star power, I found the pairing of Peck and Sharif intriguing. Both gentlemen have very distinct onscreen personas, and I was curious to see what kind of chemistry they would have with each other. I think Sharif came off as more interesting because the villain is generally more fun to watch, but it was interesting to see the two actors play off of each other. The actor that was the coolest surprise of all was none other than Ted Cassidy (Lurch of The Addams Family). He played a menacing Apache member of Sharif’s gang, and was prominently featured. Much like his signature role he maintained quite a presence, but he was allowed to stretch a little here. Too often TV stars like Cassidy, familiar for one role, never get an opportunity to venture out. When they have that moment, and they shine, it’s worth checking out (e.g. Leonard Nimoy in Invasion of the Body Snatchers).

So the cast drew me in, but little did I know just how unusual the film would turn out to be. The first thing that hits you is the score, which was composed by Quincy Jones. Not surprisingly it’s very catchy, and features songs performed by none other than Jose Feliciano. In a number of 60’s Westerns, there was an effort to make them more contemporary. The era of John Wayne was winding down, and folks were seeking something new. Non-traditional music was one way of accomplishing this goal, but unfortunately it trended toward the psychedelic end of the spectrum. For me this usually translates to kitschy fun at best, and an intolerable mess more often. Credit the talent of Quincy Jones, as he manages to meld the desired modernity with a rousing Western theme, resulting in a truly fun score. As for Jose Feliciano, well you’re either going to like that or not. If you let yourself get into the movie it’s probably going to work for you, I found it grew on me by the end.

Having satisfied the cool music requirement, the next point of interest is the plot. Unfortunately that isn’t anything too special. Peck plays noble Marshall MacKenna who learns the location of a valley filled with gold from a dying Apache. Unfortunately he runs across Mexican Bandit Colorado (Sharif) and his gang, who force him to lead them to the legendary treasure. Along the way the all-star cast arrives in the form of rival treasure hunters and pursuing cavalry. That’s about the size of it. Where things get interesting is the execution. The film is directed by J. Lee Thompson (Cape Fear, Conquest of the Planet of the Apes, etc.), a fellow who knew how to push the envelope for better or worse. Here he is at the height of his powers and clout, and appears determined to make one of the most over-the-top Western movies ever committed to film. The setup of Peck learning about the treasure, and the introduction of Sharif’s gang moves a little slowly, but once they collide the rollercoaster never stops.

One thing is certain, this film is clearly designed for a big screen experience. Having already mentioned the all-star cast and the cool pop music, another element aimed at luring the television audience to the cinema was the enormous spectacle promised. The film was shot in 35mm with certain segments shot in Super Panavision 70. As a result specific sequences would be projected in a larger format. A modern equivalent would be The Dark Knight, for which certain sequences feature full 70mm IMAX projection. You can easily identify these while watching MacKenna’s Gold, as they have a “you are there” type of quality. For example there’s a scene where Peck is being dragged behind a horse and it puts the viewer in his place. It’s very cool and likely wowed audiences back then (and probably still would if projected correctly). The film also featured a 70mm six-track sound recording, meaning it included the capability of blowing you out of the auditorium in a DTS/THX type of fashion.

The spectacle doesn’t stop there however. MacKenna’s Gold is loaded with special effects. Every once in a while you might run across an old Western with some sort of visual processing (e.g. blue screen backgrounds), but this is on the order of an Indiana Jones film. In fact there’s a climactic chase up the side of sheer cliffs which appears to have been virtually lifted by Spielberg for Temple of Doom. Speaking of Temple of Doom, another sequence worth mentioning is when Sharif and company are crossing a dangerous rope bridge across a canyon. Not only is it one of those Super Panavision 70 sequences, but it is shot with a hyperactive quality that is unquestionably later used by Sam Raimi in his Evil Dead series. Whenever Raimi has the evil spirits launch an all-out assault on the cabin in his films, it looks very much like the style in this sequence.

The number of these sequences was perhaps the most surprising aspect of this film. It reminded me of an 80’s film for that reason, and obviously had an influence on filmmakers of that era. In the 80’s special effects were the order of the day, but they were still being refined to the level of sterile perfection they now (sadly) enjoy. Because it was an evolving process there was a wild energy and enthusiasm behind them . . . as well as a desire to throw everything possible on the screen. MacKenna’s Gold has that same unhinged glee about throwing an effects sequence in wherever possible. Oh they aren’t all successful, not by a long shot, but they’re still a wonder to behold.

One final sequence bears mentioning, that sent the whole film over the edge. Going into the film I figured it was probably one of your classic epic movies, which was geared toward a general audience (meaning appropriate for all ages more or less). Granted from what I’ve said already, the film is over-the-top in many ways. Even so these elements, while certainly wild in character, are not jaw-droppingly crazy. So about three quarters into the movie Gregory Peck has a naked underwater wrestling match with femme fatale Julie Newmar. I wasn’t sure if my flu symptoms were causing hallucinations at that point, or if it was actually happening. In looking at the poster later, it sure enough turned out that the film was rated “M” for mature audiences only. There are certain things one expects when entering a Gregory Peck film, but naked underwater wrestling is not usually one of them. Bizarre.

So there you have it, a 60’s Western that plays like an 80’s film in a lot of ways. Great music, cool cast, ridiculous special effects, and way out of left field underwater wrestling. Stagecoach this is not, but it’s still undeniably entertaining.

Williamsburg Film Festival

2011-03-04T14:56:00.003-05:00

It's time once again for the annual Williamsburg Film Festival, celebrating classic Hollywood films. If you've been around Fantasmo for a while you'll know Rob and I have a soft spot for this event, as several of its guests over the years have participated in Fantasmo episodes (including Friday the 13th star Betsy Palmer and Empire of the Ants heroine Jaqueline Scott). This year they have a great lineup of guests coming in for the event, and of course film screenings and panel discussions. You'll also likely see your Team Fantasmo roaming about, so of course that's an added draw of major proportions : ) Last year we actually held a Fantasmo screening of House of Wax at the festival with leading man Paul Picerni in attendance. It was a lot of fun hearing stories about stars of that era (including Charles Bronson and Vincent Price), and that's always one of the highlights of the festival.

If you can make it the big show is next week, running from March 9-12 at the Holiday Inn Patriot Convention Center. Hope to see you there!

Galacticon Coming Soon!

2011-02-14T11:40:00.004-05:00

This just in! Galacticon, the sci-fi convention organized by the Tidewater Alliance and Virginia Beach Public Library, is scheduled to blast off on March 26th from 9:00 a.m. - 4:30 p.m. A full day of panels and programs, as well as local fan groups and vendors awaits! If you like sci-fi and fantasy, particularly Star Wars and Star Trek, you definitely want to check it out!

On a related note, our own FantaSci program here at the Library will be coming up on Saturday, July 23rd (so mark your calendars : ) This year is shaping up to be the biggest in several years, with lots of cool happenings in the works. I'll have more info in the coming months about guests and programs, so stay tuned for details!

Fantasmo Episode 62: Kolchak Lives!

2011-02-09T16:08:00.003-05:00

Hey Superfans,

For our 62nd episode of Fantasmo we're turning to a pair of 70's classics, featuring the original investigator of the unexplained Carl Kolchak! The Night Stalker and The Night Strangler featured the intrepid reporter (played brilliantly by the great Darren McGavin) squaring off against vampiric foes, much to the chagrin of his hard-nosed, disbelieving editor. The coolest thing about Kokchak is that he is just a regular guy after a story, and not some kind of superhero. As a result he experiences true fear, making it quite easy for the audience to identify with the character. The films spawned a television series that only lasted a season, but it left an impression on a legion of young viewers. Kolchak is credited as a source of inspiration for the X-Files, and a short-lived revival series came out in 2005 starring Stuart Townsend as Kolchak. Kolchak's legacy reaches far and wide, making it a favorite of your Team Fantasmo. Without any further ado, here are your full Episode 62 details:

When: Friday, March 18, 8:00 p.m.

Where: Chesapeake Central Library, 298 Cedar Road, Chesapeake, VA 23322

Films:

8:00 p.m.: The Night Stalker (1972)

9:30 p.m.: The Night Strangler (1973)

So there you have it, two horror classics featuring the one and only Kolchak! You dare not miss this chance to see them on the big screen . . . THE WAY THEY WERE MEANT TO BE SEEN!

They Live: Deep Focus

2011-02-01T16:15:00.004-05:00

It’s no exaggeration to say that John Carpenter is one of our favorite directors here at Fantasmo. In fact it’s probably entirely accurate to say that he’s in the top five, skewing toward the high end of the range. Part of this has to do with the fact that I grew up on his films. At a very early age (for better or worse) I was watching Halloween, The Fog, Escape From New York, etc., and was completely fascinated by his visual style. Beyond that though he is a craftsman, in many quarters characterized as an auteur, whose work is distinctive and instantly recognizable. His use of widescreen cinematography, pounding electronic scores, and snappy Hawksian dialogue and characterizations are just fantastic. His career has been interesting to watch, as it has often seen him going from critical/box office highs to lows with a rollercoaster-like trajectory. Nevertheless he mostly sustained a solid body of work up through the late 80’s, after which his output was more uneven in terms of regularity and quality.

Generally speaking most fans regard the release of 1988’s They Live as the line of demarcation where the classic Carpenter era ends. They Live possesses all of the characteristics mentioned above, as well as a wild rebellion against the status quo. Because it came at the end of the classic era, had a lower budget than previous efforts, and was perhaps the most experimental of his early work, it hasn’t received the same sort of attention as the likes of Halloween or The Thing. Thankfully the road to that being rectified has begun with an opening shot across the bow issued by author Jonathan Lethem. Mr. Lethem has written a book length analysis of They Live, published by Soft Skull Press, which is neither gushing fan praise nor lightweight commentary. Instead it is a sequential (even citing time stops) dissection of the film, which probes its context, message, and characters. The result is an enjoyable, thought provoking read, and provides new insights for even the most experienced They Live aficionado. If you have even a passing interest you should definitely check it out.

For me the best part of the book, and something I appreciate about criticisms in general, is the way in which it allowed me to see the film in a new light. Make no mistake, I have been a fan of They Live since the day I saw it at my beloved mall cinema in the fall of 1988. Although it opened at #1, it tanked pretty quickly thereafter, and outside of Carpenter fandom isn’t taken all that seriously. I’ve always felt, like many I’ve encountered, that Carpenter’s best film is his 1982 remake of The Thing. It’s a visual marvel, features outstanding performances, and a pretty good rendition of John W. Campbell’s original novella. No question about it, The Thing is a classic of the horror genre. After that most would probably identify Halloween (if not put it first to begin with), and any other number of Carpenter’s early works. While Lethem doesn’t get into ranking Carpenter’s filmography, in fact he interestingly seems on the fence about Carpenter’s talent in general, he implicitly makes the case that They Live is a contender for the top spot in the Carpenter pantheon. For what it’s worth, I think I’m sold on the proposition.

The reason for this conversion? There are actually two reasons. First They Live is arguably Carpenter’s most important work, in that he clearly has something to say beyond scares. Now don’t get me wrong, I’m not claiming his other outings are devoid of a point of view, merely that They Live is the most cohesive in terms of expression, and far and away his most personal film (not unlike On Deadly Ground is Steven Seagal’s - sorry, couldn't resist). The second reason for my conversion is that Lethem’s analysis crystallized for me the specialness of the two most notorious sequences from the film. The first of course is when Roddy Piper dons the sunglasses which allow him to see the world as it really is, and second is his epic alley battle with Keith David to help his friend see the light. Both are over the top and could be characterized as silly, but Lethem has made me realize (perhaps not intentionally) they are the very best sequences of any Carpenter film. Honestly if you took the first sequence alone as a short film, it would be a masterpiece in its own right. Here it happens to be attached to a movie that is also thought provoking and a lot of fun at the same time. Lethem characterizes the sequence as “ten minutes of cognitive dissonance as sublime as anything in the history of paranoid cinema . . . composed with the serene assurance of Hitchcock or Kubrick.” Yes!

As for the second sequence, which would seem excessive upon first glance, it is actually Carpenter in full control of the moment and his thematic content. Unlike Piper who willingly (if unwittingly) donned the glasses, David represents a second category of individual who staunchly refuses to take the blinders off. For that transformation, we must endure with him as he struggles with a truth forcibly imposed upon him. The first time I saw They Live, while I enjoyed the alley fight on a visceral level, I admit I thought it was a little ridiculous (in the best sort of way). In hindsight I understand that it fits quite well with what he was going for and, much like the earlier sequence, is the reason the word bravura was invented. For the record Lethem doesn’t make this case, and in fact argues that with this sequence Carpenter excuses “himself from the jurisdiction of . . . notions of ‘art’ or cinema’.” Even so he acknowledges its importance to the film’s reputation, citing that there are “those who love They Live for the fight scene, and those who love it despite the fight scene.” Count me with the former, as well as the aforementioned reasons.

Despite his pseudo dismissal of its critical value, Lethem does reveal something that makes the sequence so wonderful. He describes how the “incident merely unfolds, growing out of an ordinary exchange . . . more like two characters in a movie quitting the script.” Indeed that’s what makes the moment unique - plot goes by the wayside and time stands still while these two resolve an issue. It’s like they’re excusing themselves from the audience, while they work things out amongst themselves. To this day I don’t believe I’ve ever seen anything quite like it, and certainly anyone I’ve come across who has seen it invariably mentions the sequence. So silly or not it has a power that resonates with people, and that’s no small achievement for a piece of filmed art featuring Roddy Piper delivering a suplex.

Did I know these two sequences were amazing prior to reading Lethem? Sure. Call it a combination of time/timing and perspective, but having lived with Carpenter's films for a good while now, the ones that inspire the most repeat viewings and respect have shifted. I still admire the craft in the early classics, but it’s the later works of the classic era that become the most interesting and experimental. In the late 80’s, following the expensive (but wonderful) flop that was Big Trouble in Little China, Carpenter went back to his low budget roots and did Prince of Darkness and They Live. Neither are as polished as something like The Thing, but there’s an edginess to them beyond even his earlier films. It’s like he doesn’t care anymore about studio or public reactions, and is indulging his love for genre cinema and expressing some deeply held views. As a result these two movies never fail to be interesting, with They Live emerging as the high point of Carpenter’s oeuvre.

Following They Live, Carpenter helmed what many argue is the most un-Carpenter film ever, Memoirs of An Invisible Man. In an earlier review on the blog I took issue with that, but there’s no denying it makes an unfortunate departure from the source novel it is based upon. If Carpenter had been able to stick more closely to H. F. Saint’s tale of a businessman disconnected from people prior to invisibility, Memoirs would have made an excellent companion piece to They Live. Instead of Roddy Piper’s Nada we would see life from the perspective of one who had already sold out, in the form of Chevy Chase’s Nick Holloway. What viewers received instead was an enjoyable riff on North By Northwest, not nearly the film Memoirs could have been. It makes one wish it had enjoyed a lesser budget (losing the ILM effects on which it was sold), and had cast someone who was less of a star than Chase. If Carpenter had wanted to keep the wrestling connection going my vote would have been for Ted “The Million Dollar Man” Dibiase, who I believe would make a much more credible securities analyst than Randy “Macho Man” Savage . . . but that’s just me.

In any event, if you like They Live definitely check out Lethem’s book. I should also mention that this book is the first in a series of such analyses being published by Soft Skull. Already out is an equally interesting book on Death Wish, which is soon to be followed by books on The Sting and Lethal Weapon in February and March respectively. You have to love the seemingly random choice of titles that they’re focusing on thus far, but nothing compares to what they're coming out with in May – a book-length analysis of The Bad News Bears in Breaking Training. I’m no diehard fan of The Bad News Bears series, but count me intrigued. If someone has the drive to spend that much time on a lesser entry in a not-so-great-to-begin-with franchise, then how can I not support such an inexplicable endeavor : )

Fantasmo Episode 61: Vehicular Mayhem

2011-01-11T11:44:00.003-05:00

Hey Superfans!

We're off to a roaring start in the New Year, and we're continuing that trend with our next outing! This time around we're featuring a type of monster we've never dealt with at Fantasmo in the form of evil automobiles. It's one thing to try and deal with the likes of Dracula, Frankenstein, Freddy, or Jason, but how do you fight a car . . . especially when they are more or less invincible? Well courtesy of James Brolin and John Carpenter we're going to find out this February : )

Our first feature is an undersung 70's classic from the year of Star Wars called The Car, in which Brolin plays a small town sheriff who does battle with a mysterious gas guzzler. The titular villain turns up on lonely desert highways, menacing everyone it comes across. Unfortunately for The Car it picks on the wrong guy where Brolin is concerned, but you can't really blame it because The Amityville Horror hadn't come out yet and it couldn't have known any better. It likely thought he was a pushover after seeing him fall before a robotic Yul Brenner in Westworld a few years earlier.

The second film on our incredible bill is Stephen King by way of John Carpenter, as the horror maestro adapts King's Christine. Christine is often overlooked in Carpenter's oeuvre as it is not an original piece, and this is unfortunate as it is one of the best King adaptations. Not only do you get many of the elements you love about Carpenter (e.g. thumping music, great visuals, etc.), but it also features a great cast headed by Keith Gordon (in the performance of his career). Honestly Gordon's take on the lead role is enough reason to see this one. Later he caught the directing bug and we didn't see much of him after Back To School, but Christine makes you wish he had pursued the craft a little longer. Also worth mentioning is a brief but excellent appearance by Roberts Blossom (of Deranged fame) as Christine's previous owner.

So without any further ado here is your official Episode 61 lineup:

When: Friday, February 4th, 8:00 p.m.

Where: Chesapeake Central Library, 298 Cedar Road, Chesapeake, VA 23322

Films:

8:00 p.m.: The Car (1977)

9:45 p.m.: Christine (1983)

So there you have it, two outstanding entries in the evil auto genre! You dare not miss this chance to witness them rip across the big screen . . . THE WAY THEY WERE MEANT TO BE SEEN! VROOM!

You'd Better Watch Out: Volume 2

2010-12-22T09:58:00.019-05:00

A few years back I did a post in December about my favorite unconventional Christmas films. It contained a number of alternatives to gold standards like It's A Wonderful Life and Miracle on 34th Street. It's a pretty good list that covers most of the obvious choices (e.g. Die Hard) and a few obscure cult favorites (e.g. Better Off Dead). I thought it might be interesting to revisit the subject, drill a little deeper, and see what else might be appropriate for continuing that list. So here are 10 more films set during the holiday season which you might want to seek out as a break from the mainstream classics:

1 - 12 Monkeys: This apocalyptic sci-fi film is a reworking of the French classic La Jetee by former Python Terry Gilliam. Bruce Willis travels into the past to stop a deadly virus from being unleashed on the world . . . at Christmas. Gilliam's wonderful visuals are in full effect here, and Brad Pitt turns in perhaps his best performance ever as an insane activist.

2 - Jack Frost (1998): This bizarre holiday film has Michael Keaton dying in an accident and being reincarnated as a snowman. Due to the inherent creepiness of the snowman effects, the movie ends up being more unsettling than heartwarming. Still it's got Michael Keaton and that alone warrants viewing.

3 - Jack Frost (1997): An intentionally creepy rendition of Jack Frost that has a serial killer mutated into snowman form by toxic chemicals. This one is pure cheese, so if that's your thing you can't go wrong here.

4 - Die Hard 2: Die Harder: I never will forget the day a friend of mine in high school told me they were making a sequel to Die Hard called Die Harder. I thought he was kidding, but in the summer of 1990 I found out he was telling the truth. Bruce Willis is back for another Christmas adventure, this time at an airport. Not as good as the first one, but features a great villain and an appearance by Franco "Django" Nero which is always welcome.

5 - Batman Returns: Okay two Bruce Willis and Michael Keaton movies in the unconventional countdown, that's just plain weird! Or maybe not, I can't decide. Either way the second Tim Burton Batman film, despite plenty of flaws, is still the best Batman movie (and Keaton the best big screen Batman). Batman has to deal not only with the rush of the holiday season, but also with a criminal alliance between Catwoman and The Penguin (who we learn is the son of Paul "Pee-Wee Herman" Reubens). Great stuff.

6 - Scrooged: You have to love Bill Murray, or not I can't decide. Either way this is a pretty cool dark comedy from the late 80's. The opening fake trailer for the equally fake movie The Night the Reindeer Died, starring Lee Majors, is worth the price of admission alone!

7 - The French Connection: Sure the classic car chase gets all the attention, but who can forget Gene Hackman chasing down a criminal in full Santa gear during the first few minutes. Nothing says holiday cheer quite like a William Friedkin film : )

8 - The Long Kiss Goodnight: If there's anything weirder than the fact that there are two Bruce Willis and Michael Keaton movies on the countdown, it's that there are two Renny Harlin films! Much like Die Hard 2, The Long Kiss Goodnight is not the best movie in the world. It is however really nutso, and features a fun performance from Samuel L. Jackson. I remember it was released as a big holiday event type film and bombed hard (more or less sealing Harlin's fate for being an A-list director). It's worth seeing for the weird spectacle that it is, and certainly earns its stripes as an unconventional holiday film.

9 - The Proposition: Westerns aren't given the holiday treatment very often, much less Australian Westerns! Outback outlaw Guy Pearce races to prevent the Christmas day execution of his brother . . . by finding and killing his other brother. An all-star cast and great production values make this arguably the best film on the list!

10 - Trancers: B-movie legend Tim Thomerson plays Jack Deth, Trancer hunter, sent to the distant past of 1985 Los Angeles to track down the creator of the Trancers before he alters the course of the future. This is one of Charles Band's more loveable films (my personal favorite being the 3-D 80's movie Parasite), aided by the presence of Thomerson and a young Helen Hunt. It's been a while since I've seen Trancers (a ridiculous word that's inherently fun to say), but I remember there being a very memorable Santa attack sequence in the film. I also checked and apparently there have now been five Trancers films, including one where Deth goes back to medieval times. Good grief!

So there is round two of my unconventional Christmas film picks. So whether you spend it with Jimmy Stewart or Jack Deth, may all of you Superfans out there have a safe and happy holiday!

One From the Vaults: The Asphyx (1973)

2010-12-09T16:35:00.004-05:00

One truly fantastic thing the advent of DVD made possible was that waves of relatively obscure genre movies became readily available. That trend seems to be dying down a little, but there are plenty of titles I have still yet to watch. With this in mind I’ve decided to begin a regular feature where I highlight one of these rarities, and give you the lowdown on whether it’s worth seeking out. For this inaugural entry, I checked out the 1973 period film The Asphyx. Over the past few years I’ve come across a number of reviews claiming it to be an underrated masterpiece in the style of the best Hammer horror entries. Being a big Hammer fan that was enough to sell me on trying it out, as if I needed encouragement, and I finally got around to picking up the Hen’s Tooth DVD release. Well worth the effort I must say. In addition to having one of the most bizarre creatures to ever grace the silver screen, it is an impressively produced throwback to an earlier era where scares came from concept and mood rather than graphic effects. Given that this came out at a time where such films were out of fashion it’s somewhat of a miracle that this movie even exists.

In essence The Asphyx is your basic morality play set in Victorian England . . . with a soul-eating monster. Sir Hugo Cunningham (Robert Stephens), a man of science, is a dabbler in the field of spectral photography. In other words he tries to prove the existence of the soul by catching it on film. One afternoon at a family gathering, he inadvertently captures the tragic moment of the death of his wife and son. When he later examines the photos they reveal a ghostly figure. This prompts him to take photos at the execution of a local criminal, and again the ghostly image turns up. After doing some research Hugo comes to believe he has discovered the Asphyx, a death spirit discussed in the pages of mythology. An Asphyx exists for each individual, coming to claim them at the moment of their death. Driven by his grief Hugo engages in a terrifying experiment, operating under the theorythat if he can capture a person’s Asphyx they will become immortal. Unfortunately the subject has to be on the verge of death, meaning Hugo will have to create those conditions (via guillotine, fire chamber, and electrocution) to prompt the arrival of The Asphyx!

I’ve seen my fair share of these “be careful what you wish for” style horror stories, but few have been as creepy as this one (take that Monkey’s Paw). The combination of Hugo’s crazy schemes, and the truly unsettling appearance of the titular creature make for an unforgettable experience. The only gripe I have is the transfer on the DVD, which is non-anamorphic and therefore doesn’t fit the entire television screen. Why Hen’s Tooth didn’t produce a 16X9 transfer is beyond me, but at least they got the 2:35:1 aspect ratio correct. Despite this reservation I would highly recommend grabbing this while it’s still in print, as it’s truly one of a kind (and until now almost impossible to see). On a related note Retrofantasma has just put out their winter/spring/summer schedule, and wouldn’t you know The Asphyx is playing on a double-bill with Witchfinder General in June! So if you can hold off your curiosity until then, and make the trek to North Carolina, you can witness a proper screening.

Speaking of Retrofantasma, they’ve got a great schedule for the New Year. The highlight in my opinion is their May show, at which they will be screening the last surviving 35mm prints of Jaws 2 and The Legacy! I’m always blown away when they are able to get these titles from Universal’s rare archives, and simultaneously horrified that there could only be one 35mm print of Jaws 2 in existence. A sad state of affairs indeed. In any event be sure to check out The Asphyx either on DVD or the big screen while you still have a chance!

Fantasmo Episode 60: Team Fantasmo Vs. Hitchcock

2010-12-08T12:46:00.005-05:00

Hey Superfans!

The New Year is almost upon us, and to kick things off with our milestone 60th(!) episode of Fantasmo we’ve decided to do something very special. As you know we are dedicated to bringing you the best in classic cult cinema every month, but this time around we’re raising the bar to another level. That’s right, we’re finally having a LONG overdue tribute to the great Alfred Hitchcock! Needless to say there is a plethora to choose from when looking at the Master’s oeuvre, so we’ve decided to go with one rarity and one blockbuster. Our first film is Rope in which two men plot a perfect murder, and then try and impress their old mentor (Jimmy Stewart) with their ingenuity. It’s an unusual film that eschews Hitchcock’s epic visuals, in favor of a minimalist approach. Our second classic, Rear Window, is one of the most celebrated films of all time. It features great performances from Jimmy Stewart and Grace Kelly, and perhaps the best presented argument for minding one's own business ever committed to celluloid. Without any further ado here are your full Episode 60 details:

When: Friday, January 7th, 8:00 p.m.

Where: Chesapeake Central Library, 298 Cedar Road, Chesapeake, VA 23322

Films:

8:00 p.m.: Rope (1948)

9:45 p.m.: Rear Window (1954)

So there you have it, two incredible classics from the Master of Suspense! You dare not miss this rare opportunity to see them back on the big screen . . . THE WAY THEY WERE MEANT TO BE SEEN! See you there for this historic episode!

Movie Review: Highlander 2: The Quickening (1991)

2010-11-29T13:46:00.005-05:00

There are certain movie going experiences that we never forget. Perhaps it’s that formative movie you saw during your childhood, the first time you snuck into a movie above your appropriate age level, the movie you saw on your first date, etc. In this sense movies weave their way into one’s personal history, becoming a part of life’s narrative. This is particularly true when a movie produces a strong reaction among a set of viewers, such that it becomes a shared group experience. Then the viewing itself may live on through oral storytelling tradition, providing a tale to tell those who weren’t able to “live the experience” of seeing the film when the story was new. For example imagine being among the first in line to see Star Wars before it became a phenomenon. The crowd walking out of that initial screening shared a historic moment, and all those viewers now 30+ years on can say “we were there.” That’s a cool cinematic tale to be able to tell. However there is another side to this coin, a dark side if you will. This is for viewers who “were there” to share a trauma, the brave souls who plunged headlong into the cinematic unknown and discovered the unspeakable . . . a place called Zeist, a film called Highlander 2: The Quickening.

I will never forget the evening I saw Highlander 2: The Quickening. If ever a movie going experience qualified as trauma, it was definitely that one. It’s not just that it wasn’t very good, it’s that it failed to fulfill any of the expectations fans carried with them. The original film had come and gone in theaters quickly, likely due to its unusual and hard to market concept. Thanks to home video and word-of-mouth however, it found a new life and became a cult film in the truest sense. A rabid segment of fandom embraced its unique blend of fantasy and sci-fi, and became particularly fascinated with the mythology of the immortals. Over the course of several years it was mentioned in the same breath as other genre classics such as Star Wars and the like, becoming a benchmark film in its own right. Unlike Star Wars though, Highlander ended on a fairly conclusive note. There can be only one. If only that were true.

For the record I was as eager a Highlander fan as anyone, more than ready to line up for a second outing. In some ways it was almost unbelievable. The first one had bombed so badly that a sequel seemed like a long shot at best. Sure my circle of friends and random fans I came across thought the original was great, but how could that message make it to the financiers? For it to get a second chance was like a dream come true, forget about whether it made any sense to continue on beyond the winning of the prize. In the pre-Internet days information was not easily forthcoming, and we literally knew only that a sequel was coming – nothing more. As such speculation about plot was all over the place, with prequel being the most oft uttered prediction. After all, the first one finished the tale, so the only way to travel would be backward.

The first clue anyone in my circle had as to the reality of the situation, not to mention the first sign of trouble, was a guest appearance by Christopher Lambert on the Arsenio Hall show. All I remember now was Lambert’s introduction of the clip they had. He said to Hall, “I’m flying. I can fly now.” The clip proceeded to show Lambert flying around on a weird looking hover board, fighting an even weirder looking character in big goggles. Honestly after that clip rolled the group of us that saw it sat in our dorm living room thoroughly puzzled. It wasn’t that it was particularly awful or anything, it just didn’t mesh with the Highlander we knew. Oh there were swords alright, but that was about it. And one thing was for sure, it definitely wasn’t set in the past. When the film opened a couple of weeks later, aside from that brief clip, we walked into it cold.

What is so memorable about the experience of seeing Highlander 2: The Quickening on that cold November evening, beyond profound disappointment, was the buildup to the screening. The whole week everyone I knew on campus was filled with anticipation, talking about the big premiere on Friday night. Not only was it rare for our small college town to get a big, first run movie, but it was getting a movie many of us a) never expected to be made in the first place and b) had basically been waiting for 5 years to see. In class, at the dinner table, in the dorm living room, and anywhere else you went conversation inevitably turned to Highlander 2. On Friday the mood had built up to a fever, with some skipping class to watch the original and have pre-parties. As for me I started the day by walking over to the campus library to check out the review by Ebert. Oh boy. To this day I don’t think I’ve ever read a more scathing review from the celebrated critic. Even so I chose to ignore it as the ranting of a non-fan who refused to embrace the genius of the original. It was clear from the column he didn’t like the first outing, and thus couldn’t be counted on to give an accurate assessment.

After a full day of Highlander screenings and parties, I got together with my group and headed out to the theater for the evening show. The waiting area was packed! Regardless of what ultimately took place when we got in the theater, it was a heady moment of wish fulfillment. Somehow fandom had managed to inspire the production of a sequel to an unpopular film, and now we had all gathered to share in the realization of that dream. This was to be the grand start of a new franchise to rival our childhood favorites such as Star Wars, Star Trek, Superman, etc. We were at the beginning and would be able to tell the tale to others – “we were there.” The anticipation was palpable, almost unbearable, and finally we were let into the auditorium.

I have no recollection of the previews. I remember the THX logo coming up (still a novelty at that time) and people cheering. Then things started to happen too fast. There was old MacLeod at the opera, and then he started talking about remembering Zeist. Then we were quickly sent back in time to another world where Michael Ironside lived, never a good sign. Then he squeezed some eels and sent MacLeod and Ramirez into the future. Next we learn MacLeod has built an ozone shield and that rebels are trying to shut it down. Flashback to Zeist and Michael Ironside is sending two spiky-haired henchmen who laugh like hyenas to kill MacLeod in the future where he is now old and mortal. MacLeod kills them and then yells really loud, which results in the resurrection of Ramirez. And all this in about 20 minutes!

Not that it took that long before I was officially off the case. Honestly as soon as he uttered the word “Zeist” I had a sinking feeling, and shortly thereafter I knew Ebert was right. In fact I remember my friend and I turning to each other at the same time when he said the Zeist line with puzzled looks. It was amazing how fast we all went from cheering and clapping to outright dismay. I’ve never seen an audience turn so quickly and dramatically during a screening, with the possible exception of Episode I. Even in that instance though there were enough things done well (e.g. the pod race, the final lightsaber duel) that the experience didn’t turn ugly. Highlander 2 was an exercise in shellshock, with each new scene bringing additional upset. Yeah “we were there” alright.

After that the legacy was tarnished and the damage was done. Then a few years later we found out, via the new invention called the Internet, that the makers of Highlander 2 were putting together a revised version to fix all the problems. Short of scrapping the whole thing I wasn’t sure how such a feat could be achieved, but they were calling it the “most radical rethinking” of a film ever (or something to that effect). If it meant repairing the good name of Highlander then I was all for it. Eventually it was released on video as the “Renegade Version,” and indeed it was a “radical rethinking.” Gone were all references to Zeist, and the film had been re-edited with new footage added. Apparently when it was cut for theatrical distribution it was taken out of director Russell Mulcahy’s hands. As a result sequences were placed out of order, and whole pieces of exposition removed. The reconstruction put the narrative back together properly, and sure enough things did make a little more sense.

But more sense does not necessarily a great movie make. I’m sure in its own way Ishtar makes sense, but that doesn’t mean I’m going to laud it as a work of genius. Yes the removal of the Zeist references help the film fit in better with the established mythology, and yes the proper sequencing keeps the narrative on track, but the end result is still an unsatisfying piece of work as a follow up to Highlander. The first film was a swashbuckling adventure that was both fun and absorbing, whereas the second outing was a dystopian nightmare that provided nothing but gloom and inappropriate humor (e.g. John C. McGinley’s evil exec, the spiky haired henchmen, etc.). Worse still it ripped off qualities of the first film and did so poorly. Michael Ironside’s General Katana is nothing more than a bad Kurgan clone (which I don’t believe is his fault, but rather a bad script), we get a quick repeat of MacLeod falling in love with a mortal (Virginia Madsen) that is absolutely ridiculous, and Ramirez is awkwardly brought back to dispense sage advice, to name but a few glaring problems. So “renegade” or not Highlander 2 just didn’t cut it.

Amazingly despite the financial failure of the sequel, the series managed to chug on and become a full blown franchise. A television show was launched that developed a following, two feature films came along later, and more recently a DTV outing arrived that makes everything that came before look like genius. This of course doesn’t even consider video games, novels and other tie-ins. Yet none of these have ever held a candle to the first film. Here’s the part that’s going to come as a shocker though – for my money the only other entry that merits any consideration is Highlander 2: The Quickening! You see to me the television series, and I know it has its followers, was always a lackluster affair. Adrian Paul on his best day couldn’t compete with Lambert’s portrayal of MacLeod, and the production always seemed cheap. The films forget about it. The third film was a total ripoff of the original, with Mario Van Peebles substituted for Clancy Brown, and did nothing to advance the mythology. And Highlander: Endgame rewrites things so that Lambert can get killed and never win the prize?!? Sorry I’ll have none of that.

This brings us back to Highlander 2. Viewed in the “renegade” format, the film is just a disappointing/sometimes confusing entry that fails to satisfy. The tone and setting do not mesh well with the original, making it seem like a sequel belonging to another franchise. It has a Blade Runner type of environment that is completely disorienting as a successor to the mean streets of 80’s New York City, much less the Scottish highlands. Furthermore we are introduced to an old MacLeod who has squandered the prize by creating a shield to protect the Earth from gaps in the ozone layer?!? On one level it’s a fascinating and dark premise that MacLeod would botch the prize, but the shield comes off as so ridiculous that any cool factor of taking the franchise in an unexpected direction is diminished significantly. In a way this downturn of events makes Highlander 2 a kindred spirit with the likes of Alien 3, save for the fact that the latter kept a tone that anchored it as belonging to the rest of the series. Depressing and glum can work if you keep things consistent and follow through.

Of course it should come as no surprise that the “renegade” cut feels out of step, as it was crafted by extracting a key plot point – Zeist! The removal of all Zeist references was a calculated maneuver by the filmmakers to pacify upset fans, but Zeist was not a mistake (as a side note you may recall this sort of thing happens all the time in Seagal DTV movies, where space aliens are removed and referred to as mobsters, etc.). Zeist was a consciously crafted story element that attempted to explain the origin of the immortals and the nature of the prize. On one level I can understand the desire to do this, as there is curiosity generated by this point of mystery. It would be interesting to know who they are and where they come from. When asked about the whole thing in the original Ramirez responds “why does the sun come up” or “are the stars just pinpricks in the curtain of night.” Who knows. The fact is if you’re going to purport to know you’d better come up with something more brilliant than Zeist and General Katana, lest you risk upsetting a legion of fans.

That being said I still prefer “The Quickening” to the “Renegade Version.” While I appreciate the fact that the latter corrects certain sequencing issues, the removal of Zeist is nevertheless evident throughout the film. Something always seems off with the story. Beyond that issue though, the film is actually weaker for not having the courage of its original convictions. Minus Zeist Highlander 2 is just a blah sequel with pretty looking sets and big explosions, and therefore totally forgettable. The addition of Zeist makes Highlander 2 something special, it makes it an utter disaster of epic proportions. As such it becomes watchable as a curiosity, a spectacle of sorts. And make no mistake it is a beautiful failure. This was a lavish $35 million production. The sets and effects are nothing short of spectacular on every level. They are unfortunately not served by a good plot or performances, but there is no fault to be found from a technical standpoint. The train yard battle between MacLeod and Katana’s henchmen in particular is a visual feast that can hold its own among the best blockbusters. It’s also one of very few reasons I occasionally return to the film after all these years.

In the final analysis I would submit that if you have sworn off Highlander 2: The Quickening (non-Renegade), you should have another look. I’m not saying you’ll find a good movie or come away having discovered a lost classic. It’s still a bad movie and a worse sequel. What you will find is a spectacular failure, a wonder for the eyes, and the second best Highlander film among an array of flotsam. Unfortunately you’ll have to track it down on VHS or laserdisc as it has never been released on DVD or Blu-ray. Only the Renegade Version has received treatment on the latest formats. Chances are The Quickening, much like the original Star Wars trilogy or THX-1138, will never be released again in favor of the altered version. It’s a shame because the Renegade Version doesn’t tell the full story, and will leave future generations puzzled. On the other hand it will add to the mystical oral storytelling quality, allowing those “who were there” to regale the uninitiated with tales of Zeist, broken cinematic promises, and bitter disappointments.

Fantasmo By the Numbers

2010-11-18T12:23:00.011-05:00

Remember back in the 70's and 80's how a lot of popular sitcoms would screen an episode filled with clips? The characters would gather together and recall highlights of their previous escapades, allowing the writers and cast to slack off for a week. Happy Days, Family Ties, Growing Pains, The Facts of Life, Three's Company, etc., all employed this oh so clever tactic. Well today's blog post is essentially my version of the "clip show," a recall of blog highlights over the past several years, allowing me to produce a post with a minimum of effort : )

Actually that's only partially true, the reason I'm doing this highlight reel is because I'm guessing some of you may find this info as fascinating as I do! Being out on the Internet the Fantasmo blog gets visits not just from all of our devoted local Superfans, but from all over the world. My librarian training has instilled in me an interest in statistics and random factoids, and as such I keep track of information related to the blog (e.g. number of visits, visit length, entry and exit pages, etc.) just to see how it's being used. Things start to get really interesting when looking at keyword activity (i.e. the search terms people use to get to the blog), as certain movie reviews have been visited by literally thousands of people. More surprising still are the titles that are getting all these hits, because they mostly aren't what one might expect. Frankly they tend to be the most obscure and offbeat stuff.

So today I'd like to share with you the top 10 Fantasmo movies based on how many folks are seeking them out on the blog. Bear in mind that these are ranked in numeric order according to how many hits they've received. I've also included links so you can revisit the reviews in case you missed them the first time around. Prepare to be shocked, disturbed, and possibly lose your faith in humanity at what is the #1 film on the blog (hint: it has something to do with the poster pictured above)!

10. Hardware: This one is pretty good. Essentially a riff on Mad Max and Terminator, but with a unique sense of style that is decidedly un-Hollywood.

9. The Octagon: My first two-fer review, which also includes a writeup on the much better (in my opinion) Ninja III: The Domination. The problem is that it's dead boring for most of its running time, and features an endless, droning internal monologue by Chuck Norris describing the goings-on in excrutiating detail. Nevertheless The Octagon is an important film in that it marked the U.S. cinematic debut of the ninja.

8. Kill Switch: No top 10 here would be complete without a Seagal movie, and I'm happy to say Internet searchers did not disappoint! Although I must confess Kill Switch would not top my list of the most important Seagal movies, it does feature the worst editing I've ever seen and the most bizarre movie ending in DTV history (or otherwise).

A thing I found interesting was one of the keyword searches used to find the page: "cannibal clown Steven Seagal." While I understand why that landed the seeker on the review, taken out of context for someone who may not have seen Kill Switch that has to sound intriguing! On a related note a keyword search used to find the Seagal film The Keeper was: "Steven Seagal wearing hat." If you've even seen the trailer for that one you'll understand. Unfortunately The Keeper didn't have enough searches to crack the top 10, hats notwithstanding. I'll share a few more unusual keyword searches as we move along.

7. Looker: A strange piece of 80's sci-fi from Michael Chrichton, with Albert Finney playing a plastic surgeon wielding a gun that shoots light. Not great but sports some interesting ideas.

6. Megaforce: One of the worst films of all time . . . but I must confess I love it. In the review I call it "gleefully awful" and that pretty much sums up everything you need to know. The fact that it's clocking in at #6 tells me that a lot of you out there share the same tastes, which is both heartwarming and terrifying at the same time : ) Somewhere Barry Bostwick is shedding a single tear.

Here was a fun keyword search used to find the page: "the good guys always win even in the 80s." Easily THE classic line from the film!

5. Slipstream: An overlooked late 80's movie that was intended to be Mark Hamill's comeback movie. Alas it didn't secure domestic distribution and died quietly overseas. Actually the film is very cool, and Hamill is in fact brilliant in it.

Great keyword search: "super radical maneuver movie." I do describe one stunt as a "wildly radical maneuver," yet this makes me wonder what the seeker was expecting to find? Could've been Megaforce!

4. John Woo's Blackjack: No two ways about it this is among Dolph Lundgren's best films, and is arguably Woo's best film (with the possible exception of Hard Target) since he left Hong Kong. One of the coolest and most bizarre aspects of Blackjack is that Lundgren's character has a fear of the color white. This leads to an ingenious shootout in a milk factory (I kid you not), and perhaps the greatest one-liner in action film history.

Lest you think I'm kidding about the reputation of this milk sequence just check out these keyword searches: "dolph lundgren milk scene" and "dolph lundgren getting afraid of milk." Really it would be more accurate to say that Blackjack was afraid of milk, as I'm sure Dolph wouldn't blink an eye if confronted with a dairy product.

3. Quintet: This one feels a little out of place on the list, in that it is somewhat of a highbrow/artsy film. Directed by the legendary Robert Altman, starring Paul Newman . . . should be a far cry from Megaforce (sorry Megaforce). Quintet is, beyond being somewhat on the intellectual end of the spectrum, profoundly weird. Set in the near future, presumably after a nuclear war, mankind is on the verge of extinction. The only thing that provides meaning is a game of death called Quintet. This movie is not for everyone, particularly for those who enjoy well-paced movies, but I liked it. The way in which it was shot (with grease on the camera lens to imply coldness) irritated many, and the story is hard to follow. If you give it a chance though you'll see a Paul Newman film unlike any other, and a unique example of 70's sci-fi greatness.

Two interesting keyword searches: "quintet meaning of movie" and "how to play quintet." I take a stab at explaining the first query in my review, and am a little creeped out by the second keyword search. Hope no one is running Quintet games out there . . . might I recommend UNO or Old Maid as substitutes!

2. The Island: In many ways I think this is my favorite movie I've reviewed here on the site. This is a truly bizarre movie that had blockbuster pretensions, while managing to twist every aspect that qualified it for that ambition. Its existence is a minor miracle, and although flawed it never ceases to be thoroughly entertaining. From the author of Jaws, the director of The Bad News Bears, and the star of Alfie comes a new longitude and latitude for horror . . . welcome to The Island! Okay that's not the real tagline but it would have prepared audiences a little better for what to expect.

1. Smokey and the Bandit Part 3: That's right folks the most often read and visited review on the blog is none other the the concluding chapter of the Smokey and the Bandit trilogy. Unbelievable. This is actually the only movie Rob and I ever tried to get the audience to agree not to watch. After suffering through Part 2 we offered the alternative of checking out another movie, but our loyal Superfans soldiered on and insisted upon seeing this one . . . so maybe it does inspire a kind of inexplicable madness. Kind of a Pandora's Box type of thing. Either way this is a completely awful movie in almost every regard. My review gives the pertinent details, suffice it to say you have been warned.

And yes, the most oft used keyword search for the Fantasmo blog is: "smokey is the bandit." The horror, the horror . . .

Fantasmo Episode 59: Can't Stop the Music Vol. 4

2010-11-15T10:21:00.005-05:00

Hey Superfans!

It's that time of year again and once again time for our annual holiday show which can only mean one thing . . . you can't stop the music! This year we're taking a little break from the title film (sorry true believers there will be no Bruce Jenner) and screening two musicals new to Fantasmo. Fear not Village People and company will return, it's just that we're really excited to finally be able to show these two movies.

First on the bill we have one of Rob's all-time favorites, a classic to be sure, in the form of Phantom of the Paradise. Directed by Brian De Palma (Carrie, The Untouchables), this 70's riff on Phantom of the Opera starring Paul Williams (Smokey and the Bandit, Battle for the Planet of the Apes) must be seen to be believed. Great music and wild imagery abound. It also features cult favorites Jessica Harper (Suspiria), William Finley (Silent Rage), and Gerrit Graham (Terrorvision). How can you go wrong with that cast?!?

Our second feature also stars Harper as well as Cliff De Young (F/X) and some faces very familiar to film buffs. You see Shock Treatment just happens to be the sequel to the most famous cult movie of all time, The Rocky Horror Picture Show! Some of you may be saying to yourself "I didn't know there was a sequel." The fact is it was mostly ignored upon initial release because it is a MUCH different experience than RHPS. Over time it has developed its own following, perhaps out-culting in the truest sense its predecessor. The songs are catchy, the ideas interesting, and the style pure Richard O' Brien. If you enjoyed Rocky you owe it to yourself to check this one out on the big screen!

Without any further ado here are your full Episode 59 details:

When: Friday, December 3rd

Where: Chesapeake Central Library, 298 Cedar Road, Chesapeake, VA 23322

Films:

8:00 P.M.: Phantom of the Paradise (1974)

9:45 P.M.: Shock Treatment (1981)

So there you have it Superfans, two fantastic holiday musicals on our big screen . . . THE WAY THEY WERE MEANT TO BE SEEN! You dare not miss it . . . and remember you can't stop the music so don't even try!

Ghost Fire Haunts @ Fantasmo Friday!

2010-11-04T16:51:00.003-04:00

Hey Superfans!

I'm excited to announce that this Friday's haunted house themed Fantasmo will feature a special opening presentation by the paranormal investigation group Ghost Fire Haunts! Pictured above is an upcoming conference they are hosting on paranormal research at the Cavalier Hotel called EPIC CON. Expect to hear more on that as well as some hair raising first hand experiences they have had. Should be a chilling experience, and a great prep for watching The Haunting and Hell House! See you tomorrow night!

Movie Reivew: Return of the Living Dead Part II (1988)

2010-10-25T10:30:00.008-04:00

Following Monster Fest I took a little vacation, hence the recent lack of updates on the ‘ole blog here. Not one to pass time unwisely, I ramped up my annual October horror film viewing tradition. I always like to make an effort to get around to titles I missed along the way, or haven’t seen in ages, so I’ve taken in a fair amount of older films during the first half of the month. One fine morning last week (over breakfast no less) I found myself clicking play on instant Netflix, launching none other than Return of the Living Dead Part II. I can’t really explain what made me choose that over a number of better looking titles, but I just had an itch to see if it was as subpar as I remembered. As a point of fact, I clearly remembered the evening and circumstances surrounding my original viewing back in 1988, but could not remember much about the movie at all . . . except disappointment.

As was customary back in the 80’s this was another B-movie I caught at my beloved ramshackle mall theater. Unlike its predecessor which was unleashed in the summer months, ROTLD2 came out in the bitter cold of January (a strange time to release a horror sequel if you ask me). I didn’t see the original during its summer run, but I have to say it’s one of my fondest video watching memories of 80’s horror. It had a wicked sense of humor, great effects, and oozed a genuine love of the genre. When Part II finally arrived I was pretty psyched to see how it would top the first outing. So a fellow fan and I made our way out to the cinema in bad weather, by this time we had abandoned our bikes for cars (the end of an era), and eagerly bought our tickets. I can remember the drive, the ticket buying, and a sort of depressing exit, but I can’t remember a thing about the viewing experience itself (which is unusual for me).

Over the years I figured I had just blocked my memory out whenever the film (rarely) came up in conversation. And that’s an interesting phenomenon in and of itself. There are a great many reviled horror films from the 80’s, not to mention a great many reviled 80’s horror sequels. In most cases if you bring up the original installment of a popular series around these parts, talk inevitably leads to discussion of nadirs. Fans love to debate the lowest points as it is always enjoyable to criticize missteps. A Nightmare on Elm Street, Friday the 13th, Halloween, Texas Chain Saw, etc., all come to mind. Yet even when we showed ROTLD at Fantasmo I don’t recall that a word was said about the sequel. Let me tell you for the most part we are a pretty critical bunch, and to let an opportunity for commentary like that slip by is certainly atypical. With this in mind, my theory heading into ROTLD2 over breakfast was that the film likely wouldn’t be catastrophically awful, but rather bland and uninspiring.

The film opens up with one of the zombie-containing canisters featured in ROTLD bouncing off of a military transport, and landing in the sewer system near both a developing suburban neighborhood and conveniently another graveyard. After that quick intro we switch to the neighborhood and our hero Jesse (Michael Kenworthy), who comes into contact with the canister during a hazing ritual by a couple of local bullies. The bullies foolishly open the canister, and the gas seeps into the graveyard setting off a chain of events more or less identical to the first film. James Karen and Thom Mathews even return as a pair of bumbling grave robbers, who meet a similar end to their doomed warehouse employees from the original. As the dead start to rise it’s up to Jesse, his sister, a cable repairman, and a hapless doctor to stop the zombie invasion before the military undertakes the nuclear option.

Watching ROTLD2 this time around I have to tell you I was surprised at my reaction. Unlike that first viewing so many years ago, I sort of enjoyed the movie. It’s not so much because it was particularly good but for two reasons. First I wasn’t going in with high expectations, quite the opposite. This film was free from the baggage of following on the heels of the best zombie movie of the 80’s. Second it was an okay way to kill 90-minutes on a morning where there was nothing particularly better to do. Sure neither of these reasons constitutes high praise, but the fact that it was both tolerable and mildly entertaining was a bit miraculous given what I was prepared to discover. The film manages to walk a fine line between goofy fun and ho hum mediocrity, with the former just edging out the latter. If there’s any tragedy here it’s that some tweaks (e.g. better effects, balanced storytelling, directorial restraint) could have put ROTLD2 into the good category.

Essentially ROTLD2 is a remake of the first film, right down to the appearance of Karen and Mathews. The problem is that all the edginess, not to mention the punk rock soundtrack, that was such an integral part of the first outing are missing here. Writer/Director Ken Wiederhorn manages to pack in many of the key events we are familiar with, but instead of leaning toward horror goes heavily toward comedy. This sort of thing can work if done correctly. Sam Raimi for example remade Evil Dead as Evil Dead II, indulging his love of Three Stooges style humor. The problem is Wiederhorn is no Sam Raimi. Many of the jokes fall flat, and Karen/Mathews in particular become caricatures of their former incarnations. In ROTLD they were funny because they were reacting to their situation in a genuine, if outrageous manner. Here they come off as Laurel and Hardy, never as real people. Worse still is the fact that Wiederhorn mistakenly believes that to see these two, and everyone else, yelling at each other a lot equals a whole lot of funny. Honestly Ricola or Halls must have had a stake in this film, as the actors must have all blown out their vocal chords by the time it was over (they make Guttenberg in Can't Stop the Music look restrained by comparison).

Given that Wiederhorn opted for a comedic approach, another element that suffers is the horror of the zombies. In the original they were gooey and genuinely frightening. Sure they had some tongue-in-cheek lines, including the constant battle cry of “brains,” but they never failed to be menacing. Here the make-up is never on that level, and most of the time the creatures end up looking like second-rate extras from the Thriller video. Wiederhorn even pays homage to Thriller in the finale, when a zombie wanders into frame dressed like Michael Jackson was in the video. Clearly the director was more strongly influenced by John Landis than Dan O’Bannon, which wouldn’t have been a problem if he could have copied Landis more successfully.

Hearing all of this might lead you to conclude that Wiederhorn was a director without merits, but prior to ROTLD2 he did have a minor classic under his belt. In 1977 he made the terrific aquatic Nazi zombie epic Shock Waves, starring the great Peter Cushing. That film played things straight, or at least as straight as things can be played where aquatic Nazi zombies are involved, and the results were outstanding. I can’t even recall a single joke being cracked. Interestingly Wiederhorn also eschewed gore in that movie as well, opting for a subtle, creepy approach (or at least as subtle as things can be when dealing with aquatic Nazi zombies). Obviously he carried over the anti-gore sentiment to ROTLD2, but unfortunately didn’t repeat the nuanced execution of everything else. Arguably Shock Waves was a fluke as Widerhorn went on to make Meatballs Part II, but that in no way tempers my recommendation.

Another problematic element, depending on your point of view, is that the protagonist this time is a pre-teen boy. This was a big trend in the 80’s thanks to E.T., and personally I’ve never cared for it. If anyone can cite an example of a situation in which it’s worked, save perhaps for The Goonies, I’d be happy to hear it. More often the child actor proves either annoying, unskilled, or both. In the case of ROTLD2 I would say unskilled is the order of the day, with leading “man” Kenworthy turning in a very unconvincing performance. On the plus side he does look like he’s having a good time, so at least he doesn't act like the whole business is an uninteresting chore (Jake Lloyd anyone?). On the flip side his nemesis Billy (Thor Van Lingen) is one of the better parts of the film. Van Lingen is a great bully, and when he becomes zombified he provides an enjoyable villain. As a side note Kenworthy actually was in the awesome remake of The Blob the same year, before disappearing into complete oblivion. Thankfully Kevin Dillon took center stage for that, so things worked out okay.

I should also mention that a couple of other 80’s faces show up here to round things out. In addition to Karen and Mathews we also have on hand Dana Ashbrook (Waxwork, Twin Peaks), Mitch Pileggi (Shocker, X-Files) and Suzanne Snyder (Weird Science, Night of the Creeps). Like everyone else they are given little to do but yell loudly, however I would say that Ashbrook comes off better than anyone as the slightly restrained cable guy. Their presence does manage to give ROTLD2 a little more weight, if for no other reason than it is an assemblage that counts as a solid time capsule of the 80’s. Furthermore even if the happenings on screen are somewhat lackluster, at least you have some familiar, reliable players to usher you through the experience.

In the final analysis while I can’t enthusiastically recommend ROTLD2, I can say that it’s not as bad as I remembered it being. It has a decent villain, Karen and Mathews are fun to watch for a while, and there are a couple (literally) of laughs. If you can for 90-minutes forget that it is supposed to be a sequel to the best zombie movie of the 80’s it’s an okay way to pass the time if you have run out of zombie movies to watch on Netflix streaming, or if you have never seen it and need to satisfy your curiosity. Probably the greatest offense committed by the film, and the reason it remains largely forgotten, is that it is indeed defiantly average. Neither a film to be celebrated, nor relentlessly mocked. I almost think it’s better to be one or the other myself, although those few unfortunate enough to have seen Meatballs Part II may disagree with me.

By the way, am I the only one who thinks the poster for ROTLD2 bears more than a passing resemblance to the poster for Fright Night?

Fantasmo Episode 58: Haunted Houses Volume 2

2010-10-20T12:54:00.003-04:00

One of our most popular episodes ever was the one in which we highlighted the haunted house subgenre. Those of you who made it out to that one may recall we had a very cool opening presentation by the Center for Paranormal Research and Investigation, followed by The Amityville Horror and Burnt Offerings. Those are two great films to be sure, but we held off showing THE BEST HAUNTED HOUSE MOVIES EVER MADE with the knowledge that we would eventually hold a sequel to that spooky evening. This time out we will be screening Robert Wise's classic The Haunting (no Liam Neeson CGI fests here), as well as The Legend of Hell House ("the Mount Everest of haunted houses") starring Roddy McDowall. Personally I think Hell House is one of the creepiest movies I've ever seen, and it's written by the great Richard Matheson (I Am Legend). We're talking some great stuff! As for an opening presentation we're working on something special, so stay tuned to the blog for updates. Without any further ado here are your full Episode 58 details:

When: Friday, November 5th

Where: Chesapeake Central Library, 298 Cedar Road, Chesapeake, VA 23322

Films:

8:00 P.M.: The Haunting (1963)

10:00 P.M.: The Legend of Hell House (1973)

So there you have it Superfans, two haunted house classics back on the big screen . . . THE WAY THEY WERE MEANT TO BE SEEN! You dare not miss it!

The 7 Days of Monster Fest - Days #2-7: Everything Else!

2010-10-01T16:27:00.003-04:00

Due to circumstances beyond control, unfortunately I wasn't able to do a daily post this week. However Team Fantasmo never gives up, so I'm putting it all into one action-packed post. So here are a few more highlights you don't want to miss!!

#1 - Godzilla: A History in Film (Part 2) - If you caught Part 1 of this last year you'll know that Fantasmo All-Stars Tony Mercer (The Original Superfan), Lee Hansen, and Chris Johnson have a LOT to say about Godzilla. This year finds them entering the 70's and beyond, for what promises to be a stunning conclusion!

#2 - The Bowman Body Documentary - Premiere footage of the upcoming Bowman Body documentary, hosted by Director Sean Kotz and The Bowman Body in person!

#3 - Dr. Madblood 35th Anniversary Extravaganza - An all-afternoon celebration of 35 years of Madblood featuring the good Doctor, his cast and crew, and many participants from over the years!

#4 - Haunted History of Tidewater and Travels for the Haunted Tourist - Find out the local haunts and places of interest throughout the country!

#5 - Horror Trivia - The ultimate trivia competition, so BIG we have to hold it twice!

#6 - Costume Contest - Everyone's favorite is back! All ages are welcome, so come out in your best costume!

So there are 6 more excellent reasons you don't want to miss this year's Monster Fest (as if you needed them : ) See you tomorrow bright and early at 9:00 a.m.!

The 7 Days of Monster Fest - Day #1: The Lost Skeleton Returns Again

2010-09-24T12:00:00.006-04:00

Continuing a tradition I started here on the blog last year, today I begin the countdown to Monster Fest by highlighting 7 cool things that will be taking place. Not content to kick things off lightly, the first item in the spotlight is The Lost Skeleton Returns Again. Some of you may remember a few years back at Monster Fest we screened the mega-cult hit The Lost Skeleton of Cadavra, hosted by its special effects creator Cortney Skinner. Well flash forward to present day and it has now spawned a sequel! For the uninitiated Lost Skeleton is a loving tribute to the sci-fi/horror films of the 50's, with a generous dose of tongue-in-cheek humor thrown in. Cortney will be on hand during the day to talk about his involvement with the sequel, and A Dark and Stormy Night which was produced by the same team. He has also graciously agreed to kick off our evening Fantasmo by introducing a special screening of The Lost Skeleton Returns Again. How cool is that?!?

So there is your day #1 highlight, stay tuned for more amazing Monster Fest happenings over the next week!

Steven Seagal is Lawman Season 2!

2010-09-23T12:14:00.005-04:00

Things have been fairly quiet on the Seagal front up until the past month or so, and I haven't written on the subject in quite some time. The peace was officially broken on Labor Day weekend with the release of Machete, marking Seagal's return to the big screen (in a villainous turn no less). Sadly, while the film debuted to decent business, it disappeared out of the top 10 pretty quickly (and is barely still in theaters). Sadder still is that I haven't had a chance to see it, and likely won't until it hits home video.

My spirits were brightened on Tuesday of this week however, when I discovered that the second season of Lawman was posted on Itunes. Right now you can download an extended preview clip which is pretty dramatic, easily rivaling the most intense moments of season one. Honestly I was a little surprised that season two came to be, as the first outing had only so-so ratings. Either way I'm happy to see round two for Chief Seagal and his brigade.

This spike in Seagalogical activity prompted me to investigate what else he has coming up, and that led to an even more fascinating discovery. First off in October his next DTV (direct-to-video) feature Born To Raise Hell is scheduled for release. It looks like one of his standard revenge vehicles, but with DTV you just never know what crazy surprises to expect (especially when it comes to Seagal). The real mindblower though is that he has a TV series coming out in 2011 called Southern Justice!! I know nothing other than that at this point, save for it is listed as having 13 episodes and his character name is Elijah Kane (classic). Over on Wikipedia it also claims he has a movie (presumably DTV) coming out in 2011 that is directed by Dolph Lundgren!! Hope Dolph co-stars as well, but either way an exciting prospect.

Now if he would only put out a new album, and finally(!) release the third flavor of his Lightning Bolt energy drink, the long-rumored Root Beer Rush! Still this is pretty satisfying news all around.

Monster Fest VII: Monster Fest Meets the Wolf Man

2010-09-13T16:02:00.007-04:00

Hey Superfans!

It’s that time again, time for another frightastic edition of our annual MONSTER FEST program! For those of you Superfans new to Fantasmo, MONSTER FEST is a daylong convention which features panels, special guests, costume contests, film screenings, etc. I have to say this year’s edition may be our best yet, as it highlights a special anniversary and features some of the coolest guests we’ve ever had the privilege of welcoming. The date of the program is Saturday, October 2nd, and it will be held here at Chesapeake Central Library (298 Cedar Road, Chesapeake, VA, 23322) as always. A few schedule items are still developing, so this isn’t entirely set in stone, but the mostly final schedule of events is as follows:

9:00 a.m. – Classic Horror Trailers

10:00 a.m. – Zombies 101 – Presented by: Lynn Shipp

10:00 a.m. – The Haunted History of Tidewater

11:00 a.m. – Horror Trivia Contest

11:00 a.m. – The Making of The Lost Skeleton Returns Again & A Dark and Stormy Night – Presented by: Cortney Skinner

11:00 a.m. – Travels for the Haunted Tourist – Presented by: Mike Joyner

12:00 p.m. – Costume Contest

1:00 p.m. – Godzilla: A History in Film (Part 2) – Presented by: Tony Mercer, Lee Hansen, and Chris Johnson

1:00 p.m. – Things That Go Bump in the Night: Are Ghosts Making a Comeback in Fiction & Non-Fiction – Presented by: Pamela K. Kinney

1:00 p.m. – “Hi There Horror Movie Fans”: The Bowman Body Documentary Sneak Preview – Presented by: Sean Kotz and The Bowman Body

2:00 p.m. – Dr. Madblood 35th Anniversary Celebration – Featuring Dr. Madblood and Friends

3:00 p.m. – Horror Trivia Contest

5:00 p.m. – Library closes and reopens at 7:00 p.m. for evening presentation

Film Schedule (show starts at 8:00):

The Lost Skeleton Returns Again – Hosted by: Cortney Skinner

Frankenstein Meets the Wolf Man

The Fly (1958)

A Nightmare On Elm Street 3: Dream Warriors

In addition to all of the above we will have a number of special guests and authors on hand throughout the day, as well as local clubs and collectible dealers. We’re also very pleased to have our friends at Regal Cinemas back this year with lots of fun giveaways. For continuing updates stay tuned to the official web site at: www.monsterfestva.com.

So there you have it Superfans, your MONSTER FEST itinerary! A full day of frightening fun! See you there!

Escapism Film Festival 2010

2010-09-07T11:26:00.005-04:00

Speaking of The Carolina Theatre and Retrofantasma, also coming up there at the end of the month is their annual Escapism Film Festival. Once again it's another amazing lineup with titles including: Star Trek 2, Big Trouble in Little China, Escape From New York, RoboCop, The Muppet Movie, Enemy Mine, The Last Starfighter, Legend, Raiders of the Lost Ark, The Legend of Billie Jean, and The Secret of NIMH. That's an outstanding list of classic films, but the MOST interesting highlight of all is that they are screening Buck Rogers in the 25th Century in 35mm! It of course will include the awesome "James Bond" opening credits that didn't appear in the television version, which is worth the price of admission alone. Many folks forget that Buck was released theatrically just like Battlestar Galactica. Having seen it at the drive-in back in the late 70's I can tell you it's fantastic seeing it on the big screen!

The Envy Report: Retrofantasma Vs. Terror in the Aisles

2010-09-03T15:16:00.004-04:00

Our doppleganger program Retrofantasma in North Carolina has an amazing lineup for October including Hammer movies, Tom Atkins, and the classic 80's pseudo-documentary/clip show Terror in the Aisles. Back in the early 80's when horror movies were all the rage Universal released this 90-minute montage into theaters hosted by genre veterans Donald Pleasence and Nancy Allen. It actually features more than just Friday the 13th/Halloween style movies though, including suspense films of the day such as Nighthawks, Vice Squad, etc. After its initial release on VHS and laserdisc the film went out of print, and apparently is unlikely to be released ever again due to rights issues. Sigh.

So that's the story, but get this - the print of Terror in the Aisles that Retrofantasma is screening is the last 35mm print of the film in existence, straight out of the Universal vault! I don't know about you but information like that just causes my jaw to hit the floor. It's hard to believe that a fairly major movie released in 1984 could be in danger of oblivion. Making matters worse is that a DVD/Blu-ray release is never going to happen, so unless you track down an old copy of the VHS forget ever seeing this again.

Hard to say how I would react to this film now, but I remember loving it as a kid. How can you go wrong with a film comprised of little else other than clips of some of the greatest horror movies of the 70's and 80's? With intros by two classic genre stars? If you never had the pleasure of seeing this, a road trip to North Carolina might be well worth it. Did I mention the same evening they are also screening the last existing 35mm print of Halloween III: Season of the Witch?!?

Toxie Invades the Byrd!

2010-08-31T09:32:00.004-04:00

Once again in conjunction with Horror Hound magazine the historic Byrd Theatre in Richmond will be screening another classic on October 9th at midnight. Past shows have included Zombie, Demons, and Dark Night of the Scarecrow. For this latest installment they have selected Troma's greatest contribution to the history of cinema in the form of the original Toxic Avenger. Toxie was a cult cinema icon in the 80's, spawning a whole franchise complete with a toy line, Saturday morning cartoon, and video games. Make no mistake like any other Troma property Toxic Avenger is a cheap production, but it has a great deal of wit and energy. As a result it ends up being much more entertaining/tolerable than many Troma outings. That's the beauty of Troma though, there are always those gems mixed in with everything else : )

In any event it should be a lot of fun to see The Toxic Avenger in such a prestigious venue. I saw 1-3 in the theater back in the day at our local art house cinema, and they definitely work best with an audience!

Movie Reviews: Piranha (1978) & Piranha 3-D (2010)

2010-08-30T16:03:00.002-04:00

Last week I trekked out to the theater for the second time this summer (after Predators), to check out one of the other must-see movie events of 2010. I’m of course talking about Alexandre Aja’s Piranha 3-D. For the record the 3-D gimmick alone is not enough to motivate me, there has to be something else going on to convince me I have to see a film on the big screen these days. In fact the only 3-D film I’ve seen since this present craze started was My Bloody Valentine, again a remake from my childhood era (you can see the trend here). While the nostalgia factor certainly played a role, there’s a bit more to it than that. Those titles in particular were extremely successful on an entertainment level when compared to some of their other contemporaries. Piranha was a drive-in classic, blessed with a coming together of soon-to-be Hollywood A-listers under the guidance of Roger Corman. My Bloody Valentine had a great setup, and the mine atmosphere provided for a memorably terrifying finale. Unfortunately the Valentine remake, despite the presence of Tom Atkins, was a major letdown. As such my expectations for Piranha were not all that high. The big selling point was director Alexandre Aja who has put out some pretty interesting stuff over the past few years, including a remake of The Hills Have Eyes which I ultimately enjoyed more than the original. Having seen Piranha 3-D and the original last week, I feel that nothing less than a dual review would be appropriate.

First off Piranha '78. I must confess that Piranha is something of a special movie for me. The poster above has to be one of the greatest genre posters ever created. Sure it’s a play on Jaws, but I’ve always found it to be much more terrifying. Something about that fish is more malevolent than the shark, and the girl on the raft feels a little more real than the swimmer on Spielberg’s poster. For whatever reason it captured my imagination as a kid, and thoroughly creeped me out. I remember begging to see this one at the drive-in, but my parents decided this was one we should sit out. It wasn’t until about a year later that I finally saw Piranha at a neighbor’s house on HBO. Incidentally that neighbor was the first on our street to have the service, and I remember being blown away that I could sit in his living room and watch uncut theatrical movies . . . and Piranha was a stunner! Let’s just say that the promise made in the poster, unlike many genre movies of the era, was fully kept.

There were plenty of copycats in the wake of Jaws, and certainly Piranha was a riff on the material. Unlike its fellow imitators however, Piranha had the good fortune of top talent in almost every department. First off it was produced by Roger Corman during a period in which he was hitting home runs with his el cheapo productions. We’re talking stuff like Death Race 2000, Big Bad Mama, Humanoids From the Deep, etc. It would be downhill shortly after the early 80’s, but for a time he could do little wrong. Pulling from his pool of rising stars, Corman tapped Joe Dante (The Howling, Gremlins) to direct. Dante was an expert editor of trailers, and Piranha was his first solo directing effort. Writing duties were given to none other than art house superstar John Sayles, who took the premise and injected it with dark humor and great characters. Those characters were then brought to life by a B-list who’s who with Bradford Dillman (Escape From the Planet of the Apes), Heather Menzies (Sssssss), Kevin McCarthy (Invasion of the Body Snatchers), Barbara Steele (Black Sunday), Keenan Wynn (Point Blank), Belinda Balaski (Food of the Gods), Paul Bartel (Eating Raoul) and for good measure Corman favorite Dick Miller. We’re talking a dream list here!

It’s kind of amazing how John Sayles went from writing great B-movies like Piranha, Alligator, and Battle Beyond the Stars to name but a few, to celebrated, high-brow indie director. Unlike other Corman graduates like James Cameron who continued working in genre pictures, Sayles bailed and went for more traditional dramas like Eight Men Out and Matewan. It’s like if you found out David Mamet had written Grizzly or Day of the Animals prior to Glengarry Glen Ross. If you ever wondered what would happen if a brilliant writer penned a killer fish movie you need look no further. Sayles provides a cast of terrific characters, show stopping attack sequences, and most importantly a knowing wink to the genre. The humor in Piranha is often cited as one of its greatest strengths and no doubt that is true. However what Sayles does so miraculously is bring out the humor, while at the same time honoring Piranha as a serious horror film. In so doing Piranha exists as more than just a parody, Sayles allows the film to have the cake and eat it too.

Did I mention the cast? Well let me do so again, because a good cast is worth repeating. When I was a kid I was seriously under the impression that Bradford Dillman was a major star. Between Escape From the Planet of the Apes, Piranha, and being Dirty Harry’s captain, he kept turning up in things I really liked (and he was terrific in each). As the leading man in Piranha he gives what is probably his best performance as a cranky mountain man turned hero. Heather Menzies also turns in a great performance as his spunky partner in stopping the aquatic invasion. While they anchor the film ably, what is so wonderful about Piranha is that Dante loads it with cameos by genre stars who have a ball with the material. McCarthy as the mad scientist and Miller as the evil developer are noteworthy standouts (it’s actually my favorite Dick Miller performance). Better still is that Dante gives them enough time onscreen so that the cameos don’t come off as blink-and-you-miss-them stunt casting (I’m looking at you Rob Zombie). Honestly a better roster in genre cinema you will not find.

Dream lists aside if you have a film titled Piranha, you still have to be sure you are able to deliver a horde of killer fish. In the pre-CGI 70’s this was no small feat. Even Mr. Spielberg had trouble delivering a single, albeit big fish on a much larger budget. Fortunately Corman’s resources also included a talented bunch of effects artists and a brilliant young editor. Making the piranha come alive were Phil Tippett (Star Wars, Jurassic Park) and Chris Walas (The Fly), using everything from fish on poles to animation to make it all work. They were aided in their endeavor by future Academy Award-winning editor Mark Goldblatt (Terminator 2), who employed lots of judiciously timed cuts that make the piranha attacks appear frighteningly real instead of like fish on sticks. Honestly a film produced by Roger Corman in the late 70’s about killer fish has no business looking this good. I screened it this week on Blu-ray and was blown away. Don’t get me wrong it is still clearly a 70’s movie with practical effects, but what they accomplished for the time is stunning.

I’ll give you just one example. There’s one intense sequence in which the piranhas attack a summer camp where a tube race is taking place. As the piranhas approach there is an underwater shot in which you see them forming up in the background, with a swimmer’s legs dangling in the foreground. The shot is clearly accomplished via animation, but the composition is so artistic that you don’t even care. It’s like some beautifully designed matte painting from an old school horror/sci-fi film. The point is this – the shot is completely unnecessary. Dante could have simply just had the bathers start reacting as the piranhas launched their attack, but he took the time out on what was a shoestring, breakneck schedule to insert a cool-looking effects shot. It’s this kind of attention to detail that makes piranha stand out from its lesser brethren.

I would be remiss in my duties if last but not least I failed to mention the musical score. Corman tapped composer Pino Donaggio for scoring duties, and it proved to be an interesting choice. Donaggio became a recognizable name in horror cinema throughout the 70's and 80's lending his talents to films such as Roeg's Don't Look Now, Argento's Trauma, De Palma's Dressed to Kill and others. He became Brian De Palma's most frequent collaborator, and interestingly Piranha's score bears a certain resemblance to Carrie (in my opinion). Unlike the booming score to Jaws, Donaggio favors a more subdued type of sound that infuses the proceedings with a sense of doom. This serves as a useful counterpoint to the humorous aspects of the script, making sure that after you've laughed you still take things seriously. His scoring of the summer camp attack in particular is absolutely terrific and on par with Williams' work in Jaws.

Piranha was successful and eventually spawned an unrelated 80’s sequel directed by James Cameron and starring Lance Henriksen. This time the fish can fly. I just saw it for the first time last year, having heard nothing but bad things and expecting the worst. It wasn’t great to be sure, but what I found out is that a movie directed by James Cameron and starring Lance Henriksen can only be so bad. In fact I sort of enjoyed it. It’s certainly no Piranha, but it was an entertaining way to spend 90 minutes. There was also a mid-90’s remake starring William Katt and Alexandra Paul, which I saw on late-night television several years ago. My recollection is that Katt was an okay stand-in for Bradford Dillman, but that the film didn’t have much else going for it. Well now we’re in the far flung year of 2010, some 32 years after the original, and finally Piranha has received the big budget treatment with an up and coming horror director. The question is does it measure up? The answer is – sort of.

The plot of the new Piranha is not a whole lot different than the original. In the ’78 version the piranha were a government experiment to be used for the purposes of eco-terrorism/ending the Vietnam War. In 2010 there is nothing political going on, the piranha are simply prehistoric creatures released by an underground earthquake. Also this time instead of attacking summer campers and resort guests they attack spring break goers. Sure it’s not a carbon copy, but we’re not talking giant leaps here. Really though in a movie about killer piranhas I would argue that the plot is not the key to success. Dante and company figured that one out and focused on performances, humor, and piranha effects. Fortunately Aja gets the joke too, but he turns his focus almost entirely on stomach churning gore . . . in 3-D. This should come as no surprise to anyone who has seen his previous films, but it’s a bit of a gamble in that to enjoy this take on the material you have to accept Aja’s choice. If you are looking for anything other than visceral thrills prepare to be sorely disappointed.

Having said that I went in to Piranha 3-D expecting exactly what I received, 80 minutes of CGI piranhas attacking swimmers . . . in 3-D. The only creativity employed was in the ridiculous quality of the attacks, which were meant to do nothing more than make one burst out laughing. There’s no suspense or horror in this movie, it’s simply a theme park ride taking the viewer from one outrageous sequence to the next. Aja keeps the gags coming so fast and furious you don’t have time to consider how silly it all is because you’re too busy taking in the next absurdity. On the one hand it is indisputably fun, but on the other I never need to see this movie again (in fact I pretty much can guarantee I won’t). These gags are good for one time only, which is where Piranha ’78 and ’10 part ways. Dante’s film is clever and has plenty to offer on repeat viewings. Aja’s is loud and dumb, but thankfully he knows it and embraces the vibe with gusto. Had he not fully committed the film would have been a lackluster outing, not too far removed from the land of SyFy Channel original movies.

One thing Aja does pay homage to with regard to the original is the use of the cameo. Here we get Richard Dreyfuss hilariously reprising his role from Jaws, Ving Rhames as an outboard-motor toting piranha slayer, Christopher Lloyd doing Doc Brown as a piranha expert, etc. I also have to give credit to Jerry O’Connell for stealing the show as a slimy movie producer, he’s come a long way since Stand By Me. While these are all great I do have to say that Aja doesn’t pull them off as well as Dante. He sort of falls into the Rob Zombie trap in that he understands it’s cool to pack in some cameos, but he doesn’t quite use them to full effect. Nevertheless they’re a good deal of fun, and in a movie this lightweight it’s hard to complain too forcefully.

After the screening I had occasion to chat with Fantasmo All-Star Lee Hansen, who works in the film biz, and he told me that some of the PR had referred to Piranha 3-D as the next installment in the Piranha franchise. We both found this to be erroneous and hilarious. Can you really count the “sequel” which maintains no continuity, the remake, and this unrelated 3-D effort as part of a coherent franchise? Do people truly walk into a Piranha film with a defined set of expectations based on previous Piranha films? I think not. It’s still fun to watch studios attempt these labored connections in the hopes of making an extra dollar. For myself I have no regrets about seeing the new one in the theater, in fact if you have any interest at all 3-D is definitely the way to go. This movie is about big, noisy thrills (in case I haven’t made that clear) and it would be almost useless to watch it at home (unless you have a major home theater setup). I’ll take the ’78 original any day of the week over the empty calories of the new model, but it’s fun while it lasts.

Fantasmo Episode 57: Tales From the Vault of Amicus

2010-08-10T11:39:00.005-04:00

Hey Superfans!

A BIG thanks to all of you who came out this past weekend to support our BIG Freeplay event! The day was a major hit and we hope to make this an annual occurrence. Also a HUGE(!) thanks to the gaming enthusiasts who provided the machines and made it all possible: Matt Crainer, Mike Barnett, Ethan O'Toole, and Derek Williams. Here's looking forward to Freeplay 2011!

In the realm of things coming soon, we're gearing up for our pre-Monster Fest September show and have a great double-feature lined up for you! Once again we're returning to the wonderful world of Amicus anthologies, with arguably the two best entries from their esteemed catalog: Tales From the Crypt & Vault of Horror. Those titles are no strangers to fans of classic comic books (or HBO for that matter), as they are based on the classic EC horror comics of the 1950's. The films feature a host of great stars including the likes of Joan Collins, Peter Cushing and Tom "Dr. Who" Baker, inhabiting some truly spine-tingling tales. There's really no going wrong here, and it's a perfect warm up for Monster Fest : ) Without any further ado here are your full Episode 57 details:

When: Friday, September 17th

Where: Chesapeake Central Library, 298 Cedar Road, Chesapeake, VA 23322

Films:

8:00 P.M.: Tales From the Crypt (1972)

9:45 P.M.: Vault of Horror (1973)

So there you have it, two Amicus classics on the big screen . . . THE WAY THEY WERE MEANT TO BE SEEN! You dare not miss it!

Nightmares In Red, White and Blue Coming Soon!

2010-07-26T12:38:00.003-04:00

If you missed our special screening at Monster Fest last October, you now can see Joe Maddrey's excellent review of the American horror film in the comfort of your own home! Nightmares In Red, White and Blue is slated for release according to Amazon on September 28th (it's hit video-on-demand already). The film is packed with fantastic clips, interviews, and is narrated by the great Lance Henriksen. If you're a horror fan you definitely want to check it out!

Freeplay: Part Deux

2010-07-21T09:03:00.004-04:00

Hey Superfans,

You may remember back in January we were supposed to have a big classic gaming event called Freeplay. Alas it happened to conincide with a major snowstorm, so we had to postpone the festivities. Well we're ready to give it another try, and the event is now scheduled to kick off on Saturday, August 7th at 9:00 a.m. Just like Monster Fest and FantaSci it will run all day, and feature a variety of programs and panels. In addition there will be classic, coin-operated video game machines on hand for everyone to try out (no coins necessary, hence the "free"). Best of all we will hold a very special Fantasmo in the evening, featuring two classic video game films on the big screen called TRON and The Last Starfighter (with which you may be familiar : ) Our massive schedule for the day is as follows:

9:30 a.m. - Screening of The Wizard

12:00 p.m. - Vintage & Modern Computer Gaming - Presented By HRGeeks

1:30 p.m. - Screening of The King of Kong: A Fistful of Quarters -
Hosted By Afterburner High Score Record Holder David Hernly

4:00 p.m. - Homemade Arcades & Repair - Presented By Derek Williams

7:00 p.m. - Screening of TRON

9:00 p.m. - Screening of The Last Starfighter

. . . and as mentioned before the video games will be available for free play all day long!

If you're a fan of all things video game related, or just like these undeniably awesome movies, you dare not miss what is sure to be the ultimate event of its kind in this area!! See you August 7th!!

Criterion Releases House on October 26!

2010-07-20T16:29:00.002-04:00

There are a handful of DVD releasing companies that do absolutely tremendous work, and perhaps at the top of that list is Criterion. They’ve been around since the days of laserdisc, claiming responsibility for definitive editions of everything from Citizen Kane to Robinson Crusoe on Mars. While they tend to lean more heavily toward art house fare, there are an increasingly large number of cult titles in the Criterion Collection catalog. Anytime they announce a genre title it qualifies as somewhat of an event, and among their recent batch there’s one title I’m particularly interested in called House. It’s a Japanese horror hybrid from 1977 (i.e. the same year as Star Wars), that to my knowledge has never been released stateside. I’ve never seen it but know it strictly by reputation for being an oddity. On the official site it’s described as an episode of Scooby-Doo as directed by Mario Bava! If that’s not enough to peak curiosity I don’t know what is. They have it slated for release on DVD and BLU-RAY on October 26, just in time for Halloween. I for one can’t wait! If you want to check out some other great Criterion horror in the meantime take a look at Picnic At Hanging Rock, Carnival of Souls, Eyes Without A Face, The Blob(!), Equniox, and Jigoku. Great stuff!

The Envy Report: AFI Silver Theatre and Cultural Center

2010-07-19T10:55:00.002-04:00

I've written about the AFI Silver Theatre before, but just had to mention them again as they have an amazing lineup of films over the next couple of months. They're once again celebrating the films of the 80's and have put together somewhat of a dream list. Here's what's in store . . .

The Empire Strikes Back - Legend - House (the one with William Katt) - Clue - Fletch - Back to the Future - Young Sherlock Holmes - Re-Animator - The Fog - Weird Science - Friday the 13th: The Final Chapter - Xanadu - Clash of the Titans - Enemy Mine - Superman II: The Richard Donner Cut - Star Trek 3: The Search for Spock

. . . and that's just a sample! It would be so great to see these all on the big screen again. Plus there's something wonderful about being able to see classic Kurosawa and Friday the 13th films in the same place : ) In some ways it's probably a good thing I don't live in D.C. because I would likely spend way too much time at the AFI!

On an unrelated note, I saw Christopher Nolan's Inception over the weekend and it is absolutely brilliant! The strange thing is that I had a reaction almost identical to The Dark Knight. Great story, perfect technical execution, and a vibrant supporting cast that outshines the supposed leading man. Much like Christian Bale, DiCaprio is simply adequate and not much more. Thankfully everyone else across the board is terrific, with Joseph Gordon-Levitt (who I'd written off after he chose to play Cobra Commander in one of the more outrageous "what were they thinking" moments in recent memory) and Tom Hardy being standouts. If you enjoy mind-bending films you shouldn't miss it, and if you're in Hampton Roads definitely go see it at The Commodore. A terrific venue for this type of film!

Movie Reviews: Predator (1987), Predator 2 (1990), & Predators (2010)

2010-07-14T16:36:00.002-04:00

With the new Predator movie opening this past weekend, I’ve been on a kick revisiting the first two films in the series (no I do not consider AVP or AVP: Requiem part of the official continuum). The Predator films have always been just shy of prestige franchise status, often seen as a somewhat lesser sibling to the Alien films. I think this is largely due to the fact that they are perceived to be less cerebral or artsy, but that’s not fair given that they are not intended to be as intellectual as something put out by Ridley Scott or David Fincher. The Predator films are action cinema in its most pure form, with a dash of sci-fi/horror thrown in. They’re on a mission to thrill and entertain, and not much more. John McTiernan’s Predator in particular is easily one of the best action films ever made. Things only got off track when someone got the bright idea that the Alien and Predator films should be crossed to form the ultimate monster smackdown. This kind of thing can work on paper or with Reese’s candy bars pretty well, but in practice it’s a tricky business . . . and clearly ill-advised given the less than stellar results. Fortunately Robert Rodriguez has used his clout and love of the series to bring it back to a worthy place. My experience with the old and the new over the past week has been a fun trip down memory lane, and a welcome breath of fresh air.

First up the original Predator. I saw this on opening day in 1987 at the mall theater I often mention here on the blog. Again this theater was primarily known for showing the seriously B-grade stuff that was coming out back then, rarely securing a major release. Canon Films titles were prestigious at the venue if that tells you anything, making fare like Missing in Action appear to be the equivalent of Star Wars. Don’t get me wrong I loved the B-movies a great deal, but the mall’s location being within biking distance was the primary reason it was visited with such frequency. After all I liked the A-movies too! Anyhow the mall cinema was thusly a major childhood hangout for my circle of friends, and especially during the summer months. Every weekend we were there checking out whatever Cannon, New World, and a host of other “independent” studios had to offer.

In the case of Predator, it marked an interesting moment in time for me, my friends, Arnold Schwarzenegger, the WWF (World Wrestling Foundation) and the theater. In the case of Schwarzenegger, although he had done some successful films (e.g. Conan, The Terminator), he still hadn’t quite hit mainstream acceptance. My friends and I would quote Commando and The Terminator at the lunch table, but we were never sure if we’d ever see the big guy on screen again. In other words his future wasn’t as secure as a Harrison Ford. Predator marked the moment that a big summer studio release was sold totally on his star appeal. The trailer was promoting how the Predator had picked the wrong man to hunt, and the film was described as a brawl between a force of nature (Schwarzenegger) and an extra-terrestrial who was foolish enough to arouse his anger.

Interestingly Predator was also being cross-promoted on the WWF telecasts, due to the fact that it co-starred the larger-than-life Jesse “The Body” Ventura. He was plugging it as his big jump into action films, and being who he was he painted himself as the star of the show. In the mid-80’s the WWF was all the rage, and we were ready to buy completely into the hype. And when Jesse was showing clips with him running through the jungle carrying a gun bigger than my family car it caught our attention. I can’t say with absolute certainty, but I believe this was the start of the WWF doing this sort of dabbling into the movie world. Hulk Hogan had been in Rocky III, but wrestling hadn’t quite exploded at that point. In my mind Jesse Ventura paved the way for Roddy Piper in They Live, Hulk Hogan (unfortunately) in No Holds Barred and Suburban Commando, The Rock in many successful films, etc. So already Predator has some important credentials in the advertising/multimedia realm.

Beyond the marketing and business end, Predator was also special for other reasons. First off it just so happened that the film had its premiere on my birthday, so the entire gang gathered together to see it . . . and brought presents which is always good. Better still, after all the ridiculous hype had prepared us for the ultimate movie-going experience, lo and behold Predator opened at our beloved mall theater! I don’t know what sort of cosmic forces were at work, or what strings were pulled that allowed an A-list release like Predator to open in that theater, but it was magical. Golan and Globus or Roger Corman must have been having a slow week. Either way it was with much enthusiasm that we pedaled our way there and bought our tickets (the ticket sellers at the mall were never too concerned about enforcing the MPAA restrictions – this place wasn’t big on standards). What unfolded that afternoon was arguably the best action movie experience of all time.

Let’s get this out of the way right off the bat – Predator is a perfect movie. Oh it’s not that the cinematography is always masterful, the effects seamless, the acting Oscar-worthy or the like. There are so-called “imperfections” of that sort. It is perfect in that it never takes a wrong step in carrying out its primary objective of delivering wall-to-wall action. We are immediately and efficiently introduced to a team of individuals, told their mission, and shown the execution of that mission at a breathless pace. Along the way we are treated to the added bonus of a seemingly unstoppable alien running loose. I’m sure Lee Marvin and Charles Bronson could have handled this situation quite well, but in the 80’s we got the equally impressive roster of Schwarzenegger, Carl Weathers, Jesse Ventura, Bill Duke, and Sonny Landham . . . and Lethal Weapon screenwriter Shane Black as the doomed Hawkins. Honestly with the exception of Shane Black, who is great at what he is there to do, any one of these guys makes a credible action hero. I would love to see their characters in their own adventures, but sadly thanks to the Predator that will never happen.

It’s not just the actors who pull this thing off however. At the helm was soon-to-be legend John Mctiernan, who would go on to redefine the action genre with films like Die Hard and The Hunt for Red October. For my money his finest moment will always be Predator. The man knows how to stage action sequences, and every single moment of Predator is a rush (even when they’re just discussing plans). Also you have Stan “Jurassic Park” Winston creating the Predator creature and effects. Classic in every sense. The creature is ugly, threatening, and unlike anything you’ve ever seen before, not to mention the fact that he is also invisible and can see in different spectrums of light. Alan Silvestri brings it all home with a score that is ceaselessly rousing, even when it is trying to be a little creepy. I should also mention the great work by the Predator himself, Kevin Peter Hall. In this and numerous other films Hall brought the title creature to life, and convincingly went toe-to-toe with Arnold. From my perspective this was far more satisfying than his matchup against John Lithgow in Harry and the Hendersons.

Okay so everybody loves Predator (admit it, you know you do), and it made a truckload of money. Even though Arnold survives at the end of the movie, the Predator’s death by nuclear explosion communicated a sort of finality to me. It was an exclamation point on the end of a one-of-a-kind thrill ride. I guess the truckload of money had the effect of diminishing the desire to let it remain a standalone feature, so a sequel was put into the works. According to others I know who are knowledgeable on such things, Schwarzenegger was approached to reprise his role as Dutch but it didn’t work out. Likely he was more interested in Total Recall around that time versus doing a sequel. So be it, but I don’t think anyone could have anticipated what would happen next. I clearly remember being in my high school newspaper class, which involved much sitting around and talking with friends, and learning of Predator 2. A friend of mine who was way more into movies than even I was actually had a subscription to Daily Variety, because truly as a high school student it’s important to keep up with the business end of Hollywood. If you’ve ever seen that publication you’ll know there are numerous announcements of various projects being started, and in this case it was an ad announcing the beginning of production on Predator 2. Naturally I was stunned and thrilled . . . that was until about a second later when I saw the stars were Danny Glover and Gary Busey!

Here’s the deal, I like both Glover and Busey as actors. They were even great together in Lethal Weapon. Honestly though after Schwarzenegger, not to mention the pitch perfect cast of the original, the Glover/Busey combo was a cold bucket of water to the face. Seriously think about it. You’re the guys making Predator 2 sitting around a room. Schwarzenegger has taken a pass so you’re trying to find a suitable replacement. The first names that pop into your head are Glover and Busey?!? I can only imagine while they were pondering the casting dilemma Lethal Weapon was playing in the background, causing them to pick up on the duo subliminally. For whatever reason they glossed right over Mel Gibson, and more importantly Tom Atkins. Talk about a missed opportunity, I could totally buy Atkins as a worthy successor to Schwarzenegger, particularly in the lead role of Harrigan!

After that initial Variety revelation, it was a good long while before Predator 2 made it into theaters. I was actually in my freshman year of college, and had forgotten completely about it. Next thing I know I learn while I’m home for Thanksgiving break that Predator 2 has just opened. Despite my hesitation over casting, and the fact that none of my other friends were back in town (with a few days to kill) from their respective schools, I wasted no time in heading over to the theater to check it out. This time it was playing at the fancy new theater in town, fully equipped with a THX-certified sound system (woo-hoo!). While I missed the dank smell and sticky floors of the mall cinema, I must admit that I was happy to take in the new advances in audio-visual technology courtesy of George Lucas.

I knew a little bit about Predator 2 from a commercial and the review I read before seeing it, so I was aware that the action had been transplanted to the city. For me this was an exciting development, and an indicator that the filmmakers were not simply doing a retread. The fact is upon that first viewing I became a confirmed Predator 2 fan. Glover and Busey were more than successful as a maverick cop and seedy government agent respectively, and a great supporting cast was in place with Maria Conchita Alonso, Bill Paxton, Ruben Blades, Robert Davi, and Kent McCord. I’ll admit the first cast was better, but the lineup for the second proves an effort was made to form a top notch crew. They also brought back Stan Winston and Alan Silvestri, so it felt like a Predator movie. Most importantly director Stephen Hopkins, while no John McTiernan, kept the action in constant motion. The first shootout in the streets of L.A. is one of the best opening scenes ever, and there are a lot of inventive Predator gadget shenanigans taking place throughout (e.g. the Predator Frisbee, netgun, retractable spear, etc.).

Although it has much to brag about, Predator 2 isn’t quite perfect. The presence of Morton Downey Jr. is tiresome, and there’s just a little too much time spent on the police procedural part of the film. I don’t need to see an extended scene of Danny Glover running an electrochemical analysis on a spearhead. Maybe the writers felt the audience wouldn’t buy it if Glover and company didn’t go through the investigative hoops of tracking down the Predator, but frankly we all knew it was a Predator and watching the group deduce this via detective work was less than thrilling. Maybe Law & Order fans dig this stuff though, who knows. Luckily these issues are relatively minor when the film is taken as a whole. Unfortunately fandom didn’t respond kindly to Predator 2, and it died quickly at the box office. It seems like it’s won a grudging respect over the years, possibly due to the worse reaction to the AVP movies, but my experience is that fans are divided. They either don’t like Glover, the moving of the action to the city, the issues I’ve mentioned, or any combination of the above. Enter Robert Rodriguez.

When I heard Rodriguez picked up the ball with Predator, teaming with director Nimrod Antal, I felt some hope for the revival of the series. Rodriguez is a bit of a mixed bag for me. I liked El Mariachi (the low budget one) and Planet Terror, and generally respect his love of inventive cinema. On the other hand there’s a whole lot of Spy Kids/Sharkboy & Lavagirl out there for my taste. Hearing some of his comments about the original Predator made me give him the benefit of any doubt though. When I found out he was calling it Predators (an obvious tribute to the Alien/Aliens naming convention), and returning the action to its jungle roots, hope turned to anticipation. This was a heads up that he was serious about getting back to basics and making a solid action film. And sure enough, as I found out in viewing it earlier this week, that’s exactly what he has done.

For the sake of full disclosure I did have one major reservation going into Predators – the casting. When I found out the two leads were Adrien Brody and Topher Grace I had a flashback to the Glover/Busey moment. It’s like Rodriguez had fallen victim to the same impairment the Predator 2 team had, except this time while pondering the cast King Kong and That 70’s Show were playing in the background. Again how do you go from Schwarzenegger to Adrien Brody, or crazier still Topher Grace?!? Fortunately once I saw Brody in action in the previews I knew he was going to pull it off . . . and Grace is appropriate in his role as well. I’ve seen him referred to as the Hawkins of the film, but that’s not totally accurate. Hawkins was a capable, if rather unlucky fellow. Grace plays clueless comic relief for the majority of the film. In any case you also have some other great folks in there, including Rodriguez regular/awesome character actor Danny Trejo. The cast does a solid job on the whole even if they can’t hold up to the original ensemble.

The best news of all is that the action in this one is spectacular. Great booby traps, new Predator technology, new Predators, and even a new planet. More refreshing is that this is accomplished with a bare minimum of CGI, and what’s on display isn’t distractingly fake looking. Director Antal also stays true to the classics by keeping the pace at a constant from the word go when Brody plummets onto the planet, which is also a standout opening sequence. The biggest complaint I’ve seen is that Predators too closely mirrors the original, adding little new to the mix. That observation is fairly accurate, but in my mind this is not a bad thing. As I said in the beginning Predator isn’t meant to be a cerebral exercise. It’s about a battle between an alien and a group of unlucky people. That’s the formula. Stick to The Most Dangerous Game scenario, do it well, and you’ve got a winning entry in the Predator series. The only time things go astray is when too much story is introduced (e.g. the police procedural portions of Predator 2). At the end of the day you just want to see Schwarzenegger, Glover, and Brody slugging it out with the titular foe. To that end Predators succeeds big time, and hopefully will manage to revive the franchise after the damage done by AVP.

While pondering the Predator series this week an interesting reverse parallel occurred to me. Alien was followed by Aliens and Alien 3. Aliens is a beloved classic, and Alien 3 was poorly received upon initial release, later garnering a certain level of respect from a contingent within the fan community. Predator was followed by Predator 2 and Predators. Predators is likely a soon to be beloved classic, and Predator 2 was poorly received upon initial release, later garnering a certain level of respect from a contingent within the fan community. What’s the lesson here? Numbered films are doomed to failure, while just pluralizing the name of the original guarantees box office gold? It’s similar to weird phenomena that occasionally spring up in genre cinema, like odd-numbered Star Treks are of poor quality. Perhaps I’m the odd one out, but I’ve always liked Star Trek 5 over Star Trek 4. And to bring the analogy back home I hate Alien 4. Not sure what the lesson of this observation is, but please makers of Predator 4 don’t call it Resurrection or The Voyage Home (which might even be appropriate all things considered).

The Envy Report: George Eastman House

2010-07-01T09:29:00.003-04:00

Every once in a while I'll post about a venue I wish we had in our area, particularly those that screen a diverse array of cool films. Perhaps one of the best out there is the George Eastman House in Rochester, NY. Being a photography/film archive they must have access to a pretty incredible collection, and their film calendar certainly indicates that this is the case. Occasionally I have a look to see what they are up to, and to consequently torture myself by learning of the fantastic programs I am unable to attend. The wonderful thing about the Eastman House is that they provide such a mix of films, including everything from Kurosawa to Sam Raimi. This summer they have outdone themselves with an event that is just beyond all expectations . . . they are having a Tom Atkins weekend!!

On Friday July 16th they are screening The Fog and Halloween III, and Saturday, July 17th they are having a Fred Dekker combo with Monster Squad and Night of the Creeps. Both days Atkins will be in attendance! On the second night he will be joined by Dekker! This may be the coolest idea any prestigious film repository has ever implemented. Way to go Eastman House! In case you're curious Rochester is 10 hours and 35 minutes from Hampton Roads : )

Fantasmo Episode 56: Team Fantasmo Vs. Bruce Campbell

2010-06-29T15:52:00.003-04:00

Hey Superfans!

Thanks to everyone who came out and made FantaSci such a great time this past weekend! It was a lot of fun, particularly being thrown in the Klingon jail : ) Not wasting a single moment of summer we are now on to our next Fantasmo this weekend, one which is long overdue. For this very special Fantasmo we will be paying tribute to cult cinema legend Bruce Campbell. Known to legions of fans for his iconic role in the Evil Dead series, Campbell has starred in a seemingly endless number of B-movie classics. We’ve chosen the “big budget” capper to the Evil Dead trilogy, and a film that is arguably his finest hour as an actor. Without any further ado here are your full Episode 56 details:

When: Friday, July 2nd

Where: Chesapeake Central Library, 298 Cedar Road, Chesapeake, VA 23322

Films:

8:00 P.M.: Army of Darkness (1993)

9:45 P.M.: Bubba Ho-Tep (2002)

So there you have it, two Bruce classics on the big screen . . . THE WAY THEY WERE MEANT TO BE SEEN! You dare not miss it!

Movie Review: Slipstream (1989)

2010-06-15T17:17:00.004-04:00

With FantaSci on the horizon for Saturday, I thought it would be a good time to review one of my favorite cult sci-fi films, Steven Lisberger’s Slipstream. Before we get started I will tell you upfront that Slipstream is not a GREAT film on the order of 2001, Star Wars, Blade Runner, etc. It has some considerable flaws yet it is still a compelling little gem with an interesting history and pedigree. One of only three films helmed by Lisberger, aka the director of TRON, Slipstream is a post-apocalyptic thriller that juggles multiple themes. It concerns itself with the hotter than ever present day topic of resource conservation, and also ponders what it means to be human. What makes Slipstream a true cult curiosity is not the subject matter however, but the various players who were involved. It sprung from the mind of Lisberger and the producer of Star Wars (Gary Kurtz), and brought together a talented cast including Bill Paxton, Bob Peck, F. Murray Abraham, and Ben Kingsley. Most interesting of all was that the star of the film was none other than Mark Hamill, returning from a 6-year hiatus during which he performed on Broadway in a variety of roles. Add everything up and you have an unusual combination of elements that make for a decidedly one-of-a-kind experience.

In the near future on a ravaged planet Earth, bounty hunter Will Tasker (Hamill), and his female partner Belitski (Kitty Aldridge) are chasing a fugitive (Bob Peck) wanted for murder. After catching him they cross paths with a wise-cracking smuggler named Matt Owens (Bill Paxton) who steals their quarry so that he can collect the promised reward. A high altitude chase ensues across the slipstream, a river of wind that now blankets Earth due to a series of vaguely referenced ecological catastrophes resulting from mankind’s misuse of natural resources. Along the way we find out the fugitive is an android trying to understand what it means to be human, and Paxton begins to question whether he truly should turn in the prisoner that gradually has become a friend. The adventure culminates in a final battle between bounty hunter and android in which there can be no winner.

I first saw Slipstream in high school circa 1990 at the urging of a friend who said it was something special. This was during the late VHS era right before I got into laserdisc, so video store safaris were a regular feature of teenage existence. What you have to appreciate about this, particularly if you didn’t experience this firsthand, is that throughout the 80’s picking out a video was truly an adventure. Alongside tried and true blockbusters like Road Warrior, you would also see a video with a cool looking cover called Future Kill (for example). It had art by H. R. Giger and a cool sounding post-apocalyptic style plot, so you figured how could one go wrong? Since there was no Internet to provide a heads up I learned the answer to that question time and again throughout the decade, so by the time the 90’s rolled around interesting looking covers to unfamiliar sounding movies constituted nothing less than a dare. To make matters worse the movie in question had as its main selling-point that it starred Mark Hamill. Mark Hamill? You mean the guy from Star Wars? Yeah that guy.

I don’t claim to have my finger on the pulse of the fan community, but I get the impression that Hamill is considered somewhat of a cult hero these days. Everyone knows he loves comics and sci-fi, and he shows up regularly in tribute scenarios on everything from The Simpsons to Robot Chicken. He just seems like a cool guy who appreciates the fans and isn’t afraid to be counted among them. Back in the day, before becoming a personality through his attachment to comics and animation, Hamill was known simply as Luke Skywalker. Period. He tried to break out in a number of films that ranged from decent to spectacular (e.g. Corvette Summer, The Big Red One, The Night the Lights Went Out in Georgia), but could never escape his signature role. Since Hollywood wasn’t giving him the parts he desired, he went to Broadway where he starred in Amadeus, The Elephant Man, and a number of other plays. Not too shabby. Minus the benefit of the Internet, or an interest in New York theatre, I knew him strictly as the guy from Star Wars

and a few movies that didn’t seem particularly interesting to me at the time.

Aside from his failure to make an impact with me outside of Star Wars, something else contributed toward my late 80's apathy toward Hamill. Blockbusters were undergoing a bit of a change at that moment in time, with edgier fare capturing viewer interest. As a result Star Wars had faded a bit in prominence. It’s not that the films weren’t still beloved, but the toys had made their way to the discount racks so I’ll leave it at that. In their place were brooding superheroes (e.g. Batman) or over-the-top action spectacles (e.g. Die Hard, Lethal Weapon). Worse still in the case of Hamill, conventional wisdom had become that Han Solo was the star of Star Wars. He was cool where Luke was just a whiny brat. Cementing this point of view was Harrison Ford’s rise to superstardom courtesy of Indiana Jones. So not only had Star Wars faded to the background, but Hamill’s iconic character was out of fashion as well. By the time he got around to making it back to the big screen in Slipstream, his triumphant return was greeted with indifference. I was firmly in the skeptic camp and resistant to giving Slipstream a chance, but my friend was so enthusiastic I couldn’t help but agree to relent. This turned out to be a turning point for me, as thereafter became bona fide Mark Hamill fan.

How did the film/Hamill achieve this not insignificant feat you may ask? Well the thing I haven’t spelled out about his character in Slipstream, although certainly the synopsis hints at it, is that Hamill is both the leading man and the villain in the movie. Right away to the film’s credit the idea of making the leading man the villain is a wildly radical maneuver. It’s a game changer that you rarely see done for the simple fact that it turns audiences off. We want someone we can root for. The second bold move on the film’s part is to make that guy Hamill. Remember he had been out of the limelight for over half a decade, and when he returns it’s as a sociopathic bounty hunter. What’s more is that he pulls the transformation off as convincing as any actor I’ve ever seen. To begin with he’s practically unrecognizable physically. Bleach blond hair, beard, bulked up, wild-eyed, and generally nasty in disposition. Every time I have shown this movie to anyone, without fail they did not know it was Hamill until I told them (and even after they remained in disbelief for a while).

The physical change is just the beginning though. For the running time of Slipstream Hamill becomes the merciless Tasker. You believe he could totally take care of business, and he lets no shred of humanity shine through. Most importantly he exhibits a true screen presence. While Hamill always maintained an agreeable persona in the Star Wars trilogy, Luke Skywalker didn’t give him much of a chance to show he was capable of being an actor with range. Once I went back and saw some of his other work, particularly The Big Red One, I was completely sold. To me though Tasker is still the character I point to, and the film I pull out whenever I need to convince someone that Hamill is a great actor.

This is probably controversial, but I think Hamill has a far greater range than Harrison Ford. I make this comparison because they both had more or less the same starting point. Ford only shot to superstardom after Raiders. In fact he had an experience similar to Hamill's in trying to break out in films such as Hanover Street and The Frisco Kid, which had lukewarm receptions. Raiders gave him that second franchise to keep him in the limelight when his other efforts didn’t ignite (which included Blade Runner). When you think about it Ford basically plays himself in every movie, only his mood varies (sometimes he's concerned and sometimes he's not very concerned). In that sense he’s more of a movie star than an actor. If you like what he does (and I do) that’s great. If not there’s little reason to stick around.

With Hamill you can have him playing wide-eyed hero (Star Wars), troubled soldier (The Big Red One), quirky state trooper (The Night the Lights Went Out in Georgia), zoned out cameraman (Britannia Hospital), steely bounty hunter (Slipstream), or even The Joker (Batman: Mask of the Phantasm). Those titles in and of themselves constitute an interesting body of work, and he is terrific in each one. Unfortunately Slipstream, while being arguably the best of the bunch in terms of his performance, was also the nail in the coffin of his big screen career (live-action at least). For whatever reason the film was unable to secure a theatrical release in America, and only played limited runs in the United Kingdom, Australia, and Japan. Worse still is that it seems to have lapsed into the public domain, as it appears in a number of cheap DVD sets with an awful transfer. Sadly the 20-year-old VHS is probably better. The best way to see it is the Japanese laserdisc, which sports the only widescreen transfer I'm aware of. It makes a world of difference . . . but you’ll have to hunt it down Tasker style!

I’ve spent a LOT of time on Hamill here, but that’s because he is the pressing reason to see Slipstream. If there is a lasting importance of Slipstream in film history, it’s because it's Mark Hamill's comeback movie. This is not to say there aren't other positive elements. The rest of the performances are quite good, if overshadowed by Hamill. Bob Peck (Jurassic Park) makes a sympathetic impression as the soul-searching android, and Bill Paxton perfects his good ol’ boy template that would serve him so well on numerous occasions. Robbie Coltrane, Ben Kingsley, and F. Murray Abraham aren’t given much screen time, but make the most of what they have. Perhaps the only weak link is Kitty Aldridge as Belitski. Her performance as Tasker’s right hand seems a little forced, and you don’t quite believe her eleventh hour change of heart. She’s not bad, but her shortcomings are more noticeable with everyone else operating at a high level.

The other story here involves the guys behind the scenes. Hamill wasn’t the only one who was looking for a comeback. Star Wars/Empire Strikes Back producer Gary Kurtz needed a hit after The Dark Crystal and Return to Oz failed to reach blockbuster status. Lisberger’s TRON also wasn’t a runaway success, and was followed an okay John Cusack comedy called Hot Pursuit. I’m guessing Slipstream was a make or break situation for both of them since they haven’t done a whole lot since. This is unfortunate because they put together a cool little movie with blockbuster aspirations. The characters are involving, the story occasionally hits original notes, and the effects (for the time) are quite good. Given that the director of TRON is involved it’s not surprising to see some early computer-generated effects mixed in. This is pre-Jurassic Park stuff, and totally unconvincing, yet you can tell it must have cost a fortune by how slick it is at times. When not working with CGI Lisberger fares better, including a suspenseful sequence where Paxton has to rescue Peck, who has been bound to a giant kite turned loose in the slipstream.

If Slipstream has any significant drawback it’s that the pacing lags at times. Lisberger gives us a number of great sequences such as the opening confrontation between Paxton and Hamill, the kite rescue, and a satisfying final showdown. However there are also stretches with Paxton making observations about the natural disaster that turned the world upside down, Peck and Paxton discussing humanity, Hamill and Aldridge debating the nature of their existence, etc., that go on a little too long. They have some interesting things to say, but could be trimmed down a bit. It’s as if Lisberger wants to make a 2001, but doesn’t understand that deliberate pacing doesn’t not necessarily equate to intellectual depth. This doesn’t ruin the film, but may account for why it had trouble obtaining a distributor. A sci-fi action spectacular with too little action or things spectactular may not have been appealing in a year of Batman, Ghostbusters, Indiana Jones, Star Trek, and others returning to the cinemas. In some ways this could have been Hamill’s Blade Runner, and would have made for a quirky change of pace in the summer of 1989.

Bottom line you should absolutely check Slipstream out, especially if you want to see an entirely different side of Mark Hamill. Just be forewarned that practically any DVD you come by is going to look terrible, so you’ll have to be a little forgiving on that front. Once you allow yourself to get drawn in by the story, performances, and interesting production design, hopefully you can tune out the murky picture and sound. May the force be with you.

Drive-In Super Monster-Rama

2010-06-14T16:45:00.002-04:00

Hey Superfans!

You may recall last year we told you about a cool event taking place up in Pennsylvania called the Drive-In Super Monster-Rama. A Team Fantasmo delegation went up for the two-night event that featured a line-up of really cool classic horror films. Well this year's lineup has been revealed and it's a pretty eclectic mix, featuring horror comedies, 70's schlock, and great Hammer movies. If you miss the old drive-in experience this is a great event . . . plus it's just minutes away from the mall where Romero shot the original Dawn of the Dead (a fact the mall plays up big time). Of all the titles they're screening this time around, the most intriguing is The Incredible Melting Man. Having seen this a few times over the years I can tell you it's not a great movie - but it is a great drive-in movie. I can't imagine what this must look like on the big screen. A perfect close to the first evening I would say : )

Fright Night Remake

2010-06-10T12:34:00.005-04:00

Late last year while watching the remake of Patrick McGoohan's The Prisoner I blogged about the value of remakes. I observed that while the vast majority of genre remakes are pretty weak, the right to remake is perfectly valid. After all sometimes it can yield interesting results (e.g. Friedkin's Sorceror, De Palma's Untouchables, etc.). That being said even my open-minded point of view took a mighty blow yesterday when I saw details on the upcoming Fright Night remake over at Ain't It Cool News.

There are a handful of genre films out there that I consider to be perfect, never taking a wrong step. Perfectly conceived, scripted, casted, scored, filmed, marketed . . . you name it. Fright Night is one of those films. Chris Sarandon, Roddy McDowall, and William Ragsdale give arguably the best performances of their respective careers, director/writer Tom Holland never hit a higher note, Brad Fiedel turned in an outstanding electronic score, the accompanying rock soundtrack was excellent, and honestly the whole thing came together as the best vampire film of the 80's. Even so, just like I wrote of The Prisoner, I think I would be open to revisitation under reasonable conditions. These are not those conditions.

The broad sketches of the re-imagined story as I understand it once again involve the central trio of Charley Brewster (now spelled Charlie for some reason), Peter Vincent, and swinging vampire Jerry Dandridge. Now though Vincent is a wacky Vegas magician instead of a Hammer-style horror host, again employed for his supposed ability to take on vampires. Already that's some serious trouble, as the concept for Vincent is what made the first film so great. It was a love letter to old school horror stars. What is this a love letter to . . . seedy Vegas nightclub acts?

Then there are the new cast members. Anton Yelchin as Charlie, David Tennant as Peter, and Colin Farrell as Dandridge. Oh and McLovin from Superbad as Evil Ed. I liked Tennant okay as Dr. Who, and the other three can be okay under certain circumstances. As replacements for Ragsdale, McDowall, Sarandon, and even Geoffreys this is a disaster in the making. Perhaps the craziest aspect of all is that Tennant couldn't be that much older than Yelchin, which totally changes the dynamics of the Brewster/Vincent relationship. You can't tell me they couldn't find a more approrpriate bunch to fill out the roster. In my mind the only one who has a shot at a performance approaching the classic cast's quality level is Farrell. I'm not a big fan, but if he swings for the fences I think he could do a respectable Dandridge. But it's a big if.

While the rational critic in me says remakes have a right to exist, the fan is exclaiming please stop the remakes now! No chance of that it seems . . . which celebrated classic will be next I wonder?

Movie Review: Survival of the Dead (2010)

2010-06-07T12:15:00.002-04:00

When it comes to zombie movies, there’s no question that George A. Romero is the most important name in the genre. While there were examples in cinema prior to his landmark film Night of the Living Dead, he’s the one who set the pattern for everything we now associate with the modern zombie film. Everyone from Lucio Fulci to Zack Snyder is in this guy’s debt. Certainly he’s also the reason zombies are among my favorites when it comes to movie monsters, and I spent a great deal of my teenage years enjoying his classic trilogy (Night, Dawn, and Day) and other outstanding efforts (Creepshow, Knightriders, The Crazies, Martin, etc.). At Fantasmo HQ Romero also generates a significant amount of affection, right up there with folks like John Carpenter, Tobe Hooper, Dario Argento, Wes Craven, and others of note. We’re talking serious cachet here. Even so, in recent years Romero has fallen somewhat out of favor due to his new dead trilogy (Land, Diary, and now Survival). Whereas his classic films managed to mingle social commentary and terrifying zombie action with tremendous skill, this new batch has been lacking. The order of the day has been heavy-handed political jabs, weak character development, and truly awful CGI in place of practical effects.

With the above in mind many folks were calling it quits after Diary of the Dead, proclaiming that the zombie master had finally lost his touch. Although I wasn’t ready to join that bandwagon, I certainly had a feeling that there was little hope for getting another classic zombie film. When I heard that Romero was doing another installment in the latest cycle, Survival of the Dead, I didn’t greet the news with much excitement. Early screening reports seemed to indicate that there was no reason to celebrate, which was no surprise to anyone. Nevertheless the fact remained that it was a Romero zombie film, and therefore required viewing. I figured I would end up checking it out on video, as it would likely only receive a limited release in theaters this summer. Imagine my surprise to find out it was premiering ahead of its theatrical run on Xbox Live and PlayStation!! So this past weekend I was able to hold my own personal Hampton Roads premiere of the film : ) Because of this unexpected novelty my excitement level received a boost. For this I am glad, as I think it actually evened out my expectations to a reasonable level. Not too hopeful, not too negative, but just enough to give the film a fair chance.

Survival of the Dead, as with all of Romero’s zombie films, follows a group of survivors trying to find a safe haven amidst a zombie outbreak. This time around is interesting in that the focal hero is a peripheral character from Diary of the Dead named Crocket, thereby representing a first in terms of direct continuity between entries. He was a not so kindly leader of a military platoon that robbed the heroes in the previous film. Now Crocket is trying to get his remaining crew to a better place, and seems to have developed a bit of a conscience. We are also introduced to another situation taking place on Plum Island (off the coast of Massachusetts), where two warring clans of its population are debating how to treat the outbreak. The Muldoon clan led by Seamus Muldoon feels that the zombies should be kept around in the event a cure emerges. The O’Flynn clan thinks they need to be put out of their misery since they are no longer alive. Crocket and his crew stumble into the middle of the dispute, and a battle for the fate of the island ensues.

I have to say this movie is a tough call. Part of me likes it, and part of me thinks it’s fairly weak. Let’s start with the good. First off the story and circumstances are interesting enough. It's a cool notion for Romero to pick up the story of a peripheral character from another installment (even if it is the worst in the series), and I thought the debate taking place on the island held intriguing possibilities. At least it was something we hadn’t seen before. There are shades of Bub from Day of the Dead when Muldoon is trying to teach the zombies to hunt something other than humans, but mostly this is an original development. The setting of the island is also terrific. There is plenty of beautiful scenery on display, and Romero gets in some nice photography here and there (I’m ready to visit). The island also provides a reasonably believable dynamic of a culture that is outside of modern society. I’ve never been to Plum Island so that’s probably all bogus, but I was willing to take it on faith for this exercise. Particularly interesting was the fact that it allowed Romero to give the latter half of the film a Western type vibe, for which I’m a total sucker. Again it was something I felt he hadn’t done before, so it was nice to see new ground being broken.

Okay now for the not so good, which includes unforgivably bad CGI, weak character development, and zero terror. Normally I don’t like to focus on special effects when reviewing a movie, as this deficit can be overcome when the other ingredients are in place. In the instance of these new Romero zombie movies however, I feel it has to be given special importance. Romero’s early films all relied on practical effects, largely supplied by Tom Savini. These were groundbreaking, and in most cases maintain their efficacy to this day. I’m sure they are more complicated to orchestrate, but I would rather see a limited number of practical effects than a host of poorly executed computer graphics. They end up looking silly, and worse still eliminate any sort of scare factor that might be achieved (the greatest offense of all). Literally within the first couple of minutes of Survival of the Dead Romero uses some of the worst CGI shots I have ever seen. It was nothing short of a miracle that my good will reservoir was able to withstand it. I became worried I might not be able to make it through without fast-forwarding. Thankfully he managed to recover with mildly interesting character and story developments, but it was a close call.

It might be tempting to give Romero a pass on this due to the fact that with Survival he’s working with a low-budget. The thing is he’s always worked with a low-budget for the most part, except on Land of the Dead. Land is the most telling with regard to his perspective, as he must have had enough resources to make a choice between CGI and practical. Granted he had to use CGI to produce the more epic shots in that film, but for close quarters action he also went digital. The results were underwhelming. Here he’s back to his indie roots, and he still is going digital. It’s one thing to use it for a quick cheat, but this thing is overflowing with poorly implemented CGI sequences that are highlighted as if they were carried off on a Lord of the Rings level of expertise. I found it ironic that I was watching a film that at times resembled a lackluster video game on my PlayStation. Somehow it seemed appropriate. The fact is I didn’t want to watch a video game version of a Romero movie, I wanted to see an actual Romero movie. Fans are clamoring for a true Romero zombie movie, yet he keeps returning to the digital well. This is frustrating to say the least.

Next up are the characters. Not quite the disaster constituted by the special effects, the characters in this almost work. We’re given enough information to be interested, but not enough to deeply care. In Dawn of the Dead it is a major blow when Roger and Flyboy fall victim to the horde. Here there’s not one character that registers enough to generate any concern. There are moments that almost pull it off, but ultimately miss the mark. I believe this is partly due to the fact that the film is short, and therefore time to develop characters just isn’t there. The bigger problem however is that the writing delves too much into the realm of the ridiculous. Characters in Survival become caricatures, rendering them one-dimensional and often comical. Romero started to reveal this unfortunate tendency in Day of the Dead with over-the-top characters like Rhodes. The rest of that film was mostly rock solid so it was possible to overlook the problems. Not so in this era. Here viewers are given no positive areas in which to retreat, and as a result focus must remain on the weaknesses. For what it’s worth there are some decent performances, and I did enjoy Kenneth Welsh’s Patrick O’Flynn. In a better Romero effort he could be a great character.

Last, but certainly not least, is the primary offender. There is not one moment of tension or terror in this movie. Not one. Even Diary had a couple of decent moments! The nearest Survival comes to tension is toward the beginning when Crocket and company are trying to get their armored car on a ferry. It involves a shootout and swimming in zombie infested waters. There are good moments in the sequence, but they are undermined by CGI and some badly placed comedy. As for the rest of the film it’s a complete loss on this front. Even Romero’s trademark siege finale is devoid of any sense of urgency. There are of course a few fun visuals mixed in, but all of a been-there-done-that variety. The only items that manage to salvage the finale are a handful of decent character moments between Patrick O’Flynn and Seamus Muldoon, and a revelation about Muldoon’s grand experiment. Some have cited that the lack of terror is a direct result of poor use of the zombies. Indeed they are played for laughs primarily, and have minimal screen time. For my money the problem is twofold. Romero doesn’t establish a balance between the comic and the serious, and the poor CGI swoops in to exaggerate the problem. In isolation each would be problematic, but combined they are overwhelming.

The crazy thing is despite all the problems with Survival of the Dead, on some level I still managed to enjoy it. There are good moments here and there, mildly interesting characters, and plot developments that aren’t completely recycled from previous efforts. Under normal circumstances this would not constitute a reason to celebrate, but following Land and Diary it’s practically a miraculous achievement. After Diary many pronounced Romero as gone for good, but Survival shows that there is still a spark present. That alone may be the reason why I can recommend the film, at least to fans. You see no matter what the fans (myself included) will always be pulling for Romero to return once more with a classic. We hope against hope that he will go back to those early efforts, analyze what made them so great, and employ his gifts as a storyteller in this digital age. CGI shouldn’t be the only tool in the toolbox. In the meantime, bearing in mind the reservations I have mentioned, I would say go ahead and check this one out. At minimum it’s a better way to leave things than Diary of the Dead.

On a final note I have to mention one more item on the whole movie premieres on Xbox/PlayStation subject. In addition to Survival of the Dead the services also are premiering [REC] 2 prior to its theatrical release later this summer. We screened the first one at Fantasmo back in November, and I would strongly recommend it to any fan of zombie horror (or horror films in general). It’s one of the best films I’ve seen in recent years, and one of the scariest to boot. Watch this in a darkened room by yourself and you will be shaken and stirred guaranteed. Early word on the sequel is that it’s even better! I’ll be checking it out at some point this week and posting a review. It’s drawing the always popular Alien/Aliens comparison, especially since the story involves a team of heavily armed police entering the doomed apartment building. If it’s as good as everyone is saying, maybe we should go ahead and retire the Alien/Aliens analogy for the modern era. Now we can say Movie X is to Movie X Part 2, as [REC] is to [REC] 2. Just a thought : )

FantaSci 8: Invasion of the Krackle Botz

2010-06-03T16:19:00.003-04:00

Hey Superfans!

It’s time once again for the yearly mega-event FantaSci, the all-day sci-fi/fantasy convention here at the library! This marks the 8th edition of the program and I have to say it’s shaping up to be the biggest yet. Our theme this time out revolves around the mysterious Krackle Botz, whose origin and purpose will be revealed at a special afternoon session with artist Brian Bridgeforth. I can only tell you that it has to do with something very cool and exciting that will be taking place at the library in the coming year, and this session will be a fun teaser/preview. You definitely don’t want to miss it!

Of course there will be lots of great authors, artists, filmmakers, and fan clubs on hand, as well as special guests and collectible vendors. Regal Cinemas will also be here with movie passes, cool promotional items and posters to give away, as well as a stunning display from an upcoming blockbuster. Programming will run throughout the day featuring panels and workshops, gaming, and a special presentation by the one-and-only Dr. Madblood as a prelude to the Madblood anniversary celebration taking place at Monster Fest in October. But that’s not all . . .

We will be capping the day off with a FantaSci edition of Fantasmo in the evening, featuring a classic sci-fi double-feature. Kicking things off will be a screening of Star Trek VI: The Undiscovered Country presented by Klingons from the IKV Devastator, followed by Forbidden Planet. All on the big screen the way they were meant to be seen!

Without any further ado, here are your full FantaSci 8 details:

When: Saturday, June 26th, 9:00 a.m.

Where: Chesapeake Central Library, 298 Cedar Road

Schedule of Events:

11:00 a.m. - Three Decades of Trekking Through Star Trek Movies - Presented by: Starfleet Atlantic

12:00 p.m. - Lightsaber Duel & Demonstration - Presented by: Tidewater Alliance

12:00 p.m. - Writer Beware: Avoiding Publishing Scams - Presented by: Rich White

12:00 p.m. - Literary Aliens, Fairies, Vampires, Werewolves & More - Oh My! - Presented by: Pamela Kinney

1:00 p.m. - Costume Contest

1:30 p.m. - Invasion of the Krackle Botz! Sci-Fi Art From Concept to Creation - Presented by: Brian & Marie Bridgeforth

1:30 p.m. - Pickleman Productions - A Look Inside the Jar: Animation, Puppetry, & More -Presented by: Elizabeth Pasieczny

1:30 p.m. - LOST: Discussion & Recap – Presented by: Pat Quevedo, Wendy Natividad, Katrina Ross

2:30 p.m. - Quick Write Workshop - Presented by: Tony Ruggiero

2:30 p.m. - Classic Dr. Madblood Episode - Presented by: Dr. Madblood & Craig T. Adams

3:00 p.m. - Lightsaber Duel & Demonstration - Presented by: Tidewater Alliance

3:30 p.m. - Embracing Your Inner Klingon - Presented by: IKV Devastator

Doors Close at 5:00 p.m. and Reopen at 7:30 p.m.

8:00 p.m. – Star Trek VI: The Undiscovered Country – Presented by: IKV Devastator

10:00 p.m. – Forbidden Planet

A pretty full day to say the least! For even more cool details check out the Chesapeake Public Library home page at http://www.infopeake.org/ and the FantaSci web site at http://www.fantasciconvention.com/. See you on the 26th!

Movie Reivew: Looker (1981)

2010-05-19T16:25:00.003-04:00

These days most people associate the late Michael Crichton with blockbuster successes like Jurassic Park and ER. Although I enjoy his post-80’s output, my favorites will always be his directorial efforts with Looker and Runaway. Both are focused on his concerns about where technology is taking us, particularly when it runs amok. It’s hard to pick a favorite but I’d have to give Looker the edge, and it’s all the more interesting/prophetic given the advent of CGI. The film is about what might happen if computers advanced to the point that virtual actors could be produced for the advertising world, and certainly we’re just about there (if we aren’t already). Crichton posits that evil companies would take advantage, doing everything from killing actresses and models, to implanting subliminal messages in the mind of the viewer. I don’t know if anything like that has ever happened behind the scenes (let’s hope not), but luckily in the case of Looker Albert Finney is on hand to take care of the situation. Yes Albert Finney. Along for the ride is some wildly dated 80’s fashion and music, but thankfully they don’t diminish an otherwise exciting thriller.

Albert Finney plays Dr. Larry Roberts, a highly successful plastic surgeon in Beverly Hills. After one of his patients, a beautiful model, dies under mysterious circumstances, he begins to look closer at a disturbing trend. Recently models have been coming in with very specific requests for adjustments that are aimed at making them “perfect.” While investigating the situation Roberts’ latest patient and potential love interest Cindy Fairmont (Susan Dey), invites him to come with her to a job prep session at a company called Digital Matrix Inc. There she is subjected to a full body scan, in which her image is downloaded into a computer. Following the session she is later provided with a list of improvements to achieve the perfect look, prompting Roberts to put two and two together. Also it turns out that frequent villain James Coburn runs the company which is never a good sign. Roberts and Fairmont spend the rest of the movie in a cat and mouse game with the Digital Matrix baddies, who are planning to use the computer models to implant subliminal messages in the minds of the American consumer.

You have to hand it to Crichton, although his concepts can be at times far-fetched, there’s usually a nugget or two that are eerily on target. In the case of Looker he nailed the development that digital actors and actresses would someday become a reality. The first instance that many would likely identify as the warning shot across the bow would be Jar Jar Binks. If that wasn’t an ominous portent of things to come, I don’t know what is. Mark Hamill is noted as saying that George Lucas prefers the puppets to actors, and in some ways that attitude is understandable. After all it’s far easier to manipulate zeroes and ones than a human being with whom one must negotiate to produce a performance. Apparently James Cameron is a student of this school of thought, as he spent the past 10 years developing a technology that makes Lucas’s commitment to a human free cinema positively half-hearted. Avatar clearly shows that real-looking fake characters are more than possible. Now if they can get the voice piece down we are living the dream (or nightmare) of Looker.

Honestly I’m of two minds on whether this digital actor business is good or bad. On the surface I’m guessing most people would react negatively to the thought of traditional actors being replaced by entirely digital counterparts. I’m not a big fan of CGI to begin with, but that may be due largely to the generation in which I came of age. I like practical effects, even though I can occasionally appreciate something with a lot of computer imagery (e.g. The Matrix). Even so, given our culture’s obsession with celebrity, it’s hard to imagine we’d be willing to let go of the real actors and actresses entirely. After all what would become of the celebrity gossip shows? Would CGI models be followed around by the TMZ group in fabricated moments of spontaneity? I don’t know, but it makes for a hilarious (and sad) possibility.

Likely regardless of generational effects, I’d say folks will always prefer to have some actual human behind a performance. On the other hand, CGI holds some intriguing possibilities. I read somewhere, in relation to Avatar I believe, the idea that one could take a young image of Clint Eastwood, his voice samples, and create a perfect model to be used in films. Carrying that forward Eastwood could keep making Dirty Harry films long after he has passed on. I’m not eager to see Clint go anywhere, but it would be fantastic to be able to see new Eastwood movies well into the future! And don't even get me started with the possibilities as they relate to Steven Seagal.

Looker doesn’t just stop with pondering the simulated person idea though. It takes it things a step further by suggesting that scientific analysis could discern what images are “perfectly” appealing to the viewer. There’s a scene where Finney views a commercial while his eye movements are tracked. The results of the test show that instead of following the product, he followed the movements of the attractive model (he humorously suggests he was interested in her bathing suit). What the folks in the film are trying to do is to use the models strategically to ensure that the product is the focus. Granted the sci-fi angle also comes into play, with Crichton inserting light pulses that essentially hypnotize the viewer. That’s a bit sinister to say the least, yet there are certainly things happening in our world that could lead down such a road.

The current parallel I’m reminded of is that of Internet marketing. For example when you go to a particular site or conduct a search, thereafter you receive targeted marketing to steer you in a direction you may otherwise have missed (for better or worse). The idea is that your interests are anticipated, and to some extent stealthily cataloged. It won’t be long before this finds its way to televisions that know what you like (I’ll bet there are already sets out there that do something like this), and certainly phones have been there for a little while. I have to admit that sometimes I like it when I discover something via electronic suggestions, but there’s also something unsettling about it as well. It can probably be summed up best as a relative of privacy invasion, but with the tech boom showing no signs of slowing the trend isn’t going anywhere.

Conceptually Looker is certainly prescient and intriguing, but how is it in terms of entertainment value? This is one of those movies I have very fond memories of as a kid, in large part because I must have seen it 20 times when it ran on cable in the 80’s. It played constantly. Between it and Wolfen I was under the impression that Albert Finney did nothing but sci-fi and horror, as those were my first introduction to him! Going back and watching Looker now it’s not quite the home run it was for me at that point in my life. The pacing is a little too relaxed, and Crichton doesn’t consistently figure out how to generate suspense. That said when Looker works, it works like gangbusters. One of the iconic elements of the film is a light gun the villains use that causes victims to lose their perspective of time. So you get hit by it and wake up anywhere from a few minutes to a few hours later (allowing the villains time to ransack apartments, punch people out, or worse). This makes for some extremely cool action sequences that remain to this day unique and effective. Of particular note is a mid-film car chase where Finney and the villains are firing light guns back and forth at each other. Great stuff.

The element that’s most likely to turn most newcomers off is just how 80’s the whole affair is. The fashion, the cheesy commercials, and especially the music don’t fare so well. Even a self-avowed 80’s aficionado such as me found it at times distracting. The truth is however that this aspect isn’t in place artificially, and Crichton incorporates the dated materials in a way that is natural. In other words the cheese is contextually valid. Unfortunately it can be off-putting to those predisposed to ridicule and dismiss that sort of thing . . . and it makes it a difficult sell for fans trying to introduce it as a serious piece of serious sci-fi. The only legitimate gripe in my opinion is the title song which opens the film. It sounds like an obnoxious imitation of a bad Kim Carnes song. Interestingly the song and the score are done by Barry De Vorzon who also scored The Warriors. The electronic score works for the most part, it’s just when it veers into rock that trouble rears its head. The music is highly effective in the light gun sequences where it does a great job in building tension.

Any cult film devotee, sci-fi fan, or Crichton reader should absolutely seek out Looker. It features fine performances, and anticipates some of the technical developments that are happening in the present day (excluding light guns as far as we know). Better still are the inclusion of action sequences that are unlike any you have ever experienced, and have held up remarkably well in the 30(!) years since its release. For an outstanding double-feature I would recommend pairing it with Crichton’s almost equally as interesting Runaway, or Finney’s bizarre excursion into horror with Wolfen. You really can’t go wrong with anything on that list : )

Movie Review: The Keep (1983)

2010-05-14T11:31:00.005-04:00

Before achieving massive success with Miami Vice, Heat, The Insider, Ali, etc., director Michael Mann dipped into the horror genre in the early 80’s with the film adaptation of F. Paul Wilson’s The Keep. The novel is a vampire fantasy set in the latter days of WWII, depicting the German army’s unfortunate intersection with an epic battle between supernatural beings in a remote mountain castle in Romania. It’s a terrific book filled with well-drawn characters, a solid story, and a wonderfully creepy atmosphere. Honestly though in terms of attempting a film translation it’s a little daunting because there’s so much going on. Undeterred Mann plunged ahead and created one of the best horror films of the decade, a piece almost entirely reliant on mood vs. conventional storytelling. The film bombed at the box office and received a critical thrashing, the prevailing attitude being that The Keep was a good-looking, yet jumbled mess of a film. I agree with the first part, however must beg to differ with the second. While not a perfect film, The Keep is nevertheless a significant achievement for its era, and due to its hallucinatory vibe has maintained a timeless quality. No doubt many will disagree, but I find it to be Mann’s most fascinating work among a rather impressive set of credentials. I shall do my best to explain . . .

The Keep starts out with a motorized German regiment traveling along a dreary mountain pass in the pouring rain. From the word go there is an oppressive gloom to the film that sets the stage for what is to come. As the rain pours down loudly the electronic score by Tangerine Dream kicks in and organically blends with the ambient noise. The whole tableau has the effect of drawing one in immediately to the ethereal mood Mann is working to establish. Few movies do this as well as The Keep manages. As the convoy enters the small village that is home to the keep we feel as much an outsider as the soldiers. Our guide is a German officer named Woermann (Jurgen Prochnow) who is a tough, yet sympathetic fellow. We grow to learn that he despises the Nazis, contrary to the initial stern attitude he puts forward.

The convoy pulls up to the keep, which is so monolithic that it’s hard to get an accurate impression of its size and shape. Woermann and company head inside to set up camp for the occupation of the village, and he is immediately warned off by the caretaker who explains that "no one stays" inside. This is not because it is forbidden by anyone in particular, but simply because “no one stays.” Woermann immediately picks up on the supernatural hint and is willing to have no part of it . . . even though the walls are covered with nickel crosses (to keep something in as it turns out). The crew sets up camp and no sooner does the first night fall before the trouble commences. Two soldiers think there are silver crosses and pry some loose revealing a huge chasm. In one of the most amazing visuals a “presence” rises from the chasm and attacks one of the soldiers, and we can only see the action from afar. When his companion gets a closer look he discovers that the fellow has been practically obliterated, and shortly thereafter is subjected to the same treatment.

Suspecting that the villagers are engaging in sabotage, military command sends a complement of SS soldiers to wreak havoc and get to the bottom of things. Their ruthless leader Kaempffer (Gabriel Byrne) immediately clashes with Woermann, who is increasingly convinced that the supernatural is in play. After harsh interrogations Kaempffer learns of a Jewish expert named Cuza (Ian McKellen) who may be able to advise him on the keep. Fortunately Cuza and his daughter are rescued as they are about to be sent to a concentration camp. Since Cuza is stricken by a crippling disease his daughter is allowed to come along as his caretaker. As he stalls for time to plan an escape for his daughter, he encounters the creature at the heart of the keep and is offered a deal with the devil of sorts. Racing to the keep to prevent catastrophe is a mysterious stranger named Glaeken (Scott Glenn) who is prepared for a final battle with the ultimate evil.

The biggest problem with The Keep resides in the fact that it tries to cram a lot of plot and too many characters into a woefully inadequate 90-minutes. The events move along at a breakneck pace, giving one little time to absorb each new development. As a result one has to be open to arriving in the middle of an existing world, and not being let in on much of the necessary details in order to enjoy the film. A recent BFI film study on Star Wars by Will Brooker makes the case the Lucas does the same sort of thing in his original trilogy. Basically the viewer is dropped into a universe with a long-running history, which is never fully explained but referenced continuously. It’s an interesting observation because this tactic is highly effective in creating the wonderful atmosphere of those films. In regards to The Keep viewers will be familiar with the historical context of WWII, but the history of Glaeken and his adversary Rasalom (Michael Carter) are not examined whatsoever. This is a major feature of the book (which is in fact also the first in a trilogy), so there’s little doubt that its absence in the film is not an accident.

With this last point in mind Mann makes an interesting choice that sends the film down a path that is make or break depending on one’s tolerance. Instead of focusing on the primary hero and villain, he chooses to focus (to the extent that there is a focus) on the peripheral characters of the soldiers and the Cuzas. The good news is that Prochnow, McKellen, Byrne and company do a great job within the limited time they are given to make an impression. Real sympathy is generated for the good guys, and the villains are all sufficiently despicable. On the other hand Glaeken and Rasalom are total question marks, as is the motive behind their conflict. All we are told is that Rasalom is evil and wants out, and Glaeken has come to destroy him. To some extent this is enough information I suppose, but let’s look at the Star Wars analogy. Imagine if 15-20 minutes of screen time was given to Luke Skywalker in A New Hope, with the rest of the film devoted to the tribulations faced by C-3PO and R2-D2. It would still be cool and groundbreaking in its own way, but you couldn’t help but wonder if there was something missing. For those familiar with the original novel the answer to what is missing is abundantly clear, and to viewers The Keep just winds up being more than a little confusing.

You might be thinking to yourself that it doesn’t sound like I care too much for The Keep given these issues. Honestly the first time I saw it I was a little befuddled. I had seen previews for it and thought it looked mighty cool, so as was customary I pleaded with my parents to take me to see it. In that particular period we still saw about 50% of theatrical releases at the drive-in, and so it was with The Keep. It was on a triple bill with The Dead Zone and Uncommon Valor, and as was also customary I convinced them to stay for all three : ) So in one evening we watched a moody Michael Mann film, a Stephen King/Christopher Walken/David Cronenberg collaboration, and a war movie with Reb “Yor: The Hunter From the Future” Brown. Quite a night. All of these were of high interest to me, but most of all The Keep. However stacked against those other films The Keep was less than thrilling and somewhat of a letdown. It had an interesting looking monster and cool visuals, but it was light on action and lacked a coherent story. What can I say, artsy horror like The Keep had a hard time competing with Stephen King and Reb Brown for my attention as a young teen. It wasn’t until years later that the tide started to turn.

I was browsing in a local bookstore sometime in the early 90’s when I happened across the novel by F. Paul Wilson. Remembering my experience with the film I wondered if perhaps the book would shed any light on what was going on with the fuzzy plot. Boy did it ever! The novel fleshes out all the characters, and gives the much needed background on Glaeken and Rasalom. Wilson even put out a sequels which formed a trilogy depicting the struggle between the two rivals over the ages. It’s a true horror epic. I ended up loving the book and it’s one of few fiction titles that I occasionally revisit now and then. It never fails to creep me out, and the characters and storytelling are outstanding. I enjoyed it so much that it sparked my interest in revisiting the film, hoping that the background from the novel would clarify what was missing during my first viewing. Being somewhat of an A/V die hard I tracked down the widescreen laserdisc for a proper screening (Mann uses the ultra widescreen ratio of 2:35:1, so watching The Keep in pan & scan is entirely unacceptable). Sadly to this day the laserdisc is still the best way to view the film outside of theatrical exhibition, as no DVD, Blu-Ray, or even Itunes release has emerged.

In any case that second viewing was quite a different experience. The same issues still remained, but with the back story in mind things were easier to follow. Furthermore my appreciation of artsy fare had increased substantially, and I was able to embrace Mann’s atmospheric approach to the material. Watching this in a darkened room one starts to feel the dank confines of the castle and the air of hopelessness that dominates the proceedings. While it would have been interesting to see what would have happened if Mann had been more faithful to Wilson’s novel (one could easily imagine how this could have been adapted as the trilogy), there’s no question that he succeeded in making one of the most unique horror films of the last 30 years. It stands head and shoulders above most of the slasher fare of the 80’s, and its dreamlike quality provides an experience that few other horror films achieve (e.g. the very best of Argento, Fulci, etc.).

As an interesting aside, despite being a loser at the box office the participants mostly went on to highly successful careers. Mann, Byrne, Prochnow, and McKellen all ended up doing very well. In my mind the real casualty of The Keep is Scott Glenn. Glenn is one of the great actors of that era, and I believe The Keep is largely responsible for halting his ascent to A-list leading man. Prior to that point he had been featured in prominent supporting roles in Personal Best and Urban Cowboy, before finally getting his first lead role in John Frankenheimer’s The Challenge opposite the legendary Toshiro Mifune. That was a pretty amazing film and he followed it up with the equally awesome The Right Stuff. Kind of on a roll there. As a big-budget fantasy release The Keep should have cemented Glenn’s status. Despite the fact that he is the top-billed leading man in the film, he gets about 5 lines of dialogue and 15 minutes of screen time! Pretty unbelievable. Then the film bombs and he’s at the head of the list of participants. It’s not difficult to imagine that he didn’t instantly spring to mind thereafter when folks were seeking to cast big studio films. Glenn did (and still does) reach greatness in supporting roles (e.g. Silence of the Lambs, The Hunt for Red October, Backdraft, etc.), but he never quite made it back to the height of that moment in time. A real shame.

The good news is that The Keep is downright amazing . . . you just have to be willing to accept it on its own terms, rather than expectations of what a traditional horror narrative should be. That may be a bitter pill for fans of the book, but like any adaptation compromises are made. My hope is that one day The Keep finds its way onto a modern home video format so we can have a Fantasmo screening!

On a final note if you become a devotee of The Keep like me you’ll also want to track down the official board game(!) that was released in conjunction with the film, so you can recreate all the thrilling action and scares at home. I blogged about it on a post concerning unlikely movie board games, and it is definitely one of my faves in the lot. If you check out the image of it in the posting you'll notice it's based on "the hit" movie (yeah right). Also cool is the fact that they redid the poster image so that instead of two soldiers running toward the keep, it has the silhouette of Glaeken and Cuza's daughter in the doorway to emphasize the unlikely romantic angle.

Best Worst Movie = Troll 2

2010-04-27T10:27:00.005-04:00

I mentioned this at Fantasmo, but had to share it again for any who may have missed it. As those of you who attended our 5th Annual Schlock-O-Thon well know, Troll 2 may be perhaps the most outrageous film we've ever had the pleasure of viewing . . . and that's really saying something considering we have shown both The Apple and Can't Stop the Music. While those are both pretty outrageous, they can't match the constant barrage of the unexpected that is provided by Troll 2. Apparently a lot of other folks have picked up on this as well, as Troll 2 has become something of a midnight show phenomenon over the past several years. This prompted one of the stars to produce a documentary called Best Worst Movie to uncover the rediscovery of the film by a new generation (the intended generation never actually discovered it).

Needless to say I can hardly wait to see this - the trailer looks incredible (just click on the poster to check it out)! The fellow who played the father is now a dentist, and looks to be the star of the show (his performance in Troll 2 was certainly memorable). There's a fun review of the film over at DVD Talk that gives an idea of what to expect. Most fascinating is that it sounds like the film was meant to be a covert statement against vegetarianism (remember the young hero defeats the monsters with a bologna sandwich)! Absolutely fascinating.

El Santo @ CPL!

2010-04-22T17:05:00.004-04:00

As if our atom age monster tribute weren't enough for the month of May, your Team Fantasmo will also be screening some great El Santo films in conjunction with the library's BIG Cinco de Mayo program on Wednesday, May 5th. The festival will be taking place from 2:00 p.m. - 8:00 p.m., and will include food, music, dancing, and more! And by more of course I mean the cinematic stylings of El Santo. Now if you're asking yourself right now who in the world is El Santo, he's a masked wrestler/superhero/crimefighter who is one of the biggest stars south of the border. According to my Team Fantasmo partner (and El Santo expert) Rob he's basically Mexico's answer to John Wayne. I sort of see him as a Lone Ranger/Superman type . . . who wrestles. No matter how you look at it though, he's awesome in all respects. In any event the movies will kick off at 6:30 p.m., but of course you should come early and check out the other goings on!

On a totally unrelated note, Fantasmo All-Star George Booker checked in to let me know about a local fellow named Justin Kosch who is launching a blog dedicated to Italian giallos. Most interesting is that in late May he will be embarking on a 30-day odyssey of watching and reviewing a giallo a day. That's quite a challenge as giallos vary widely in quality, and it will be interesting to see how Justin fares : ) Good luck sir!

Fantasmo Episode 55: Atom Age Monsters

2010-04-19T13:12:00.002-04:00

Hey Superfans!

Thanks to everyone who came out for our big anniversary special this past weekend, it was certainly one for the record books . . . I for one don't think I'll forget Troll 2 anytime soon : ) No time for lingering on the past however, as our May edition is right around the corner. We're returning to the classic era of 50's monsters for our summer kickoff, with a couple of giant critters receiving the spotlight: the tarantula and the mantis. For some strange reason giant bugs were a major concern of folks in that particular time period, so it must have been a very interesting time. Generally these threats were a result of atomic radiation, science run amok, or explorers probing areas of the earth in which they had no business. It's kind of interesting that gigantism was strongly considered to be a focus/byproduct of scientific experimentation, and leads me to wonder why that became a popular theory. While the giant monsters never became a reality (that we know of), at least they provided the basis for some pretty great movies. Our full Episode 55 agenda is as follows:

When: Friday, May 7th

Where: Chesapeake Central Library, 298 Cedar Road, Chesapeake, VA 23322

Films:

8:00 P.M.: Tarantula (1955)

9:45 P.M.: The Deadly Mantis (1957)

So there you have it Superfans, the perfect way to start your summer. See you there!