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Saturday, January 12, 2013

Saturday Night at the Movies 1/12/13!

Who cares what picture we see?


I do believe that John Carradine would, so let's pick this one:




 
 
 





I remember reading a lot about this movie in Famous Monsters magazine back in the late 70's - I think Forry might have had a little crush on Nai Bonet - but I never had a chance to see the movie - not sure it played theaters in Southern Illinois; it never aired on Showtime for as long as I had it; I never found a copy to rent on VHS.



So, as of this posting - I still haven't seen it - but I do have a copy freshly arrived in the video vault! It's from that magical year of 1979 - it's a disco vampire romantic comedy - and it has John Carradine playing Dracula for the last time, I do believe - something he'd been doing off and on for thirty-five years at this point!



So we could be checking this one out as soon as this very evening - if you make the trek over to my place, that is!


Until next post, you Can Poke Me With A Fork, Cause I Am Outta Here!

Thursday, January 10, 2013

Pieces of Talent - Kickstarter!

Hey gang! Remember that little independent horror movie I saw this past Spring?


Pieces of Talent







Well - they are trying to raise $8000 to complete the final sound mix and some other sundry bits and pieces of post production. I thought I would toss up a link to their Kickstarter campaign in case anyone coming by here might want to contribute to this project.




 
 
 
 
If you've seen the movie and liked it and have a couple of bucks to spare - you could help get the movie out for the world to see. If you haven't seen it and want to - you could help make that possible too.


Support Independent Horror!



If you head over - tell 'em Craig sent you!



Until next post, you Can Poke Me With A Fork, Cause I Am Outta Here!

The Saw is Family!

Texas Chainsaw 3-D  (Lionsgate, 2013)


I like this poster better.









Before the Camera:


Alexandra Daddario  (Hall Pass)
Trey Songz  (Step Up 3-D)
Tania Raymonde  (TV's Lost)
Scott Eastwood  (Gran Torino)
Paul Rae  (Daddy Day Camp)
Thom Barry  (TV's Cold Case)
Shaun Sipos  (Final Destination 2)
Keram Malicki-Sanchez  (Punisher: War Zone)
Richard Riehle  (Office Space)
James McDonald  (Phone Booth)
and
Dan Yeager  (Metal Heads)
as
Leatherface


Also look fast for:

Gunnar Hansen  (The Texas Chain Saw Massacre)
Marilyn Burns  (The Texas Chain Saw Massacre)
John Dugan  (The Texas Chain Saw Massacre)
and
Bill Moseley  (The Texas Chainsaw Massacre 2)







Behind the Camera:


Directed by John Luessenhop


Produced by Avi Lerner, Danny Dimboort, and 7 or 8 other assorted associate, executive, and line producers


Written by Adam Marcus, Debra Sullivan, and Kirsten Elms

Story by Adam Marcus, Debra Sullivan, and Stephen Susco


Based on characters created by Tobe Hooper and Kim Henkel






The seventh (!) film in the increasingly fractured franchise hits the Big Screen with all three dimensions, and I “saw” it over the weekend – heh heh. A bit of backstory – the original came out in 1974 and did very well in its original run and in several theatrical re-releases into the 80’s - which is how I first saw it - a re-release at good ol' Toler Cinema in early 1981 - my mom dropped me off Friday night, and after being knocked out by the movie - I went back Monday night as a ridealong with my brother who was taking his then girlfriend to see Roman Polanski's Tess on the other screen.  Cannon Films acquired the sequel rights in the mid 80’s and they got The Texas Chainsaw Massacre 2 out in 1986. The sequel was also directed by Hooper, who realized there was little chance of topping the horror of the original and instead went for black comedy and over the top absurd humor and satire in addition to the gruesome side of things. A few years after that the third movie pulled a reboot, and then the astonishingly wrongheaded fourth film showed up several years later after spending a long time on the shelf; it namechecked 2 and 3 in dialogue, but really took off from the first film as a direct sequel, and brought in convoluted conspiracy plotting that makes Halloween’s Thorn plot look positively coherent and relevant. The fourth movie effectively put the series down for several years. In 2003, Michael Bay’s bunch got the go ahead for a remake, and it did well enough to spawn its own prequel three years after that.

Now, another seven years down the road, another Chainsaw flick comes along, and it’s in 3-D! This time out the action starts with footage from the first movie upconverted into the third dimension – which was fun. Then the new movie begins moments after the final shot of the original – with the authorities showing up at the Sawyer house due to Sally making it safely to town. New and previously unseen Sawyer family members are all over the house now, armed with shotguns and ready for a fight. The sheriff convinces Drayton (Moseley) to send out “Jed” Sawyer (who we better know as Leatherface, though that appelation is never uttered in this movie), but the arrival of a lynch mob from town led by Burt Hartman (Rae) sends the day south and after a pitched gun battle the Sawyer house is burned to the ground with apparently no survivors. However, one of the mob members finds a mortally wounded young Sawyer woman with a baby girl trying to crawl away from the house. Finishing her off, he takes the baby and hides it from the rest of the mob, giving the child to his wife as they are unable to have children. Years pass (and we’ll have a chat about how many in a moment). Now it is 2012. Heather (Daddario) is a young woman in college prepping a trip to New Orleans with her friends. However, she has been contacted and told that her grandmother has passed on and left her a inheritance. Her world is turned upside down as she realizes the couple she thought were her parents – aren’t. She decides to go to Texas to claim her inheritance, and her friends divert their plans to join her. Once in Texas, Heather meets the family lawyer (Riehl) who gives her the key to her grandmother’s house and some paperwork, including a letter to her from her grandmother, written in the old lady’s final days. He takes her out to the home – a small mansion – but he begs off going in. Heather skips reading the letter in the excitement of exploring the house. A trip to town reveals Hartman is now the town mayor – and just as much of a jackwagon as he was (mumble) years previously. Eventually the group discovers that Heather’s new house holds secrets – secrets standing 6’5’’ and wearing a mask of human skin. Despite the word not being in the title – the massacre isn’t over. Who will survive and what will be left of them?
Life's not fair...




Hearing the announcement of this film’s release, I was indifferent – I love the original movie; quite like the second; think the third is okay; hate the fourth; think the reboot is okay but unnecessary ; and haven’t seen the reboot prequel (though it is in the video vault to be watched eventually.) I assumed this would be the third in the reboot’s story sequence, and that left me…meh. The trailer did nothing to change my mind on that either. However, once I heard they were doing a direct sequel opening in 1974 and ignoring all the other movies – that intrigued me a little. Then, hearing that three of the original actors would be making cameo appearances I got more interested. (Not that having such cameos means any benefit to the movie – Marilyn Burns and John Dugan appear in the fourth movie – and it’s still useless.) Finally, I thought, what the heck – and checked it out.



It does indeed start with footage from the first movie in 1974 – only, it isn’t 1974 any more. After the opening scene, we meet Heather, who appears to be roughly 20 or so years old. There’s no indication from the filmmakers what year it is – and I first thought we were in 1994 – which would make sense, and seemed to be borne out at first by the lack of acknowledgment of cell phones in any way. However, a convenience store stop shows the price of gas as $3.60 a gallon, and then a cemetery trip shows that Heather’s grandmother passed in 2012 - it is modern day, obviously waaaay more than 20 years after 1974. So, it turns out the filmmakers are fudging the date of events in the first movie – which they tease us with throughout the movie. That same trip to the cemetery also reveals gravestones of people who died in the gunfight and fire – and while they show the correct day and month as August 18th - the year is obscured by bushes. Later, an examination of evidence from the Sawyer house fire manages to obscure the year about three times. So, though it is never said – according to this movie the original TCM took place in 1992, or thereabouts, and those kids were just weirdos who liked a retro 70’s look.

Say hello to my lil fren...



Letting the timefudgery slide – I found the movie entertaining. There are some bumpy bits in the story, but it has some great jumps, a sense of dread and menace, and some juicy gore (cut to avoid an NC-17, I’ve heard, but still pretty strong) The performances are good – with Daddario an appealing heroine, and Raymonde plenty sexy as her best friend. The guys are okay – and among the senior cast members both Paul Rae and Thom Barry stand out. Yeager is a pretty good Leatherface – though he’s not as massive as some of the previous versions. I’ve heard he is well over 6 feet tall – but he’s so symmetrically built he doesn’t seem that big. I particularly enjoyed seeing the cameos from the original film – plus one cameo from the first sequel. Gunnar Hansen and John Dugan turn up in the Sawyer home are both in the opening Sawyer house scene – Hansen as mentioned playing a previously unseen Sawyer patriarch, and Dugan back in the makeup as Grandpa (though considering the passing years, probably much less makeup than before!) Marilyn Burns can be glimpsed playing Heather’s grandmother, briefly visible in a short flashback scene. Best of all, however, is that The Cook – wonderfully played by the late great Jim Siedow in the first two TCMs – is here in that opening scene – portrayed by Bill Moseley – who had played Siedow’s son (or nephew - who can tell for sure?) in TCM 2! And topping this Sundae of Awesome – they call The Cook Drayton Sawyer in this movie – which was the dazzling moniker he gained in the second flick – as he was only called The Cook in the original. So that’s a nice tip of the hat to TCM2.

John Dugan watches Bill Moseley defend the Sawyer homestead, despite what Jed did to the door...




Reading reviews of this movie I’ve found the opinion split down the middle – with opposition strong and little gray area. I can understand the people who weren’t satisfied – the last third of this movie shifts a fair amount – and while there’s still a big lug swinging a chainsaw – things are changed. I went along it and found the movie a fun and gruesome ride – and wouldn’t mind seeing another that builds on this – though I have reservations that there are six or seven more needed – which is what has apparently been contracted for (!) The 3-D is nice – not sure if shot native 3-D or upconverted – but if it’s the latter it’s well done. Once again it’s mainly depth, with the saw jutted out into the audience a couple of times – and as such is skippable as far as I’m concerned.



I give this one a recommendation for anyone who doesn’t mind the idea of a branching seventh series entry. If on the other hand you think the very idea is tired, you might want to stick with whichever earlier series entries you have a fondness for. The rest of us can dance with our chainsaws in the early morning light.









Let's Get Out of Here ?

I can't be sure of the time - but as the trio is escaping the estate in the van I'm pretty sure Trey Songz indicates he's quite ready to have the others accompany him in quitting the area.







Eye Candy ?

Hmmmm. YES.

Alexandra Daddario





Alexandra Daddario and Tania Raymonde







Tania Raymonde

Welcome to list, ladies!






Buddha Man's Capsule Review


Buddha Man says "Texas Chainsaw 3-D is a movie with some
good buzz around it…"






Thank you my golden friend! Until next post, you Can Poke Me With A Fork, Cause I Am Outta Here!

Monday, January 7, 2013

Maniacal Movie Poster Monday #102!





The Wizard of Mars (American General Pictures, 1965)



I've seen this goofy sci-fi variant on the classic from 1939 - of course I'm speaking of Gone with the Wind.

No, kidding! Of course I actually refer to The Wizard of Oz. If you're only going to see one of them, don't make it this one. But if you have time for both this one is silly fun.















Maximum Overdrive (De Laurentiis Entertainment Group, 1986)


I like this movie - but it's completely indefensible. Still, it's the only movie thus far directed by Stephen King - and it was shot right here in my hometown - what's not to love?












Hell's Island  (Paramount, 1955)



I know nothing about this flick - but I'd watch it, given the chance!










Until next post, you Can Poke Me With A Fork, Cause I Am Outta Here!

Saturday, January 5, 2013

Saturday Night at the Movies 1/5/13!

Who cares what picture we see?



I do, for Pete's sake - and I think we need to kick off 2013 with a big sprawling

 
Dusk to Dawn Ape-a-Thon!







Pretty startling sci-fi - with a delicious twist ending - which I will not spoil here - but I can't stop the second movie's trailer from doing it...










A pretty cool follow up - it's obvious Charlton Heston wasn't particularly invested in coming back from his performance - but he's not in the movie that much anyway, and I've always liked James Franciscus.












This one is interesting - because it's obvious they're saving money - three apes - (then) modern sets and costumes - but once they get past the comic bits - it gets pretty gripping!



Intermission!







Now back to the movies!





The darkest of the movies (tone, not lighting, although the trailer does look a little dark) and the inspiration for the recent Rise of the Planet of the Apes - another one that takes a medium budget and works it to good effect.










 

I am a sucker for these movies - so, yes, I like this one too - but the lack of money does lend it a TV movie feel - and its attempts to bring the series full circle end up muddying the water considerably - but regardless - still a cool flick.





As you can see, I love the Planet of the Apes movies - they were a staple of my childhood television viewing - I probably saw them during their network premieres - I have definite memories of Conquest showing in prime time on CBS - and later local channels would have "Go Ape!" weeks where they would show the five movies Mon-Fri either on their 8:00 evening movie or the 11:30 Late Show. After purchasing widescreen VHS copies, then the DVD boxed set - I've recently upgraded the set to Blu-Ray - so we really could take all five for a ride - even tonight - if you care to come over!



Special thanks to Cody at Life Between Frames for his troubleshooting comment below, which helped this post have its pix!




Until next post, you Can Poke Me With A Fork, Cause I Am Outta Here!

Thursday, January 3, 2013

The "D" is Silent!

Django Unchained  (Columbia Pictures, 2012)









Before the Camera:


Jamie Foxx  (TV's In Living Color)
Christoph Walsh  (The Green Hornet)
Leonardo DeCaprio  (TV's Growing Pains)
Kerry Washington  (The Fantastic Four '05)
Walton Goggins  (TV's Justified)
Dennis Christopher  (Fade to Black)
James Remar  (48 Hours)
Don Johnson  (A Boy and His Dog)
and
Samuel L. Jackson  (The Avengers)
as
Stephen


Also, look fast for:

James Remar  (he plays two roles!)
James Russo  (Beverly Hills Cop)
Don Stroud  (Licence to Kill)
Tom Wopat  (TV's The Dukes of Hazzard)
Russ Tamblyn  (Phantom Empire)
Amber Tamblyn  (The Ring)
Bruce Dern  (Silent Running)
M.C. Gainey  (TV's Lost)
Cooper Huckabee  (The Funhouse)
Jonah Hill  (The Watch)
Lee Horsley  (The Sword and the Sorceror)
Michael Bowen  (Jackie Brown)
Robert Carradine  (Number One with a Bullet)
Zoe Bell  (Death Proof)
Ted Neeley  (Jesus Christ Superstar)
Tom Savini  (The Ripper)
Michael Parks  (Ffolkes)
John Jarratt  (Wolf Lake)
Quentin Tarantino  (Grindhouse: Planet Terror)
and
Franco Nero  (the original Django!)




Behind the Camera:


Directed by Quentin Tarantino


Produced by Bob Weinstein, Harvey Weinstein, Reginald Hudlin, and 5 other assorted producers


Written by Quentin Tarantino









Quentin Tarantino’s latest is another high energy blend of several genre films he’s enamored of – in this case spaghetti westerns. Not satisfied with merely doing the cowboy equivalent of Kill Bill, this time QT throws racism and slavery into the mix, and as might be expected, not everyone feels he’s the right filmmaker for the job.



In 1858 Texas, Dr. King Schultz (Waltz), ostensibly a traveling dentist, comes upon a slave drive one night. In trying to question one of the slaves about some men he’s interested in – Dr. Schultz reveals himself to be a man of learning, humor, and manners; and also a very fast hand with a gun. Dr. Schultz takes the slave, a man named Django – with him, and reveals the truth: the traveling dentist wagon is a cover – although he is a licensed dentist, he no longer practices – instead he is now a bounty hunter. His current quest is for the Brittle brothers, a trio of ne’er-do-wells wanted for various violent crimes. Dr. Schultz doesn’t know what the men look like, but he knows that Django does. The men make a deal – if Django helps Schultz find the Brittle brothers, then the doctor will in turn help Django find his wife – who’s been sold off to a plantation owner as punishment for she and Django running off. As the two men pursue this violent avocation – tracking down the Brittles on the plantation of Big Daddy (Johnson) and then on to other violent criminals with prices on their heads – they form a bond – as their travels take them from Texas to Tennessee and back again. Eventually they find out that Django’s wife Broomhilda is now the property of Calvin Candie (DeCaprio) and she now works on his plantation, Candyland. Schultz and Django infiltrate the estate as a couple of slavers, with Django finding this guise particularly repulsive, as a black slaver is the lowest of the low. But he plays the part, and they go to work on Candie - telling him they want to buy a fighting slave for gladiator matches, and during the negotiations the men find themselves under the scrutiny of Candie’s henchmen, and the house servant Stephen (Jackson), who’s definitely not on Django’s side despite their shared race. As their situation goes sour, the men realize it’s going to take some cool moves and hot lead to get out of this one.

What the well dressed bounty hunter wore in 1858...


This is standard issue QT – and that’s a compliment. Opening with a pre-1976 Columbia Pictures logo given some “old print” discoloration, and featuring the theme song from the original 1966 Django over the opening credits, Tarantino gets this movie off to a good start. The first hour moves like lightning – with Waltz proving a hell of an actor in one of the year’s most entertaining performances. He’s matched by Foxx, who takes Django through an interesting arc – from subservience through unease at Schultz’s casual acceptance of him to confidence in his newfound manhunting skills. The rest of the cast is typical for a QT flick – a constant and most welcome stream of familiar faces, though director Tarantino lets actor Tarantino try an Australian accent that’s fairly epic fail, especially sharing scenes with real Australian Jarratt. But it’s all in good fun – with funny lines and ingratiating character moments mixed with incredibly graphic violence and dialogue featuring enough n-bombs to make Simon Legree blush. This of course has caused some consternation across the media – with Spike Lee and Tavis Smiley showing open displeasure with the film and its creator, among others. But the presence of Reginald Hudlin as producer would seem to indicate that there’s no problem here – even if Hudlin’s presence as producer was specifically sought out to indicate there’s no problem here. I don’t think Hudlin would be viewed as a sellout – but I’m also no expert on any of this.

Leo goes DIY with his villainy. By the way,
legend has it that's really his blood on his
hand - apparently he slammed it down on
some broken glass but never broke character.
Stitches were needed after the scene ended.




I will say the movie is very entertaining – with the light tone a most welcome turn of events for a movie with such dark subject matter. At no point is the seriousness of slavery held up to ridicule – the humor comes in from other sources. The film is long – and after that lightning paced first hour there are some signs of bloat in the next hour and forty five minutes – I’m not sure what I would cut – but some kind of trimming – 10-15 minutes even - would probably help. Thankfully the climax gets the movie back on track for a bright finish. It’s also very cool how Tarantino has brought in pieces of music composed for earlier spaghetti westerns throughout – I heard pieces from Two Mules for Sister Sara, They Call Me Trinity, His Name was King, Day of Anger and additional pieces from the original Django soundtrack - in addition to some incongruous music from the 70’s – but I guess it wouldn’t be a QT movie if he didn’t get in some funky somewhere. I give this one a high recommendation – and a theatrical viewing would best serve to highlight the gorgeous 2:35:1 anamorphic cinematography so get out to the theater and check it out!



Oh, and Quentin? Dynamite wasn't invented until 1867.






Let's Get Out of Here ?

At very roughly 1:05:00, Christoph Waltz is thinking a strategic retreat might be in order, and around 2:45:00, Jamie Foxx knows the movie is over.



Eye Candy ?

Despite the usual Western lack of showcase - all those long dresses - two ladies make the list:


Nichole Galicia - as the only woman allowed any glamour in the film - you're in!





Zoe Bell - for being Zoe Bell (and never mind that you have to work hard to spot her in the movie) - you're in!


Welcome to the list, ladies!






Buddha Man's Capsule Review

Buddha Man says "Django Unchained is a QT of a movie!"







Thank you Buddha Man! Until next post, you Can Poke Me With A Fork, Cause I Am Outta Here!

Tuesday, January 1, 2013

Happy New Year!

Let's kick off 2013 with a couple of new ingredients in our ever-simmering Random Stew!







The Justice League are a bunch of over powered showoffs! I mean, who could compete with this?

(Actually, I guess was a show at Sea World back in the day - and if it's not the perfect synthesis of marine hijinks and superheroics, I'd like to know what is?) (And while we're on the subject - if you're not going to get a blonde Aquaman, and you're going to make what is probably a blonde Superman wear a terrible black wig - why not have them switch costumes?)














In other superhero news - right in the middle of the Joan Crawford horror flick Berserk, look who comes walking though the carnival parade without any sign of a licensing agreement in sight? And guess who snapped a crappy cellphone pic right off the screen when they did?









Thanks for coming by for the start of LGOOH's fourth calendar year of doing pop culture business - stick around - no telling what we might get up to!








And until the next post, you Can Poke Me With A Fork, Cause I Am Outta Here!