Tuesday, December 23, 2008
VHS Lives!
I got my #2 issue of LUNCHMEAT a few days ago, and I love it. The magazine is dedicated to the love of VHS horror...something near and dear to my heart. I've always said that pre-1990 horror is best experienced on VHS. I'm glad others feel the same way.
Here is a list of all the movies they review in the issue. I was surprised to find that I've only seen about half (a few of which I own)...which demotes me from Horror Badass to Puny Wanna-Be.
Dang it.
LUNCHMEAT #2:
I Was A Teenage Frankenstein (1957)
Primal Scream (1987)
Spare Parts (1979)
The Asphyx (1973)
Eyes of Fire (1983)
Creepy Classics (1987)
Terror In The Swamp (1985)
Maneater (1979)
House Of The Long Shadows (1983)
Murder Weapon (1989)
Girlfriend From Hell (1990)
Night Of The Demon (1980)
Mortuary (1983)
Endgame (1983)
Razorback (1984)
Blood Link (1982)
The Night God Screamed (1971)
The Rejuvenator (1988)
The Muthers (1976)
Who Killed Teddy Bear? (1965)
*
Tuesday, December 16, 2008
Oh, That's Just Wrong. Can I See?
I really want to see this movie, Nekromantik. I've heard all kinds of wonderfully bad things about it - like even hardcore horror buffs and gorehounds find this one hard to stomach. Copies on eBay run an average of $100, so I guess it will be awhile before I'll get my hands on it. Perhaps I'll get lucky and find an old VHS at a garage sale. One can hope.
*
Thursday, November 27, 2008
A Must For The Holiday Season
I finally got to show Pumpkinrot (who as of a week and a half ago I can now call husband) a damn fine horror film titled Black Christmas. (And I do NOT mean that god awful remake from a couple of years ago.) It was made in 1974, well before Halloween, and to this day still is one of the most original and well made horror movies out there. It was well before its time in how the story is crafted, and holds up supurbly even 34 years later. If you are serious about your horror and have not seen this one, you really should get it.
Screencap from here.
*
Saturday, November 15, 2008
Splinter
Splinter Official Site
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Friday, November 07, 2008
The Roost
The score is by Jeff Grace, who went on the do the haunting & somber score to The Last Winter. Both are purchase worthy.
*
Thursday, October 30, 2008
Wednesday, October 29, 2008
Saturday, October 25, 2008
Sunday, September 28, 2008
The Wee Hours
Friday, September 26, 2008
We Don't Need A Cat In The Hat On Our Rainy Day
The Tempter, 1974. I've actually had this one laying around for quite some time and have yet to watch it. I bought it when the little video store I worked at occasionally was getting rid of all its VHS. I paid 99 cents... a much better bargain than the $59.95 list price on the box. The back of it reads:
It goes on to say that its "titillating scenes" include an "orgy in hell." Should make for some good rainy day viewing, no?
**Follow Up: Wow...that really, really sucked.
After that it's The Nanny, 1965, starring Betty Davis and my latest obssession, Pamela Franklin.
It's shaping up to be a pretty good day.
*Follow Up: The Nanny was fantastic!*
*
Wednesday, September 24, 2008
Haunted House Day
The Legend of Hell House (Awesome screencaps by a75.)
The Haunting
The Haunting of Julia
If you happen to come across this blog and know of any really good haunted house or ghost movies, please let me know. Thanks. :)
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Friday, September 12, 2008
Ginger Snaps
Images from the opening credits.
Bridgette
Ginger
*
Monday, August 25, 2008
Horror Convention Follow Up
I also got to meet Johnny Butane of Dreadcentral.com. That was fun because I've been reading the site for a very,very long time now. Oh, and meeting Tom Savini was pretty fucking cool too. :)
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Saturday, August 23, 2008
Horror Convention
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Thursday, August 21, 2008
Such A Lovely Little Thing
Tuesday, August 19, 2008
Two In A Row? Impossible! (But True.)
Rogue is from the same director as Wolf Creek and did not get a US theater release (as far as I know). It's a shame because it was well written and well made, and well worth your time. It did have its problems - I felt it needed 15 to 20 more minutes of meat in it, particularly about an hour in. There were a few things neglected that I feel could have enhanced what was already some wonderful and endearing character development. But all in all, I recommend it. And since it is a movie about a humongous crocodile and it is a horror movie, I don't think it's a spoiler to say that the first human kill is wonderfully clever & chilling.
P2 - I should start by saying I love horror movies that take place all in one setting - the whole "trapped" thing. And P2, well, I loved it. I wasn't expecting much...just your run-of-the-mill woman trapped and being hunted. But what set it apart from that bland clump of movies was how wonderfully intelligent the damsel in distress was. At no time did I think, "Now why the FUCK did she do that?" or "No, no, don't do that! Do this!" She made the right decision every time. And the chemistry between her and Tom, the antagonist, was dead on. Tom was a frightening force. When he decides to "punish" a man for an indiscretion with our heroine...well, it's pretty realistic, pretty intense, and gets you right in the guts. When I watch horrors I am generally doing something else at the same time - crocheting, sculpting, or painting - but for this one I was completely absorbed and at attention. The writing was tight & intelligent, the performances were fantastic and the pace was exactly what it needed to be. If you want a tense, fun ride, P2 is for you. (I should also add that I read no reviews of this and have no idea how the horror community felt about it. For all I know I may be the only one who dug it...or not.)
*I forgot to mention that P2 is made by the same bad asses who did High Tension and The Hills Have Eyes remake.
Since I haven't read any reviews of either of these films (I didn't want them to affect my viewing, or what I had to say about them) I am now free to do so and can finally read the piece about Rogue in the latest Rue Morgue Magazine.
Speaking of Rue Morgue, be on the look out in the October issue for an advertisement for mine & Pumpknrot's Etsy shop, Pumpkin Hollow!
*
Friday, August 15, 2008
The Haunting of Julia
I should also add that after much searching a friend has finally found the score for me. I was desperate to have it for so long. Here is the title track, The Park.
*
Wednesday, August 13, 2008
Friday, August 08, 2008
August 8
*
Friday, August 01, 2008
Getting Away...But Being Followed
Sat outside on the back porch this morning enjoying the fog and drinking coffee when I saw something strange...
Thanks, Pumpkinrot, for sending a bit of Halloween my way.
*
Wednesday, July 16, 2008
Hey, I Know Those Faces...
Four of my pumpkins from last Halloween!:
Seritan's Musings
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Thursday, July 10, 2008
Plants & Blood & A Barber, Oh My!
Other flicks:
Baby Blood, 1990 - Oh those wacky French! A woman becomes impregnated by a being that only wants human blood, hence a splatterfest ensues. It's your standard 90's horror fare...meaning mediocre at best.
The Barber, 2001 - Malcolm McDowell stars as a barber living in Alaska who may or may not be a killer. Interesting concept (I'm always seduced by the idea of stories set in remote, cold places), but utimately it doesn't live up to its potential. Still, it wasn't that bad and if you like McDowell it's an okay way to kill some time.
*
Friday, July 04, 2008
Catching Up
Raising Jeffrey Dahmer, 2006 - I'm all for a movie from the perspective of parents of a serial killer, but not one that is thinly veiled and poorly written propaganda championing the father's status as an innocent bystander. It's one hundred minutes of Lionel Dahmer looking confused, and flashbacks that are frequent, scattered and unclear as to where they fall in the time line. I swear the actor playing Jeffrey didn't bother to spend even 5 minutes studying the tone and body language of his character, but instead opted to play it according to how he thought a psycho might act. The abominable jazz score is incredibly ill chosen and is just one in a long line of bad decisions made on the part of those who made this movie. To put it plainly, it just downright sucks. (Also, this film was made with the cooperation of Dahmer's parents, another indicator that this is all some elaborate attempt for Lionel Dahmer to clear his conscious. Whether he failed as a father or not, I have no clue. But it is clear that desperately he wants someone to tell him that he didn't.) Skip this one.
Deadly End ,2005 - Young newlyweds move into a house and quickly become the focus of one seriously demented neighbor. This one is a well made low budget film that packs some good punches and some of the most squeamish gore I've seen in awhile. Nick Searcy steals the show as the neighbor from hell.
The Eye , 2008
The remake. Blah.
Driftwood, 2006
A lot of potential, some cool actors, and an opportunity missed. Very disappointing.
Unholy, 2007
Unholy, as in God Awful. I love Adrienne Barbeau, but this one was nearly impossible to sit through.
Sunday, June 29, 2008
Saturday, June 28, 2008
Poem
Eye Ball
My eye is a juicy
ball.
When I drop it...
it will
burst!
It's safe in my
socket
till then...
Jacob B.
*
Friday, June 27, 2008
Ed Harley, Tragic Hero
Please keep in mind that this post is not meant to be on the level of an academic paper, it's just my observations. Also, I am writing this assuming the reader has seen the movie, so I won't be giving a scene to scene description. I do, however, give away the end, so if you haven't seen it, consider this your spoiler warning.
Elements of the Shakespearian tragedy:
1. Shakespeare's tragic hero will be a man of rank, and the events that befall him will be out of the ordinary and fatally disastrous. The hero falls unexpectedly from a high place, a place of glory or joy. He is fundamentally a good person, but will contribute to his own destruction due to a flaw in character, or because of a tragic error.
Ed Harley, our main character, is a store owner and a loving single father. He lives in the country with his young son--a life portrayed as simple, but good. When his son is accidentally killed by one in a group of teens who've come from the city, Harley goes to the old witch to invoke Pumpkinhead and take revenge.
2. That men may start a course of events but can neither calculate or control it, is a tragic fact. All of Shakespeare's tragic protagonists are capable of both good and evil. The playwright always insists on the operation of the doctrine of free will; the (anti)hero is always able to back out, to redeem himself. The hero, though he persues his fated way, is, at some point, torn by inner struggle. But, the author dictates, they must move unheedingly to their doom.
The accident occurred in Harley's absence, so he is unaware that all but one (Steve - the one responsible) of the teens are horrified and are desperately trying to get to a phone to call for help, leaving only Steve's brother behind to stay with the boy until his father returns. However, Steve, fearing jail time due to a prior offense, doesn't allow the rest of the group to call for help, going as far as to lock two of them in a closet.
Harley calls upon Pumpkinhead to take revenge. Not long after, after significant inner turmoil, he has a change of heart. He is fundamentally good and only acted irrationally out of emotion (his tragic flaw). He also realizes that it was an accident and comes to understand that the teens tried to get help, but the knowledge comes much too late. He goes to the witch and begs for it to be called off, but even she is unable to stop it...much to her delight. Steve, our antihero, steps forward to take responsibility, even offering himself to the creature, but it is of no use. It's been called to kill them all and nothing can stop it.
3. Shakespeare also introduces the supernatural - ghosts and/or witches who have supernatural knowledge. This supernatural element cannot be explained away as an illusion and contributes to the action always in close or direct relation to the hero.
As a child Harley witnessed Pumpkinhead killing a man. This is why he knows the creature is real and not just a legend or the subject of a macabre children's song.
The witch Harley goes to and Pumpkinhead himself represent the supernatural element of the Shakespearian tragedy, as neither is a dream or an illusion. The witch knows how to call the creature, and it instinctively knows who its victims are.
4.The center of the tragedy may therefore be said to lie in the actions of the main character, his flawed perceptions, and human frailty. In Shakespeare, the hero recognizes his responsibility for the catastrophe which befalls him too late to prevent his death.
Harley goes to battle Pumpkinhead himself, desperately trying to protect the teens that are still alive. He realizes that if he dies, it will die. He shoots himself, thus ending his life, and the vengeful creature's. But death does not bring his soul mercy or rest. The witch buries him, and he will serve as the next Pumpkinhead.
In addition to the whole Shakespeare bent, this film is well written and beautifully shot. The use of color and the cinematography are poetic. There are long, fluid shots that are flawless. The scenes between the witch and Harley are pure gold, and the creature is a wonderful score in the props vs. CGI contest.
*
Halloween ABC
Tuesday, June 24, 2008
Lately
Otis (2008)
I wanted so much to like it, but the tone was all over the place. It tried to be too many things. Too bad because the cast was great. I love the guy playing Otis.
The Invasion (2007)
A complete waste of two talented actors, Nicole Kidman and Daniel Craig.
Invasion of the Body Snatchers (1978)
Perfect from beginning to end. I love everything about this movie; the cast, the cinematography and the trippy ass score. I had seen this a long, long time ago, so I decided it was time to sit with it again.
Screamers (1995)
YUCK
The Signal (2007)
Everybody loved this one and I just kept getting bored. I always feel guilty when that happens...like I somehow missed the obvious. I was in a bad mood - maybe that's a good excuse (?) - but I don't feel like revisiting it anytime soon. So, I'm in the minority on this one.
Alone in the Dark (1982)
How can you not like a movie when it stars Jack Palance, Donald Pleasence and Martin Landau? It was fun, but way too many convenient things occurred for this movie to be good. A pure popcorn watch. (I've actually seen this one before. I watched it with a friend who hadn't seen it but wanted to.)
Sisters (2006)
Why? Why do this? Another pointless remake of a perfectly good film.
And it was Douglas Buck's first major film to direct...that total sucks because I think his shorts are fantastic. I can't wait to see what he does next - his slate is still clean as far as I'm concerned.
Frontière(s) (2007)
Slick, beautiful, gory and I've seen it all before. The French version of Saw meets Hostel meets The Hills Have Eyes meets Wrong Turn meets...you get the idea.
*
Friday, June 20, 2008
Friday, June 13, 2008
There's A Fish In The Tub...A Really Stinky One
I just can't help it, I find this movie oddly endearing. It's been a favorite of mine ever since I was a kid watching it over and over on Cinemax (or as we sometimes called it "Skinamax" due to their "Friday After Dark" series...but that's a whole other story). I proudly own the VHS and will make all members of my household watch it as we drink coffee tomorrow morning.
The Van Helsing character is a scream.
Is it wrong that I know every line of this movie? It is...I know.
*
Another Please
(Yes, I drink it because of the cool can.)
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Monday, June 09, 2008
Some Them There Horrors
Mother of Tears (2007)
The Last Winter (2006)
Snowbeast (1997)
Teeth (2007)
Don't Open Til Christmas (1984)
Mama Dracula (1980)
Blood Tide (1982...Opps, I've already seen this one!)
Moon of the Wolf (1974)
The Creeper (1977)
Family Portraits: The Shorts: Cutting Moments/Home/Prologue (2004)
*
Friday, June 06, 2008
La Terza Madre
Today I finally get to see Dario Argento's Mother of Tears. I've been waiting to see this ever since I heard it went into production. It was released in Italy last Halloween, and is, of course, only getting a limited release here in the states. The city I used to live in won't be getting it (oh how they ignore the south), so it's a good thing I moved (though, I miss the south more than words could ever express). Few in the States get to say they've seen an Argento film in a theater, so I'm damn lucky to have the chance.
I'll do my best to post a review this weekend.
*
Wednesday, June 04, 2008
Popcorn, Cotton Candy & Diesel Fumes
A lazy, rainy day here. Horror of the Zombies plays in the background as I do laundry, clean house. In a black pot a dark carnival candle is burning. The scent it gives off makes me think of a short story from Ray Bradbury's The October Country titled "The Dwarf." Here's an excerpt:
Aimee watched the sky, quietly.
Tonight was one of those motionless hot summer nights. The concrete pier empty, the strung red, white, yellow bulbs burning like insects in the air above the wooden emptiness. The managers of the various carnival pitches stood, like melting wax dummies, eyes staring blindly, not talking, all down the line.
Two customers had passed through an hour before. Those two lonely people were now in the roller coaster, screaming murderously as it plummeted down the blazing night, around one emptiness after another.
Aimee moved slowly across the strand, a few worn wooden hoopla rings sticking to her wet hands. She stopped behind the ticket booth that fronted the MIRROR MAZE. She saw herself grossly misrepresented in three rippled mirrors outside the Maze. A thousand tired replicas of herself dissolved in the corridor beyond, hot images among so much clear coolness.
She stepped inside the ticket booth and stood looking a long while at Ralph Banghart's thin neck. He clenched an unlit cigar between his long uneven yellow teeth as he laid out a battered game of solitaire on the ticket shelf.
When the roller coaster walled and fell in its terrible avalanche again, she was reminded to speak.
"What kind of people go up in roller coasters?"
Ralph Banghart worked his cigar a full thirty seconds. "People wanna die. That rollie coaster's the handiest thing to dying there is." He sat listening to the faint sound of rifle shots from the shooting gallery. "This whole damn carny business's crazy. For instance, that dwarf. You seen him? Every night, pays his dime, runs in the Mirror Maze all the way back through to Screwy Louie's Room. You should see this little runt head back there. My God!"
"Oh, yes," said Aimee, remembering. "I always wonder what it's like to be a dwarf I always feel sorry when I see him."
"I could play him like an accordion."
"Don't say that!"
"My Lord." Ralph patted her thigh with a free hand. "The way you carry on about guys you never even met." He shook his head and chuckled. "Him and his secret. Only he don't know I know, see? Boy howdy!"
"It's a hot night." She twitched the large wooden hoops nervously on her damp fingers.
"Don't change the subject. He'll be here, rain or shine."
Aimee shifted her weight.
Ralph seized her elbow. "Hey! You ain't mad? You wanna see that dwarf, don't you? Sh!" Ralph turned. "Here he comes now!"
The Dwarfs hand, hairy and dark, appeared all by itself reaching up into the booth window with a silver dime. An invisible person called, "One!" in a high, child's voice.
Involuntarily, Aimee bent forward.
The Dwarf looked up at her, resembling nothing more than a dark-eyed, dark-haired, ugly man who has been locked in a winepress, squeezed and wadded down and down, fold on fold, agony on agony, until a bleached, outraged mass is left, the face bloated shapelessly, a face you know must stare wide-eyed and awake at two and three and four o'clock in the morning, lying flat in bed, only the body asleep.
Ralph tore a yellow ticket in half "One!"
The Dwarf, as if frightened by an approaching storm, pulled his black coat-lapels tightly about his throat and waddled swiftly. A moment later, ten thousand lost and wandering dwarfs wriggled between the mirror flats, like frantic dark beetles, and vanished.
"Quick!"
Ralph squeezed Aimee along a dark passage behind the mirrors. She felt him pat her all the way back through the tunnel to a thin partition with a peekhole.
"This is rich," he chuckled. "Go on-look."
Aimee hesitated, then put her face to the partition.
"You see him?" Ralph whispered.
Aimee felt her heart beating. A full minute passed.
There stood the Dwarf in the middle of the small blue room. His eyes were shut. He wasn't ready to open them yet. Now, now he opened his eyelids and looked at a large mirror set before him. And what he saw in the mirror made him smile. He winked, he pirouetted, he stood sidewise, he waved, he bowed, he did a little clumsy dance.
And the mirror repeated each motion with long, thin arms, with a tall, tall body, with a huge wink and an enormous repetition of the dance, ending in a gigantic bow!
"Every night the same thing," whispered Ralph in Aimee's ear. "Ain't that rich?"
Aimee turned her head and looked at Ralph steadily out of her motionless face, for a long time, and she said nothing. Then, as if she could not help herself, she moved her head slowly and very slowly back to stare once more through the opening. She held her breath. She felt her eyes begin to water.
Ralph nudged her, whispering.
"Hey, what's the little gink doin' now?"
They were drinking coffee and not looking at each other in the ticket booth half an hour later, when the Dwarf came out of the mirrors. He took his hat off and started to approach the booth, when he saw Aimee and hurried away.
"He wanted something," said Aimee.
"Yeah." Ralph squashed out his cigarette, idly. I know what, too. But he hasn't got the nerve to ask. One night in this squeaky little voice he says, 'I bet those mirrors are expensive.' Well, I played dumb. I said yeah they were. He sort of looked at me, waiting, and when I didn't say any more, he went home, but next night he said, 'I bet those mirrors cost fifty, a hundred bucks.' I bet they do, I said. I laid me out a hand of solitaire."
"Ralph," she said.
He glanced up. "Why you look at me that way?"
"Ralph," she said, "why don't you sell him one of your extra ones?"
*