Dick Miller, prolific screen actor and B-Movie legend, best known for his role as Murray Futterman in the 1984 classic horror film Gremlins, has died. He was 90.
With a career spanning more than 60 years, Miller has made hundreds of on screen appearances, beginning in the 1950’s with legendary director and producer Roger Corman. It was then that he starred as Walter Paisley – a character the actor would reprise throughout his career – in the cult classic “A Bucket of Blood,” before going on to land roles on projects such as The ‘Burbs, Fame and The Terminator.
Miller also boasts a long history of high-profile director partnerships, working with the likes of James Cameron, Ernest Dickerson, Martin Scorsese, John Sayles and, perhaps most notably, Joe Dante, who used Miller in almost every project he helmed.
In one of Dante’s earlier films, Piranha, Miller played Buck Gardner, a small-time real estate agent opening up a new resort on Lost River Lake. The only catch? A large school of genetically altered piranha have accidentally been released into the resort’s nearby rivers. Next up was a police chief role in the 1979 film Rock ‘n’ Roll High School before reprising the Walter Paisley mantle as an occult bookshop owner in Dante’s 1981 horror film The Howling.
Other notable appearances include the 1986 cult favorite Night of the Creeps, where he shared the screen with Tom Atkins as a police ammunition’s officer named Walt – he supplies Atkins with some necessary firepower in the face of an alien worm-zombie invasion – and a pawnshop owner in James Cameron’s 1984 hit The Terminator; the same year he appeared in yet another of Dante’s films, Gremlins.
Most recently, Miller reprised the role of Walter Paisley for a final time as a rabbi in Eben McGarr’s horror film Hanukkah.
Miller is survived by his wife Lainie, daughter Barbara and granddaughter Autumn.
Dante called him “one of his most treasured collaborators,” writing, “I ‘grew up’ (kinda) watching Dick Miller in movies from the 50’s on and was thrilled to have him in my first movie for Roger Corman.”
Burt Reynolds, the mustachioed megastar who first strutted on screen more than half a century ago, died Thursday, according to his agent, Todd Eisner. He was 82.
The Michigan native, whose easy-going charms and handsome looks drew prominent roles in films such as “Smokey and the Bandit” and “Boogie Nights,” suffered a cardiac arrest, Eisner said. A call for an ambulance came from his estate in Martin County, Florida, 911 records show.
An iconic Hollywood sex symbol in front of the camera, Reynolds also tried his directorial hand behind it, and later earned a reputation for philanthropy after founding the Burt Reynolds Institute for Film & Theatre in his home state of Florida. His roles over the years ranged and pivoted from Southern heartthrob to tough guy to comedy, notably in his role as Rep. David Dilbeck in the 1996 film “Striptease,” which flopped at the box office but earned him widespread praise for his comedic prowess.
As we near the start of Westworld Season 2, the marketing machine has clicked into gear, teasing with a new teaser , revised new website HERE and cool poster with hidden binary code. Producers Jonathan Nolan spoke to EW today:
“We don’t like to endlessly build mystery; we like to settle our debts by the end of the season,” Nolan said. “We want to feel like the show is rocketing ahead. The first season was a journey inward; this is a journey outward. It’s a search for what else is in the park, and what else is beyond the park.”
As this show attempts to question our understanding of reality, we still haven’t explored outside the confines of this manufactured theme park.
“If we were to describe the show as one camera angle, it would be a steady pull out revealing more and more context,” Nolan says. “So as the hosts learn more about their world—and other worlds, and the real world—the audience is doing the same thing.”
While the creators were hesitant to say if they’d be spending much time in Shogun World, they do confirm that it will take place outside of Westworld.
“This year is much more of a road show—Sweetwater isn’t home anymore,” Nolan tells EW, teasing that leaving behind Westworld is only the beggining into where and when the real world begins. “These hosts don’t live on the same time frame we do and don’t have the four-year life span of replicants [like in Blade Runner]. If left to their own devices, they could live forever. So our story has some real scope to it.”
Certainly they’ve left it open for the inevitable Seasons 3-7, but for now, I can’t wait to see where Season 2 takes us next month.
Described as Ghostbusters meets The Matrix in this experimental short film from the makers of Wyrmwood: Road of the Dead!
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Revered cinematographer Roger Deakins has ‘never worked on a film with so many different sets and lighting challenges’ as ‘Blade Runner 2049.’
Denis Villeneuve’s sequel to Ridley Scott’s 1982 original film looks to be a jaw-dropping mix of visual feats that stay true to both the story and the technical innovation that made Blade Runner an instant classic. Villeneuve acknowledges this legacy, stating “I have massive respect for the world Ridley created. Blade Runner revolutionized the way we see science fiction.”
Villeneuve is likely the right man for the job, as he took science fiction down an entirely new road himself, ostensibly reinventing the hackneyed alien genre with 2016’s Arrival, for which he was nominated for an Academy Award in Directing.
Blade Runner 2049 indeed brings several heavy-hitters to the table to help ensure its success, including no less of a cinematographer than multiple Oscar-nominated Roger Deakins, who also shot for Villeneuve on 2015’s Sicario. No stranger to complex action movies (the James Bond hit Skyfall, for one), Deakins admits in the featurette, “I’ve never worked on a film with so many different sets and lighting challenges. Technically, it’s quite challenging.”
Director Neill Blomkamp is known for inventive depictions of extraterrestrial warfare, like in District 9 (2009) and Elysium (2013). True to form, his latest short, Rakka, features a richly textured post-apocalyptic world where humans and otherworldly creatures battle over their entwined fates. And in keeping with sci-fi tradition, the queen of alien ass-kicking, Sigourney Weaver, leads a group of people who have planned a rebellion against the creatures who “came here to exterminate us.”
Rakka does feel somewhat like an extended trailer, and that is by design. The film is the first release from Blomkamp’s new venture, Oats Studios, which is an experimental incubator for feature-length ideas and new storytelling formats. The studio has released the film for free, but asks audiences to support its future work by voluntarily paying for the work in return for some digital assets like scripts, concept art, and 3D models.
Blomkamp told The Verge that Rakka is just the seed of a larger project, whose form is yet unknown. “Rakka feels like it could almost be more of an episodic thing,” he said, “because there’s a lot of avenues to explore. The footage is too unconventional and weird [for a mainstream feature], and the audience has to think of the footage as a snapshot of the window of this world.”
If you loved Aussie zom flick Wyrmwood: Road Of The Dead, check out this peek at the TV series Wyrmwood: Chronicles Of The Dead. It’s gore-tastic.
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Powers Boothe, a character actor who appeared in films like Sin City and TV shows including Deadwood and Agents of S.H.I.E.L.D., died Sunday morning in his sleep of natural causes at his home in Los Angeles. He was 68.
His rep told The Hollywood Reporter that a private service will be held in Boothe’s home state of Texas, with a memorial celebration under consideration as well. Donations can be made to the Gary Sinise Foundation, which honors the nation’s defenders, veterans, first responders, their families and those in need.
Boothe, who grew up on a farm in Texas, began his acting career in the theatre, playing in a number of Shakespearean productions including Henry IV. He made his Broadway debut in the late 1970s in Lone Star & Pvt. Wars.
In 1980, Boothe won an Emmy for lead actor in a limited series or special for playing cult leader Jim Jones in CBS’ Guyana Tragedy: The Story of Jim Jones. He won that award during an actors strike and chose to cross the picket line to accept his trophy, saying, “This may be either the bravest moment of my career or the dumbest.”
On the strength of Guyana Tragedy, he was cast in Southern Comfort, one of my favourite movies of the 80’s. His character, Corporal Hardin was described by Director Walter Hill as “the rational, hardworking, self made individual” a description you believe could be applied to the subsequent casting image of Boothe.
He starred in A Breed Apart (1984), the John Boorman Amazonian adventure, The Emerald Forest (1985), again for Walter Hill in Extreme Prejudice (1987). He was unforgettable as the wicked gunman Curly Bill Brocius in Tombstone (1993). Excellent as Alexander Haig in Nixon (1995) and a sheriff in another Oliver Stone film, U Turn (1997).
Boothe gained a reputation for playing villains with memorable roles in the action film Sudden Death (1995), Bill Paxton’s Frailty (2001) and the nefarious Senator Roark in Sin City (2005). Perhaps his most famous villain role was Cy Tolliver, the ruthless saloon owner on HBO’s Deadwood.
Boothe also was nominated two ensemble SAG Awards, first in 1996 alongside the cast of Nixon and then again in 2007 with the cast of Deadwood.
More recently, Boothe took on the role of Gideon Malick as part of the Marvel Cinematic Universe, debuting the role in 2012’s The Avengers and reprising it on ABC’s Agents of S.H.I.E.L.D.
Mondo Tees has announced the THE THING ™ INFECTION AT OUTPOST 31, their very first board game in collaboration with USAopoly’s designer games division, Project Raygun. The regular version of the game will be in stores and online nationwide this October, and a limited edition Mondo exclusive version will be available at MondoTees.com.
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An alien lifeform has infiltrated a bleak and desolate Antarctic research station assimilating other organisms and then imitating them. In the hidden identity game THE THING ™ INFECTION AT OUTPOST 31, you will relive John Carpenter’s sci-fi cult classic in a race to discover who among the team has been infected by this heinous lifeform.
The game has been designed to be as authentically cinematic as possible, ensuring that the players will experience the paranoia and tension that makes the film so great.
“Mondo brought more than their storied design acumen to the table,” said Joe Van Wetering, Creative Design and Game Development at Project Raygun. “Thanks to their deep understanding and reverence for THE THING, they helped define the tone and shape the game play itself. INFECTION AT OUTPOST 31 reflects a true collaboration between our two brands resulting in a game that will excite table top and film aficionados alike.”
The regular version of the game features artwork and designs by Justin Erickson of Phantom City Creative. The Mondo exclusive version, sold exclusively through MondoTees.com, is limited to 1,982 copies, and features different packaging artwork by Jock. The limited edition game will also come with a Mondo print, enamel pin and two additional sculpted movers: the Norwegian character and the Palmer Thing.
Commenting on the design, artist Justin Erickson said, “with THE THING box art, I wanted to focus on the isolation of Outpost 31 and hint at the hidden alien dangers that lurk around every corner. The title of the game cut out of the ice/snow is a call back to the Thing originally being cut out of the ice by the Norwegians.”
The Thing™ Infection at Outpost 31 Gameplay
It is the start of the bleak, desolate Antarctic winter when a group of NSF researchers manning the claustrophobic, isolated U.S. Outpost 31 comes into contact with a hostile extra-terrestrial lifeform. Bent on assimilating Earth’s native species, this being infiltrates the facility—creating a perfect imitation of one of the Outpost 31 crew. The staff frantically begin a sweep of the base, desperate to purge this alien infection before escaping to warn McMurdo Station that somewhere, out there in the frigid darkness, something horrible is waiting.
In THE THING™ INFECTION AT OUTPOST 31, relive John Carpenter’s sci-fi cult classic as a hidden identity game designed to push you to the edge. Play as one of a dozen characters like helicopter pilot MacReady, mechanic Childs, or station manager Garry. Face sabotage and infection as you investigate the facility—gather gear, battle The Thing, expose any imitations among you, and escape Outpost 31!
Directed by Nik Kacevski
Written by Nik Kacevski and Tess Meyer
Produced by George Kacevski, Tess Meyer, and Enzo Tedeschi
Starring Joshua Brennan, Charlotte Best, Coco Jack Gillies, Kaitlyn Boyé, Joshua Morton, Roger Sciberras, Ric Herbert, Georgia Scott and Diana Popovska
It was supposed to be so simple. You do a job, you make the meet, you get paid.
As an experienced flipper, Jimmy “Skinny” Skinford knows the protocol all too well. Having said that, being kidnapped and forced to dig your own grave will spanner the nicest of deals in the sharpest of ways.
But his fortune turns when a push of his dead man’s shovel unearths the opportunity of a life time; a woman, buried but still breathing, who just can’t seem to die. Her mysterious gift extends to others through touch and in her company Skinny launches head first into a scheme of unparalleled mayhem.
Coming face to face with the most depraved deviates of the criminal underworld, Skinny will have to pay his dues in order to make the meet, get his payload and have his chance at immortality.
But this gift horse comes with plans of her own, and dark consequences that threaten to sever Skinny’s world piece by piece.
Skinford will have it’s world premiere at Event Cinemas George Street, Sydney, on Sunday, March 12 at 7pm. Tickets available HERE
“The Warriors” is a real peculiarity, a movie about street gang warfare, written and directed as an exercise in mannerism. There’s hardly a moment when we believe that the movie’s gangs are real or that their members are real people or that they inhabit a real city.
That’s where the peculiarity comes in: I don’t think we’re supposed to. No matter what impression the ads give, this isn’t even remotely intended as an action film. It’s a set piece. It’s a ballet of stylized male violence.
Walter Hill, the director and co-writer, specializes in fables like this. His first two films were “Hard Times” and “The Driver,” and they were both at arm’s length from realism. Hill likes characters that take on a legendary, mythic stature, and then he likes to run them through situations that look like urban tableaux.
“Hard times,” a good and interesting film, starred Charles Bronson as a professional street fist-fighter who went up against opponents with all the dimension of a James Bond villain. “The Driver” didn’t even have names for its characters; they were described by their functions, and they behaved toward each other in strangely formal, rehearsed, unspontaneous ways.
“The Warriors” takes that style to such an extreme that almost all life and juice are drained from it; there’s great vitality and energy (and choreography and stunt coordination) in the many violent scenes of gang fights and run-ins with the cops. But when the characters talk, they seem to be inhabiting a tale rehearsed many times before.
One example: Three members of a street gang are lined up in a row. The camera regards the first one. He speaks. The camera pans to the second, and he speaks. The camera pans to the third. He speaks. Because the movement of the camera dictates the order and timing of the speeches, there can be no illusion that the characters are talking as their words occur to them.
This same kind of stiff stylization dominates the film. The street gangs take stances toward each other as if they were figures in a medieval print. The deployment of the police and gang forces is plainly impossible on any realistic level; people move into their symbolic places with such perfectly timed choreography that they must be telepathic. And the chase scenes are plainly impossible, as in one extended shot showing the Warriors outrunning a rival gang’s school bus.
All of this is no doubt Walter Hill’s intention. I suppose he has, an artistic vision he’s working toward in this film, and in his work. He chooses to meticulously ban human spontaneity from his films; he allows only a handful of shallow women characters into his stories; he reduces male conduct to ritualized violence. And in “The Warriors” he chooses, with a few exceptions, to cast against type: Only three or four of the movie’s characters look and sound like plausible street-gang members. The rest look and sound like male models for the currently fashionable advertising photography combining high fashion and rough trade.
All very well, I suppose, except that Paramount chooses to advertise the movie as a violent action picture — and action audiences, I suspect, will find it either incomprehensible or laughable. Walter Hill has a considerable visual skill, and he knows what he’s doing in “The Warriors” and does it well. But is this style suited to this material? And does Hill have other notes to play? All three of his films have shown a certain skittishness in the face of human juices and the unrehearsed flow of life. And so his street gangs, and his movies, walk lockstep through sterile streets.
Welcome to the first 3 1/2 minutes of AMC’s companion series to The Walking Dead that premieres Sunday in the States. Frank Dillane stars along with Cliff Curtis, Kim Dickens, and Alycia Debnam Carey in the AMC Studios series. Robert Kirkman, Gale Anne Hurd, Greg Nicotero and David Alper executive producer alongside showrunner Dave Erickson, who co-created and co-wrote the pilot with Kirkman. Watch the beginnings of the zombie apocalypse unfold in Los Angeles below.