Reviews, articles, rants & ramblings on the darker side of the media fringe

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R.I.P Dick Miller

dick miller - after darkDick 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.

joedanteDante 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.”


The First Film Version of Frankenstein, Newly Restored!

The newly restored version of the 1910 Frankenstein is available on the Library of Congress YouTube channel and in the National Screening Room, a recently launched digital collection of films. And, like most films on the NSR, it’s freely downloadable in both ProRes LT and MPEG-4 formats, complete with the Sosin score.

 


Burt Reynolds R.I.P

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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.

But it was John Boorman’s 1972 thriller “Deliverance,” which cast Reynolds as outdoorsman Lewis Medlock, that is widely credited for launching his early career.
Reynolds called it “by far” his best film. “I thought maybe this film is more important in a lot of ways than we’ve given it credit for,” he said in an interview years later. The movie’s infamous rape scene may have helped the public — especially men — better understand the horrors of sexual attacks, Reynolds said.
“It was the only time I saw men get up, sick, and walk out of a theater,” he added. “I’ve seen women do that (before),” but not men.
He was recently cast in the upcoming Quentin Tarantino-directed “Once Upon a Time in Hollywood,” scheduled for release next year. Reynolds had not yet started shooting his appearance in the film.
Rest in Peace.

Bill Gold R.I.P

His résumé included ‘Casablanca,’ ‘A Clockwork Orange,’ ‘The Exorcist,’ ‘Dog Day Afternoon’ and decades’ worth of Eastwood films. Bill Gold, who revolutionized the art of the movie poster over a seven-decade career that began with Casablanca and included A Clockwork Orange, The Exorcist and dozens of Clint Eastwood films, has died. He was 97.

Gold died at Greenwich Hospital in Greenwich, Connecticut, on Sunday, according to family spokeswomen Christine Gillow.

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The Brooklyn native began at Warner Bros. in the early 1940s and had a hand in more than 2,000 posters during his iconic career, working on films for everyone from Alfred Hitchcock (1954’s Dial M for Murder), Elia Kazan (1955’s East of Eden) and Federico Fellini (1963’s 8 1/2) to Sam Peckinpah (1969’s The Wild Bunch), Robert Altman (1971’s McCabe & Mrs. Miller) and Martin Scorsese (1990’s GoodFellas).

Gold, who received a Lifetime Achievement Award from The Hollywood Reporter during its 1994 Key Art Awards ceremony, had a way of setting the mood for a movie using a less-is-more philosophy.

“We try not to tell the whole story,” he told CBS News in March. “We try to tell a minimum amount of a story, because anything more than that is confusing.”

Gold’s fruitful relationship with Eastwood began with Dirty Harry (1971), and he gave the actor a gun or a gritty countenance on posters for such films The Enforcer (1976), The Outlaw Josey Wales (1976), The Gauntlet (1977), Pale Rider (1985) and Unforgiven (1992).

Gold retired after working on the Eastwood-directed Mystic River (2003) but re-emerged to do the poster for the filmmaker’s J. Edgar (2011).

“With Bill, I knew he would bring great ideas, and the poster he created would be one less thing we had to think about,” Eastwood writes in the introduction to the 2010 book Bill Gold PosterWorks. “He respected the film, he respected the story, and he always respected what we were trying to accomplish.

“Four of the films he worked on won best picture Oscars, including Unforgiven. The first image you have of many of your favorite films is probably a Bill Gold creation.”

Movie critic Leonard Maltin once noted that each of Gold’s posters is “as individual as the movies they are promoting. I can’t discern a Bill Gold style, which is a compliment, because rather than trying to shoehorn a disparate array of movies into one way of thinking visually, he adapted himself to such a wide variety.”

Gold “started drawing at age 8 and never stopped,” he said in a 2016 interview. After graduating from Pratt Institute in New York City, he approached the art director of the poster department at Warner Bros.’ offices in New York.

“He sent me away on a trial to design posters for four earlier films: Escape Me Never and [The Adventures of] Robin Hood with Errol Flynn, The Man I Love with Ida Lupino and Bette Davis’ Winter Meeting,” he recalled.

Gold passed the test and was hired at age 21, and his first assignment was Casablanca (1942).

As he told CBS News, Gold laid out the poster for Casablanca and placed a gun in Humphrey Bogart’s hand at the last minute: “Somebody suggested, ‘This is Bogart. Let’s put a gun in his hand. That’s the way he acts, the way he exaggerates his action. We don’t want just a head of him. It’s too boring!’ ”

The gun was taken from another Bogie film, High Sierra (1941). Gold also was assigned work on Warners’ Yankee Doodle Dandy (1942) around this time.

After enlisting and serving three years during World War II, when he made training films for the U.S. Army Air Force, Gold returned to Warner Bros. and in the late 1950s moved west to work on the studios’ Burbank lot. He started his own company in the early 1960s back in New York.

Gold’s poster for William Friedkin’sThe Exorcist (1973) — showing the priest played by Max von Sydow under a shaft of light outside the Georgetown home of the possessed young girl (Linda Blair) — was created after he was told not to “show anything that had any hint of religious connotation.”

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Gold also worked on posters for The Searchers (1956), Cool Hand Luke (1967), Funny Girl (1968), My Fair Lady (1968), Bullitt (1968), Woodstock (1970), Klute (1971), Deliverance (1972), The Sting (1973), Blazing Saddles (1974), Dog Day Afternoon (1975), On Golden Pond (1981), For Your Eyes Only (1981) and Thelonious Monk: Straight No Chaser (1988).

In 2011, producer Sid Ganis, who headed advertising at Warner Bros. during the 1970s, told THR that Gold was “the maestro. He was the one directing his art directors and directing his copy writers on what to do, which was a great thing. He was also the one who communicated with the studio. He was the guy in charge of the symphony.”

Survivors include his wife, Susan, son Bob, daughter in-law Joanne, daughter Marcy, grandson Spencer, granddaughter Dylann and her fiancé Justin, great nephew Jaaron and “man’s best friend” Willoughby.


Westworld Season 2 – Teasers

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.”

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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.


Powers Boothe R.I.P

029-deadwood-theredlistPowers 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.

 


Geoffrey Bayldon R.I.P

Geoffrey-Bayldon_CatweazleThe actor Geoffrey Bayldon has died aged 93. The actor who starred in the much-loved 1970’s television series Catweazle, was partly brought to his most famous role by the chastening experience of rejecting the chance to be the first  Doctor Who. Bayldon, was approached to play the Doctor in 1963. But the Time Lord was scripted as an eccentric old man, and Bayldon, then in his late 30’s, was wary of being typecast in such roles, even though he was exceptionally good at them. With no inkling of the success Doctor Who would turn out to be, and put off by the punishing filming schedule, he turned the offer down after only 10 minutes’ consideration.

He later admitted to regretting the decision, and when another high-profile TV role – to play the even older and markedly more eccentric Catweazle – came his way in 1969, he had no second thoughts. The character of Catweazle – a wild-eyed 11th-century magician transported into the modern world – suited Bayldon to a T, and in fact the creator of the series, Richard Carpenter, had written the script with him in mind. Bayldon took on the part enthusiastically, creating one of the most instantly recognisable and enchanting TV characters of the era.

In a Sunday afternoon slot on ITV, Catweazle’s 26 episodes drew audiences of many millions as they charted the light-hearted adventures of the ragged-cloaked, pointy-bearded hero and his “familiar’, the toad Touchwood. Inadvertently thrown through time by his own inept sorcery into the bewildering landscape of 20th-century England – where he saw magic in everything, including the “electrickery” of lightbulbs and the amazing “tellingbone” that allowed people to communicate with each other – Catweazle muddled his way through misunderstandings and escapades as he attempted to find the magic spell that would return him to his own era.

The programme ran from February 1970 to April 1971, and its gentle humour and Bayldon’s star quality made it immensely popular with children and adults alike. It generated spin-offs such as Christmas annuals, books and a series of comic strips. The two series, preserved on DVD, still have a cult following and even today there is a large and active Catweazle fanclub… I still have a Catweazle Annual from he early 70’s.

Bayldon put his heart and soul into the series, not least in the makeup department, where he would spend an hour and a half each day transforming his appearance. He invested Catweazle with much of his own engaging personality and animated him with mannerisms, tics and catchphrases.

Catweazle became Bayldon’s lead into dozens of other TV roles, including the equally crusty Crowman in the late 1970’s Worzel Gummidge series, alongside Jon Pertwee and Una Stubbs. But he had originally set out as a theatre actor and initially paid little attention to the small screen.

Bayldon was born in Leeds, his father a tailor and his mother a head teacher. Although neither parent had any noticeable acting talent, Bayldon inherited his mother’s flair for narration, and traced his love of the stage to a debut at the age of four in a school play, in which he portrayed a robin.

After spending three quiet second world war years stationed at Yorkshire airfields with the RAF, during which time he appeared in many revues, he began training as a professional actor in 1947 at the Old Vic theatre school in London.

Bayldon spent two seasons as a successful Shakespearean actor at Stratford, playing alongside John Gielgud in Measure for Measure and Julius Caesar (both in 1950). For a further two years, he was with the Birmingham repertory theatre, with whom he appeared as Caesar at the Old Vic and, to rave reviews, in Paris.

Eventually, however, he felt he should be making concessions to the popular new medium of television, and he moved to London. There he took roles in a number of live BBC Wednesday plays, and began to appear in episodes of series including The Avengers and The Saint.

His triumph as Catweazle sealed his TV reputation, drawing him into countless series and dramas including All Creatures Great and Small, The Tomorrow People, Tales of the Unexpected, Blott on the Landscape and Rumpole of the Bailey. In three 1979 episodes of Doctor Who he was Organon the astrologer – during the Tom Baker era – and even played an alternative version of the Time Lord in two audio versions of Doctor Who stories released in 2003 and 2005.

Bayldon made numerous film appearances, rubbing shoulders with greats such as Sidney Poitier (To Sir With Love, 1967), Peter Sellers (Casino Royale, 1967, and The Pink Panther Strikes Again, 1976), Albert Finney (Scrooge, 1970) and Vincent Price (The Monster Club, 1981).

His TV acting continued well into his 80s, when he noted that he was still well qualified to play old men, and he had credits in Midsomer Murders, Heartbeat, Casualty, New Tricks and My Family in more recent years. He would attend the annual gathering of the Catweazle fanclub with enthusiasm, and in 2005 revealed that he had finally been able to watch the show with a sense of detachment. “I turned it on and I was sitting back watching myself without being conscious at all that it was me,” he said. ‘“And I was jaw-dropped. I suddenly thought: ‘This fella’s bloody good.’”

I also thought he was great in Born to Boogie (1972) but that may be because I was a huge T-Rex fan as a kid.

Rest in Peace Geoffrey.

 


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Blade Runner 2049


THE THING: INFECTION AT OUTPOST 31 Board Game

TheThing-3dbt-_cropped_1024x1024Mondo 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.

Sign up for the INFECTION AT OUTPOST 31 newsletter here to stay up-to-date with release info.

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.

TheThing-GB_1024x1024The 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.”

TheThing-GBtop_1024x1024The 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!


Jonathan Demme R.I.P

Jonathan_DemmeJonathan Demme, the Oscar-winning filmmaker who observed emphatically American characters with a discerning eye, a social conscience and a rock ’n’ roll heart, achieving especially wide acclaim with The Silence of the Lambs and Philadelphia, died on Wednesday at his home in Manhattan. He was 73.

His publicist, Leslee Dart, confirmed the death. Mr. Demme disclosed that he had cancer in 2015.

Mob wives, CB radio buffs and AIDS victims; Hannibal Lecter, Howard Hughes and Jimmy Carter: Mr Demme (pronounced DEM-ee) plucked his subjects and stories largely from the stew of contemporary American subcultures and iconography. He created a body of work — including fiction films and documentaries, dramas and comedies, original scripts, adaptations and remakes — that resists easy characterization.

Robert Jonathan Demme was born on Long Island, in Baldwin, on Feb. 22, 1944, and grew up mostly in nearby Rockville Centre, where he listened to music and went to the movies.

The family moved to Miami, where Jonathan went to high school and worked in a kennel and an animal hospital. Wanting to be a veterinarian, he attended the University of Florida with that in mind until he failed chemistry, at which point he went to the university newspaper, discovered it had no movie critic, and assumed the job himself, he said, so that he could get into movies free.

It happened that Mr. Levine was on vacation in Miami Beach, staying at the Fontainebleau Hotel, where he had become acquainted with the hotel’s publicist, Robert Demme. The elder Demme introduced Mr. Levine to his son, whose review of Zulu impressed him. Mr. Levine offered him a job.

A personable man with the curiosity gene and the what-comes-next instinct of someone who likes to both hear and tell stories, Demme had a good one of his own, a Mr. Deeds kind of tale in which he wandered into good fortune and took advantage of it. A former movie publicist, he had an apprenticeship in low-budget B-movies with the producer Roger Corman before turning director.

In 1971, he took a job as a unit publicist in Ireland for a Roger Corman film, Von Richthofen and Brown, about a German flying ace. Shortly after that, he began making films of his own for Corman’s production company. He wrote (with Joe Viola) and produced a biker film, Angels Hard as They Come, and wrote and directed a handful of others, including Caged Heat (1974), a heavy-breathing women’s prison movie, and Crazy Mama (1975), a campy road story with a ’50s rock score that starred Ann Sothern and Cloris Leachman as mother-and-daughter outlaws.

Demme then became known early in his career for quirky social satires that led critics to compare him to Preston Sturges. They included Handle With Care (1977), originally titled Citizens Band, and Melvin and Howard (1980), a tale inspired by true events.

“Music was my first love, movies came second,” Demme once told the New York newspaper The SoHo News. In a 1988 interview with Premiere magazine, he said: “I grew up with rock ’n’ roll — literally,” adding, “The first rock song I remember was ‘Sh-Boom,’ and since then I’ve never stopped obsessing on at least something.”

“I can’t think of any other director who is so instinctively and democratically interested in everybody he shows you,” Kael wrote.

David Byrne of Talking Heads Demme worked together frequently, notably on Stop Making Sense, a 1984 concert film about Talking Heads that many critics (and filmgoers) found mesmerizing, though it had few filmic bells and whistles. (Demme preferred to call it a “performance film” because, he said, it wasn’t about the concert experience — he didn’t show the audience until the end.)

Mr. Byrne also scored Demme’s Married to the Mob, a gaudy 1988 farce in which Michelle Pfeiffer plays the wife of a Long Island gangster (Alec Baldwin) who tries to exit the mob life after her husband is bumped off when he dallies with the girlfriend of the local boss (Dean Stockwell). Things get especially dicey when she moves with her young son into a shabby Manhattan apartment and strikes up a romance with an F.B.I. agent (Matthew Modine) who has her under surveillance.

Later, as a known commodity, Mr. Demme directed prestige Hollywood projects like Beloved (1998), an adaptation of Toni Morrison’s novel about the lingering, post-Civil War psychological horror of slavery, with Oprah Winfrey and Danny Glover in starring roles, and The Manchurian Candidate (2004), a remake of the 1962 Cold War drama of the same title about a brainwashed American prisoner of war. Mr. Demme’s updated version, starring Denzel Washington, Meryl Streep and Liev Schreiber, takes place during the Persian Gulf war.

Demme may be best remembered for two films from the 1990s that were, at the time, his career’s biggest anomalies. The first, The Silence of the Lambs (1991), was a vivid thriller based on the novel by Thomas Harris that earned five Oscars, including best picture and best director. Unlike his previous films, with their mischievous pleasure and tender melancholy, this was straightforward and serious storytelling with only a few moments of shivery humor.

The story is told largely from the perspective of an F.B.I. trainee who becomes a key figure in the pursuit of a serial killer known as Buffalo Bill when she is assigned to conduct a prison interview with Hannibal Lecter, a mad and murderous psychiatrist, hoping to extract from him clues to Bill’s identity.

Demme’s next narrative venture, Philadelphia (1993), brought to the fore a strain of advocacy that was otherwise evident in his documentaries about Haiti; former President Jimmy Carter; New Orleans in the aftermath of Hurricane Katrina; and his cousin Robert W. Castle, a white activist priest in Harlem.

It was the first big-budget Hollywood film about AIDS, and with its forthright depiction of homosexuality, homophobia and the disease that was rampaging through gay communities, it was a turning point in the way mainstream movies treated gay men and lesbians, who had previously been handled with hush-hush delicacy or flamboyant caricature. Mr. Hanks won an Oscar, and so did Bruce Springsteen, for the song that introduces the film, “Streets of Philadelphia.”

His publicist Annalee Paulo said Demme’s funeral would be private and that in lieu of flowers, the family had asked that donations be made to the group Americans For Immigrant Justice in Miami.


Re-Animator Trading Cards

reanimatorOfficially Licensed RE-ANIMATOR Trading Cards!

THE ULTIMATE SET IF YOU WANT EVERYTHING IN THIS COLLECTION!
THIS SEALED BOX OF 24 WAX PACKS INCLUDES:
– 2 Full Base Sets
– 2 Full Sticker Sets
– ALL 23 Chase Cards
– 1 Sketch Card
– 1 Signature Card (Autographed by Barbara Crampton!)

These awesome ‘disposable income’ cards are available to pre-order from Fright Rags HERE

 


Bernie Wrightson Retires

wrightson_frankenstainI just saw this update from the Bernie Wrightson facebook page and am truly saddened to share the news posted by Bernie’s wife Liz. Bernie is one of my all time favourite artists, I am lucky enough to own 2 signed prints of his, of Frankenstein (pictured above) and The Texas Chainsaw Massacre. A true gentleman and towering talent of the comic book industry.

Dear Fans and Friends,

I apologize for our silence for the past few months. Last November Bernie began falling again, and having obvious problems with perception. He had to undergo yet another brain surgery to relieve bleeding, and then spend several weeks undergoing in-patient rehabilitation. Unfortunately, it appears that he has lasting damage: he has extremely limited function on his left side, and is unable to walk or reliably use his left hand, among other limitations.

We have had to come to the sad conclusion that he is now effectively retired: he will produce no new art, and he is unable to attend conventions. Should this situation change I will happily announce it here.

He can still sign his name (in fact he was signing Kickstarter prints in the hospital!), and is otherwise pretty healthy and has good cognition. We expect to continue releasing signed prints, and offering occasional pieces of art for sale from the collection that remains. We both thank all of you for your continuing support and good wishes!

All our best,
Liz and Bernie Wrightson  


The Tunnel – FREE Blu Ray or DVD

tunnel-posterTo celebrate the creepiest holiday of the year, Deadhouse Films are giving away, for FREE, either a DVD or BluRay of the worldwide phenomenon THE TUNNEL.

All they are asking is that you pay the cost of shipping this Australian flick to you from the Land Down Under.

One-week only, one disc per email address, but feel free to tell as many friends as you like!

The discs from this offer will be shipped together in mid-November once the promotion is over. Click on the link HERE and have your PayPal details handy…


Friday the 13th: The Game

Jason Voorhees is unleashed and stalking the grounds of Camp Crystal Lake! Now we need your help to make this game an amazing reality! Check out the Kickstarter campaign HERE


The Invisible Man

The-Invisible-Man_regularThe-Invisible-Man_variantTwo new posters by Elvisdead: The Invisible Man. Available at Mondo Tees HERE

 


Tales of Halloween

tales-of-halloween_drew-struzanThe horror anthology Tales of Halloween boasts contributions from a small army of well-regarded genre directors, an even larger number of terror veterans in its cast, and opening theme music from legendary Bullitt and Dirty Harry composer Lalo Schifrin. The movie, brainchild of writer-director Axelle Carolyn, which Epic Pictures is releasing in theaters and on VOD, Oct. 16 The film has a new poster by Drew Struzan, the legendary artist whose work played such a seminal role in the marketing campaigns of the Star Wars, Back to the Future, and Indiana Jones movies, to name a few.

In a statement from The Descent filmmaker Neil Marshall, who directs one of the 10 interconnected Tales of Halloween segments, he explains how Struzan came to produce the image (turns out it doesn’t hurt to cast him in your movie).

To film geeks and movie poster collectors such as myself, Drew Struzan represents something that often seems to have been lost in recent years; the ART of movie poster design. The ability of someone to capture the essence of a movie in a single painted image and create a genuine work of art you’d be proud to hang on your wall.  So it’s an unbelievable privilege for our little film to be blessed by one of Drew’s beautiful paintings. It was incredible enough to have Drew play his first ever cameo (along with his son Christian) in my segment of Tales of Halloween. The poster itself came about when Axelle (Carolyn, my wife and also creator, producer and fellow director of the movie) plucked up the courage to ask him over dinner one night. I suspect though, since Drew is such a thoughtful and generous person, that he might have been upset if we hadn’t asked him. Either way, we’re honoured to have Drew’s incredible artwork grace our movie, and I for one will be making space on my wall for this beautiful poster.


Jinko – By Deane Taylor

Jinko_Deane-TaylorI won’t make a more important or inspiring post than this one. Please head over to the indiegogo site to be enthralled the Deane Taylor passion project Jinko, an epic fantasy adventure about an orphaned sea gypsy who brings peace to a hidden world at war… and donate for your chance to be involved in an exceptional Australian adventure and receive some incredible art by Deane.

JINKO CF video from a schuppan on Vimeo.  Jinko on Idiegogo HERE  Jinko on Facebook HERE


Eroding Designs – Classic Horror T-Shirts

GodzillaDawn of the DeadCheck out these awesome, locally made t-shirts featuring classic movies imagined by a 5 year old… Designs available An American Werewolf in London, Dawn of the Dead and Godzilla. Purchase them for only $20 including postage HERE


Kermode Uncut: Wes Craven – Pioneer of Horror

Mark Kermode pays tribute to Wes Craven – one of the most gifted horror directors of our time.


Wes Craven R.I.P

wes_cravenDirector Wes Craven died on Sunday afternoon in Los Angeles. Craven was 76 and passed away at home surrounded by his family after battling brain cancer.

From his first feature film The Last House On The Left as writer, director and editor in 1972, Craven made his mark as a genre-bending, bracingly innovative horror director with a biting sense of humour. Craven also consistently demonstrated that he was a filmmaker with heart. Among the films that followed The Last House On The Left were The Hills Have Eyes and a sequel, Deadly Blessing (featuring Sharon Stone in her first starring role) and Swamp Thing (based on the comic book).

Craven reinvented the youth horror genre again in 1984 with the now classic A Nightmare On Elm Street, in which he turned Robert Englund into a cult icon with the role of Freddy Krueger. The movie spawned several sequels, none of them directed by Craven, however, he deconstructed the genre a decade after the original, writing and directing the audacious Wes Craven’s New Nightmare, which was nominated for Best Feature at the 1995 Independent Spirit Awards.

In 1996 Craven experienced yet another rebirth in horror with the release of Scream, which he directed from a script by Kevin Williamson. Scream sparked multiple sequels and spoofs.

One of the last projects Craven worked on was MTV’s series adaptation of Scream, on which he served as executive producer. The series was recently renewed for a second season. “Wes Craven was a tremendous visionary whose sensibility for scares has connected with generations of MTV fans,” MTV said in a statement. “We are honored to have worked with him and proud to carry on his legacy with Scream. Our hearts go out to his family and friends.”

Craven took a breather from horror between Scream 2 and Scream 3, when he seized an opportunity to direct a non-genre film for Miramax, Music Of The Heart (1999), which earned star Meryl Streep an Academy Award nomination for Best Actress. That same year he completed his first novel, The Fountain Society, published by Simon & Shuster.

Craven continued to stretch his creative boundaries with the 2005 thriller Red Eye, starring Rachel McAdams, Cillian Murphy and Brian Cox. The following year he switched gears again to write and direct a romantic comedy homage to Oscar Wilde featuring Emily Mortimer and Rufus Sewell as a segment in the popular French ensemble anthology Paris Je T’aime.

He then returned to horror as producer of remakes of two of his earlier films, The Hills Have Eyes (2006) and The Last House On The Left (2009). Craven’s most recent written and directed film, My Soul To Take (2010), once again brought together a cast of up-and-coming actors. It marked Craven’s first collaboration with wife and producer Iya Labunka, who also produced Scream 4, which reunited Craven with screenwriter Williamson, as well as with stars Neve Campbell, Courteney Cox and David Arquette, joined by newcomers Emma Roberts and Hayden Pannetierre.

Remaining creatively engaged and active until his death, Craven had signed an overall TV deal with Universal Cable Productions. He had a number of projects in development including The People Under The Stairs and We Are All Completely Fine with Syfy, Disciples with UCP, and Sleepers with Federation Entertainment.

Craven also recently wrote and was scheduled to direct the “Thou Shalt Not Kill” segment for The Weinstein Company/WGN’s Ten Commandments miniseries. Additionally he was working on a graphic novel series based on his original idea “Coming Of Rage” for Liquid Comics in collaboration with Steve Niles.

Craven was an executive producer of the upcoming feature The Girl In The Photographs, which will premiere next month the 2015 Toronto Film Festival.

A native of Cleveland, Ohio, Craven was a nature lover and committed bird conservationist, serving as a long-time member of the Audubon California Board of Directors. A longtime summer resident of Martha’s Vineyard, he had moved there permanently three years ago before returning to Los Angeles for work and health reasons.


The Witch

The first trailer for Sundance winner Robert Eggers new film, The Witch, out in 2016.

Writer/director Robert Eggers’ debut feature, which premiered to great acclaim at the 2015 Sundance Film Festival (and won the Best Director Prize in the U.S. Narrative Competition), painstakingly recreates a God-fearing New England decades before the 1692 Salem witch trials, in which religious convictions and pagan folklore famously clashed. Told through the eyes of the adolescent Thomasin – in a star-making turn by newcomer Anya Taylor-Joy – and supported by mesmerizing camera work and a powerful musical score, THE WITCH is a chilling and groundbreaking new take on the genre.


Victor Frankenstein

James McAvoy and Daniel Radcliffe star in a dynamic and thrilling twist on a legendary tale. Radical scientist Victor Frankenstein (McAvoy) and his equally brilliant protégé Igor Strausman (Radcliffe) share a noble vision of aiding humanity through their groundbreaking research into immortality. But Victor’s experiments go too far, and his obsession has horrifying consequences. Only Igor can bring his friend back from the brink of madness and save him from his monstrous creation.


Mad Max: Fury Road – By Ken Taylor

Mad-Max-Fury-Road_Ken-Taylor_MondoMAD MAX: FURY ROAD poster by Ken Taylor will be released as a timed-edition sale! That means for 72 hours, from midnight CST on Tuesday, August 11th until 11:59pm CST on Thursday, August 13th, the posters will be available to purchase from Mondo HERE


Willliam Friedkin – The Deadline Interview

Check out this awesome interview with William Friedkin as he revisits The French Coonection, The Exorcist and Sorcerer. At Deadline HERE