MOVIES TV
MOVIES TV

Monday, November 30, 2009

CULT TV FLASHBACK # 95: The All-New Super Friends Hour (1977-78)

This morning, my three-year old son, Joel, asked me what I write about on the computer all the time, and I told him that I write about TV shows and movies.

Without missing a beat, Joel then asked me if I've written about his favorite show yet: The All New Super Friends Hour (1977-1978), which he saw for the first time about three weeks ago. I realized I hadn't written about the classic cartoon series yet, and Joel asked me if I would do so.

So today's post is for Joel...

The All-New Super Friends Hour aired from 1977 to 1978 on ABC television, and featured the adventures of the denizens of the Hall of Justice.

These DC Comics superheroes include Superman, Batman and Robin, Wonder Woman, Aquaman, the Wonder Twins (Zan and Jayna...) and their "space monkey" Gleek.

And week after week, these "Super Friends" battle the likes of outer mind-controlling space ants ("Coming of the Arthropods") and corporate conspiracies ("The Secret Four." They travel back and forward through time ("Planet of the Neanderthals") and destroy deadly weapons (like "meson energizers,") put out forest fires, expose impostors ("The Marsh Monsters") and lecture villains about the use of force.

Back in the days of The Super Friends, there was no cable television...and no secondary market for DVDs either, which meant that, essentially, come Saturday morning, children ages 3 to 13 had only three channels to choose from. Thus the programming had to be suitable for those ages...and homogenized. For superhero programming like The All-New Super Friends Hour, this meant very little "real" violence (punching, kicking, etc.) but lots of morally valuable conflicts and discussions about what it means to be a good person.

Each episode of The All-New Super Friends Hour is split into several short segments. The initial story usually highlights two of the Super Friends working in tandem to solve a problem. Often, there is a special guest star Super Friend in the mix too. For instance, Wonder Woman and Apache Chief worked together in "The Antidote," and Aquaman and Black Vulcan helped save a runaway ship in "The Whirlpool." Among the other guest heroes: Atom, Green Lantern, Hawkman, Hawkgirl, Black Vulcan, Rima the Jungle Girl and Joel's current obsession, Toshi Eto...Samurai.

A second segment is termed "Safety" and features an adult Super Friend offering children guidance about the perils of every day life. For instance, in one segment, Wonder Woman warns little kids about the danger of chewing on pen caps and Styrofoam cups. D'oh! Another entry sees the Paradise Island native praise a boy for carefully crossing the street. "I saw you from my invisible jet and had to stop by..."

Another short segment is called "Decoder" and features different superheroes offering clues about puzzle words such as "caveman," "insect," and "bedrock." The third short segment is truly bizarre: A Super Friend Magic Trick showcase, again demonstrated by your favorite heroes. Examples included Superman's "Scissor Sorcery!" and Aquaman's "Disappearing Coin Illusion!"

Every episode of the All-New Super Friends Hour also features a morally valuable adventure of the Wonder Twins. Each tale commences with Zan and Jayna happily involved in some activity like volleyball or miniature golf when they receive a "teen trouble alert" via special wristwatches. Then, they leap to the rescue of misbehaving teens. Said rescue always entails the Wonder Twins using their shape shifting abilities. Jayna often morphs into a polar bear, an eagle or a camel, while Zan transforms into water, a lake, a ski-slope(!) and an ice sled. After the danger is resolved and the guilty, crest-fallen teens learn their lessons, these segments universally end with Gleek's comic shtick.

Among the Wonder Twin stories are titles such as "Hitchhiking," "Vandals," "Runaways," "Joy Ride," "Initiation," "Shark," "Tiger on the Loose" and even "Prejudice!" One story warns against the danger of "jumping to conclusions," which -- truth be told -- is a refresher we can all use. Joel in particular has fallen in love with the Wonder Twins, but he gets very upset by the misbehaving teens in the stories like "Hitchhikers," "Runaways" and "Vandals." He has also begun instructing me and his mother: "Don't Smoke!" (Neither of us smokes...).

Another segment on The All New Super Friends Hour pits the entire Hall of Justice team against some alien or earthbound evil. "Super Friends vs. Super Friends" lands our heroes in the undersea kingdom of Oceania, where they are forced to battle one another in a kind of underwater Roman Colosseum. "City in a Bottle" takes the Super Friends to a frozen planet to rescue the Wonder Twins and a miniaturized Mid City. "Invasion of the Earthors" pits the Hall of Justice Regulars against mole men at the center of the Earth.

These All New Super Friends episodes are truly relics of a different age...though wholly enjoyable on their own terms. For instance, Batman is not dark or angsty in the slightest in this incarnation. And Superman does not feel the pressure/isolation of his "otherness." The Flash is not a smart-alecky quipper either. The Aquaman you see here is old school too -- not the angry-looking, long-haired, hook-equipped revenger of recent vintage. Instead, all the Super Friends seem virtually interchangeable, save for their specific powers, costumes and devices. On that note, some of the Bat devices featured here are truly absurd. Kathryn and I got a good chuckle out of the "Bat-Lube," a utility belt item that is always handy to keep around, in a pinch, I guess...

Yet, I can't complain. The series is perfect for me as nostalgia, and perfect for Joel as straight-up superhero action-adventure. There's no real violence to attempt to explain away to an inquisitive toddler, and in just a few short weeks Joel has begun accurately using words such as "telepathy," "monolith," "invisible," origin," "toboggan" and "activate." He dressed up as Black Vulcan last week; and this morning has been a Wonder Twin with Kathryn, yelling "Wonder Twin Powers...Activate!" Just a few moments ago, Joel/Zan transformed into a drill and broke through one of his Daddy's bear hug squeezes...

If you didn't grow up with The Super Friends, or don't have a child, I can't imagine that this will be the version of the DC Legends you choose to enjoy, especially with the terrific JLA of this decade also available on DVD. But if you remember the disco decade, and if you have an enthusiastic child to share them with, the All New Super Friends Hour is really terrific fun. It's a perfect superhero/comic-book primer for Joel and a great memory for his Dad.

Now please excuse me while I say...Inyuk-chuk!

MusicMonday -- Get in the Holiday Spirit!


Music Poll


Today is the last day to vote in the music poll at left. Adam Lambert created the most controversy at the AMAs, but it looks like Lady Gaga wins the popularity contest. And if you like her, read on...


Free Downloads

Today is also the last day to cash in on Amazon's free $3 mp3 credit that you can use on any music -- your choice! Click here for the offer.

Thanksgiving is behind us -- so it's time to kick up the Christmas holiday spirit. This week's new offerings are all holiday-related:
  • Lady Gaga is leading the poll at left -- and she has a free Christmas song at Amazon. Click here or her image above to download Christmas Tree.
  • Thanks to Oprah, you can download Andrea Bocelli's and Mary J. Blige's duet on "What Child Is This" and Sugarland's "Silent Night" for free -- until tomorrow at midnight. Click here.
  • Amazon also offers up the Sampler Claus with 7 tracks from legends such as Frank Sinatra and Mahalia Jackson. Click here for the free download.
  • Who doesn't love monkeys? Well one of the most famous of them all -- Curious George -- has a free holiday Amazon download. Click here.
  • Jars of Clay cover Christmas, too -- click here for their free Amazon download.
  • And here are three more free Christmas songs from Amazon: Hark, the Herald Angels Sing by Carola, O’Carolan’s/Welcome Christmas by Alison Brown, Why Can’t it be Christmastime All Year by Rosie Thomas

Still not ready to embrace Christmas? Well don't forget to continually check the following sources for more free downloads -- new songs covering all genres are added frequently. Just click on the links below and enjoy some new tunes.

MusicMonday -- Get in the Holiday Spirit!


Music Poll


Today is the last day to vote in the music poll at left. Adam Lambert created the most controversy at the AMAs, but it looks like Lady Gaga wins the popularity contest. And if you like her, read on...


Free Downloads

Today is also the last day to cash in on Amazon's free $3 mp3 credit that you can use on any music -- your choice! Click here for the offer.

Thanksgiving is behind us -- so it's time to kick up the Christmas holiday spirit. This week's new offerings are all holiday-related:
  • Lady Gaga is leading the poll at left -- and she has a free Christmas song at Amazon. Click here or her image above to download Christmas Tree.
  • Thanks to Oprah, you can download Andrea Bocelli's and Mary J. Blige's duet on "What Child Is This" and Sugarland's "Silent Night" for free -- until tomorrow at midnight. Click here.
  • Amazon also offers up the Sampler Claus with 7 tracks from legends such as Frank Sinatra and Mahalia Jackson. Click here for the free download.
  • Who doesn't love monkeys? Well one of the most famous of them all -- Curious George -- has a free holiday Amazon download. Click here.
  • Jars of Clay cover Christmas, too -- click here for their free Amazon download.
  • And here are three more free Christmas songs from Amazon: Hark, the Herald Angels Sing by Carola, O’Carolan’s/Welcome Christmas by Alison Brown, Why Can’t it be Christmastime All Year by Rosie Thomas

Still not ready to embrace Christmas? Well don't forget to continually check the following sources for more free downloads -- new songs covering all genres are added frequently. Just click on the links below and enjoy some new tunes.

Sunday, November 29, 2009

Top 10 at the Weekend Box Office



Notes:
  • Click on the chart to enlarge.
  • Following its record-breaking first weekend, first-place finisher The Twilight Saga: New Moon brought in $42.5 million over the three-day (Friday through Sunday) weekend -- and $66 million over the 5-day holiday period -- driving its cumulative 10-day total to $230.7 million.
  • Overall, the box office raked in an all-time Thanksgiving weekend high of $278 million over the 5-day period.
  • Reviews of 2012, Precious and Fantastic Mr. Fox can be found by clicking on the Film Reviews archive image at left.
  • All figures are industry estimates. Actual figures are released on Monday.
  • Sources: Nielsen EDI, ew.com, Variety, AP

Top 10 at the Weekend Box Office



Notes:
  • Click on the chart to enlarge.
  • Following its record-breaking first weekend, first-place finisher The Twilight Saga: New Moon brought in $42.5 million over the three-day (Friday through Sunday) weekend -- and $66 million over the 5-day holiday period -- driving its cumulative 10-day total to $230.7 million.
  • Overall, the box office raked in an all-time Thanksgiving weekend high of $278 million over the 5-day period.
  • Reviews of 2012, Precious and Fantastic Mr. Fox can be found by clicking on the Film Reviews archive image at left.
  • All figures are industry estimates. Actual figures are released on Monday.
  • Sources: Nielsen EDI, ew.com, Variety, AP

Friday, November 27, 2009

She-Wolf of London Lands on DVD

One of my recent CULT TV flashbacks here on the blog focused on the 1990-1991 syndicated horror series, She-Wolf of London (1990 - 1991). I never thought I would see this happen -- simply because it is such an obscure show -- but a DVD release has been announced for the complete series.

TV Shows on DVD made the official announcement not long ago, noting that the show will be released from Universal Studios on February 2nd, 2010. You can pre-order the box set at Amazon, here.

In the original incarnation (set in London), the series was something quite special: a pre-X-Files excavation of common international horror legends and myths, with a touch of romance. It was enormously appealing, atmospheric and occasionally scary.

The series changed formats (and title...) with a production move to L.A., and Love & Curses became something a bit more light-hearted; more in the spirit of Moonlighting than a straight-up horror show. But now, you can judge the series and the format shifts for yourself...and if you're a horror TV fan, I encourage you to do so.

Now, if we could just finally get Werewolf: The Series on DVD too...

Wednesday, November 25, 2009

Happy Thanksgiving

To All My Readers,

I hope you enjoy a safe, happy, and healthy Thanksgiving holiday with your loved ones today.

Thank you for making 2009 the biggest, most successful year ever on the blog. I'm nearing my 1500th published post, and the site has already had 26,000 more visitors this year than in the entire year of 2008. And we still have over a month to go before 2010.

And thank you, too, for continuing to support my writing about genre film and television. (And don't forget, high-tech Christmas shoppers, this blog is now available on Kindle...)

Regards and best wishes,
JKM

Thanksgiving Movie Reviews


Fantastic Mr. Fox


Based on Roald Dahl's book of the same name, Fantastic Mr. Fox is made with puppets, miniature props, old-fashioned stop-motion animation -- and wild imagination and skill by Wes Anderson (The Royal Tenenbaums). Anderson, who directed, co-wrote and co-produced, has given us one of the best movies of the year -- and one that, along with Pixar's Up, certainly tops the crowded animation field. But the animation alone is not what makes this film such a winner -- it also has a terrific story -- as Mr. Fox tries to put his wild days behind him and become a responsible husband and father. But will he be able to pass up the temptation of one final risky adventure? Of course not -- and you'll be glad he didn't as we are introduced to a wide-range of colorful supporting characters along the way.

The great voice cast includes Oscar winners George Clooney (in the title role) and Meryl Streep (as Mrs. Fox) -- along with Bill Murray, Jason Schwartzman, Michael Gambon, Willem Dafoe and Owen Wilson. It's a must-see, and a lot of fun for the older kids on up. There's a lot to feast on in this witty and wonderful Thanksgiving treat. [Rated PG; opens wide today]

Grade: A


Bad Lieutenant: Port of Call New Orleans

Not a remake of 1992's Bad Lieutenant (starring Harvey Kietel), but rather a re-telling of a story of a good cop gone bad. This time around, Nicolas Cage stars as Terrence McDonagh, a New Orleans police sergeant, who starts out as a good cop, receiving a medal and a promotion to lieutenant for heroism during Hurricane Katrina. During his heroic act, McDonagh injures his back and later becomes addicted to prescription pain medication -- and street drugs. This addiction leads him into the dark world of police corruption -- in what should be viewed as serious drama. Unfortunately, in the hands of director Werner Herzog (Rescue Dawn), the film takes on too much bizarreness for its own good and becomes quite laughable at times.

Cage sure has had a strange career path. After his Oscar-winning turn in Leaving Las Vegas, his film choices and bad acting in movies such as Knowing have left many film-goers scratching their heads. Many critics are applauding Cage's performance here -- and there are moments where I too was impressed. You could actually feel his character's physical and emotional pain with each contorted move he makes on the screen. But Cage also overacts in too many scenes -- and the results are completely over the top. Adding to my dissatisfaction of the film was my bad luck in viewing an early screener with an incorrect aspect ratio. At least that was the excuse given for why my audience saw the boom mic move overhead in scene after scene. It was truly distracting -- and laughable.

All the negatives aside, there is still a compelling story here. I just wish Herzog toned down the bizarreness a bit -- and reigned in Cage. Look out for the great comic actress Jennifer Coolidge (Best in Show) in a dramatic role as the drunk wife of McDonagh's father. She certainly proves she has great acting range. And that's more than I can say for Cage. Also stars Eva Mendes and Val Kilmer. [Rated R; opens today]

Grade: B-


Note:

  • Now there are two ways to reach the archive of all film reviews. Click here or the icon at left for the alphabetical listing of all reviews.

Thanksgiving Movie Reviews


Fantastic Mr. Fox


Based on Roald Dahl's book of the same name, Fantastic Mr. Fox is made with puppets, miniature props, old-fashioned stop-motion animation -- and wild imagination and skill by Wes Anderson (The Royal Tenenbaums). Anderson, who directed, co-wrote and co-produced, has given us one of the best movies of the year -- and one that, along with Pixar's Up, certainly tops the crowded animation field. But the animation alone is not what makes this film such a winner -- it also has a terrific story -- as Mr. Fox tries to put his wild days behind him and become a responsible husband and father. But will he be able to pass up the temptation of one final risky adventure? Of course not -- and you'll be glad he didn't as we are introduced to a wide-range of colorful supporting characters along the way.

The great voice cast includes Oscar winners George Clooney (in the title role) and Meryl Streep (as Mrs. Fox) -- along with Bill Murray, Jason Schwartzman, Michael Gambon, Willem Dafoe and Owen Wilson. It's a must-see, and a lot of fun for the older kids on up. There's a lot to feast on in this witty and wonderful Thanksgiving treat. [Rated PG; opens wide today]

Grade: A


Bad Lieutenant: Port of Call New Orleans

Not a remake of 1992's Bad Lieutenant (starring Harvey Kietel), but rather a re-telling of a story of a good cop gone bad. This time around, Nicolas Cage stars as Terrence McDonagh, a New Orleans police sergeant, who starts out as a good cop, receiving a medal and a promotion to lieutenant for heroism during Hurricane Katrina. During his heroic act, McDonagh injures his back and later becomes addicted to prescription pain medication -- and street drugs. This addiction leads him into the dark world of police corruption -- in what should be viewed as serious drama. Unfortunately, in the hands of director Werner Herzog (Rescue Dawn), the film takes on too much bizarreness for its own good and becomes quite laughable at times.

Cage sure has had a strange career path. After his Oscar-winning turn in Leaving Las Vegas, his film choices and bad acting in movies such as Knowing have left many film-goers scratching their heads. Many critics are applauding Cage's performance here -- and there are moments where I too was impressed. You could actually feel his character's physical and emotional pain with each contorted move he makes on the screen. But Cage also overacts in too many scenes -- and the results are completely over the top. Adding to my dissatisfaction of the film was my bad luck in viewing an early screener with an incorrect aspect ratio. At least that was the excuse given for why my audience saw the boom mic move overhead in scene after scene. It was truly distracting -- and laughable.

All the negatives aside, there is still a compelling story here. I just wish Herzog toned down the bizarreness a bit -- and reigned in Cage. Look out for the great comic actress Jennifer Coolidge (Best in Show) in a dramatic role as the drunk wife of McDonagh's father. She certainly proves she has great acting range. And that's more than I can say for Cage. Also stars Eva Mendes and Val Kilmer. [Rated R; opens today]

Grade: B-


Note:

  • Now there are two ways to reach the archive of all film reviews. Click here or the icon at left for the alphabetical listing of all reviews.

TV REVIEW: V: "It's Only The Beginning"

Last night, ABC's V actually remembered that it is supposed to be a science fiction series.

The episode, entitled "It's Only The Beginning," featured a tantalizing glimpse of a Visitor narcotic called "Bliss," a view of the mothership engine room and propulsion system, and then climaxed with galactic implications: a cosmic pull-back from Mother Earth. It was a CGI push away from our world, through the asteroid belt, to the fringe of the solar system itself -- a move designed to reveal a fleet of V ships...waiting for the order to colonize.

This final, impressive shot seemed like a spiritual heir (and homage...) to an iconic shot from the original 1980s series: a similar pull-back through orbital space that revealed a slew of Visitor saucers hidden behind our moon. It was a nice, ominous touch.

Contrarily, the episode last night opened with one of those hackneyed "Fourteen Hours Earlier" tricks that is tell-tale sign of post-production editing pickles. I know: I had to deploy the same tired gimmick myself in one episode of The House Between when fashioning a difficult third season episode almost out-of-whole-cloth. But once beyond that underwhelming beginning, this episode moved fast and revealed a lot; much more, in fact, than the previous three episodes combined.


For instance, we saw that the Visitors are equipped with suicide pills that disintegrate their bodies should they be captured or discovered. The suicide pill leaves nothing behind but ash, and is surely an homage to another alien invasion series, the brilliant 1960s endeavor The Invaders. As you may recall from that Roy Thinnes program, David Vincent could never prove his case about the aliens because the corpses of the invaders always went up in smoke and spontaneously combusted before authorities could arrive.

Also -- finally -- this new V acknowledged in "It's Only The Beginning" that "skinning" a Visitor could be the very thing to wake up our people from apparent mindless devotion to our new extra-terrestrial "friends." When this idea is brought up, however, Ryan goes ballistic and tells the Resistance fighters he better not ever hear them talking about such a thing again. The reason, ostensibly, is that the Visitors would retaliate with tremendous force and wipe everybody out. I don't know how believable Ryan's explanation is, but I'm happy to see that the issue was addressed. This was exactly what I was seeking; just a simple acknowledgment that skinning a Visitor on TV was a legitimate battle option.

Last night's show also revived the anti-Obama subtext of the pilot. Ryan -- a secret Visitor -- has a faked birth certificate showing he was born in "Hawaiian Gardens," California. As Orly Taitz will tell you, Obama's purportedly "fake" birth certificate names Hawaii as the state of (fake) birth. Coincidence?


Also, the episode's central plot -- a Visitor scheme to poison our seasonal flu shots with an alien substance called R6 -- clearly parallels the tea bagger furor and resistance over government-mandated flu vaccinations. Again, I don't agree with V's paranoid right-wing view of Obama (I'm still waiting for the FEMA concentration camps -- or at least our taxes to go up -- before I resist). But if you want a timely subtext or context, there it is, enunciated between the lines.

V clearly has a long way to go before it becomes "must see TV," but I do feel the series is clawing itself out of the deep ditch it dug in the first two awful weeks. Personally, I find Erica Mitchell's character, Agent Evans, difficult to warm up to as a lead character. She's more reptilian and cold than the Visitors, to tell you the truth. No wonder her son, Tyler is looking elsewhere for warmth.

Yet last night -- for the first time -- momentum was undeniably building. I actually found myself caring about finding what was going to happen next.

And, of course, that means we must now to wait till March 2010 for the next episode...

Monday, November 23, 2009

MusicMonday: AMAs Recap, Free Downloads


American Music Awards


The 37th Annual American Music Awards were held last night at the NOKIA Theatre in Los Angeles. Here's a recap:
  • The ceremony was less about giving out awards (only a fraction were handed out on the air) and more about the performances.
  • There were 18 performances in total during ABC's three-hour telecast -- with four by alumni of FOX's American Idol -- Adam Lambert, Carrie Underwood, Kelly Clarkson and Chris Daughtry (with his band, Daughtry).
  • The most controversial performance was by last year's Idol runner-up, Adam Lambert. Luckily he closed the show -- because the adult subject matter was better suited for the late hour! Click on Lambert's image above to view the performance.
  • Taylor Swift continued her amazing run this year by winning the most awards -- five -- including Artist of the Year.
  • The late Michael Jackson won four awards -- and now has a record 23 lifetime AMAs -- more than any other performer.
  • A complete list of winners can be found here.
  • The telecast was watched by 14.2 million viewers -- the largest overall audience for the show since 2002.
  • And don't forget to voice your opinion on who had the best performance of the night by voting in the poll at left!

Free Downloads


This week's new offerings:
  • In honor of the holiday week, Amazon is offering a free $3 mp3 credit that you can use on any music -- your choice! Click here for the offer.
  • You can download the Beastie Boys' Doublecheck Your Head album for free here.
  • This offer comes from across the pond -- so hopefully you can download it in the States, too. Available exclusively to readers of The Independent online, Navigator and Reveal records present a compilation of 30 tracks of the finest new music around, all free to download. Click here.
  • This one could be interesting -- download a free 6-track Buddha-Lounge sampler from Amazon here.

And don't forget to continually check the following sources for more free downloads -- new songs covering all genres are added frequently. Just click on the links below and enjoy some new tunes.
One more reminder: enter "MusicMonday" in search box at upper left to review previous Monday posts for more available songs plus music news.

MusicMonday: AMAs Recap, Free Downloads


American Music Awards


The 37th Annual American Music Awards were held last night at the NOKIA Theatre in Los Angeles. Here's a recap:
  • The ceremony was less about giving out awards (only a fraction were handed out on the air) and more about the performances.
  • There were 18 performances in total during ABC's three-hour telecast -- with four by alumni of FOX's American Idol -- Adam Lambert, Carrie Underwood, Kelly Clarkson and Chris Daughtry (with his band, Daughtry).
  • The most controversial performance was by last year's Idol runner-up, Adam Lambert. Luckily he closed the show -- because the adult subject matter was better suited for the late hour! Click on Lambert's image above to view the performance.
  • Taylor Swift continued her amazing run this year by winning the most awards -- five -- including Artist of the Year.
  • The late Michael Jackson won four awards -- and now has a record 23 lifetime AMAs -- more than any other performer.
  • A complete list of winners can be found here.
  • The telecast was watched by 14.2 million viewers -- the largest overall audience for the show since 2002.
  • And don't forget to voice your opinion on who had the best performance of the night by voting in the poll at left!

Free Downloads


This week's new offerings:
  • In honor of the holiday week, Amazon is offering a free $3 mp3 credit that you can use on any music -- your choice! Click here for the offer.
  • You can download the Beastie Boys' Doublecheck Your Head album for free here.
  • This offer comes from across the pond -- so hopefully you can download it in the States, too. Available exclusively to readers of The Independent online, Navigator and Reveal records present a compilation of 30 tracks of the finest new music around, all free to download. Click here.
  • This one could be interesting -- download a free 6-track Buddha-Lounge sampler from Amazon here.

And don't forget to continually check the following sources for more free downloads -- new songs covering all genres are added frequently. Just click on the links below and enjoy some new tunes.
One more reminder: enter "MusicMonday" in search box at upper left to review previous Monday posts for more available songs plus music news.

Sunday, November 22, 2009

Top 10 at the Weekend Box Office


Notes:
  • Click on the chart to enlarge.
  • The vampire romance The Twilight Saga: New Moon sucked up $140.7 million in its first three days and pulled in a total of $258.8 million worldwide, according to studio estimates Sunday.
  • The No. 1 domestic debut for Summit Entertainment's New Moon was more than twice the $69.6 million haul over the same weekend last year for Twilight, the first in the franchise based on Stephenie Meyer's novels.
  • New Moon placed third on the all-time domestic chart behind last year's $158.4 million opening weekend for the Batman blockbuster The Dark Knight and 2007's $151.1 million haul for Spider-Man 3.
  • Reviews of 2012 and Precious can be found here.
  • All figures are industry estimates. Actual figures are released on Monday.
  • Sources: Nielsen EDI, ew.com, Variety, AP

Top 10 at the Weekend Box Office


Notes:
  • Click on the chart to enlarge.
  • The vampire romance The Twilight Saga: New Moon sucked up $140.7 million in its first three days and pulled in a total of $258.8 million worldwide, according to studio estimates Sunday.
  • The No. 1 domestic debut for Summit Entertainment's New Moon was more than twice the $69.6 million haul over the same weekend last year for Twilight, the first in the franchise based on Stephenie Meyer's novels.
  • New Moon placed third on the all-time domestic chart behind last year's $158.4 million opening weekend for the Batman blockbuster The Dark Knight and 2007's $151.1 million haul for Spider-Man 3.
  • Reviews of 2012 and Precious can be found here.
  • All figures are industry estimates. Actual figures are released on Monday.
  • Sources: Nielsen EDI, ew.com, Variety, AP

Friday, November 20, 2009

Thursday, November 19, 2009

CULT MOVIE REVIEW: Home Sweet Home (1980)

"A little craziness never hurt anyone..."

- Dialogue from Home Sweet Home (1980)

In honor of the approaching holiday, today I'm looking back at a really terrible horror film that I first encountered while writing Horror Films of the 1980s (2007).

Conveniently, it's both Thanksgiving-themed and a turkey.

Advertised with the ad-line "The Bradleys won't be leaving home. Ever," Home Sweet Home (1981) is the not-so-riveting story of a deranged serial killer and his holiday rampage.

Said serial killer is portrayed by Body by Jake's (1988) gleeful Jake Steinfeld. The enthusiastic exercise guru -- also known for his music label, "Don't Quit Music" -- plays this muscular madman as a cackling, bulging-eyed freak. This looney killer has the tattoo "home sweet home" emblazoned on his fist, and was incarcerated for eight years over the bludgeoning death of his parents.

In one of the film's first scenes, this hyperactive, super-fit killer takes PCP by injecting it into his tongue, guns his car engine rowdily, and then runs over a little old lady crossing the street.

Lots of maniacal, silent-movie-style, villlainous cackling over that. Unfortunately, Jake has no moustache to twirl.

Meanwhile, at a Southern California ranch, the unconventional Bradley family is preparing for a holiday that may or may not be Thanksgiving. Let's see: there's a turkey. There's a celebratory meal. There's a family gathering. And there are guests. But no one mentions Turkey Day by name. The VHS box does it for us.

Anyway -- for some reason -- the obnoxious Bradley son, charmingly named "Mistake," is dressed as a mime for the occasion. He's a practical joke-playing mime, no less. And did I mention, Mistake also dabbles in the electric guitar?

Unfortunately, the mime is one of the last characters to die in Home Sweet Home, meaning the audience must endure Mistake's lame antics for a very long time before the movie arrives at his fateful, and wholly-deserved electrocution.

The holiday meal with the Bradley family promises to be an unusual one too, not just because Mistake is a mime and because an uninvited serial killer is on his way, but because one of the invitees "won't drink anything," since "she hates to go to the bathroom." WTF? You know, I don't particularly like going to the bathroom either. I think I'll stop drinking too. I didn't realize it was that simple...

And did I mention that some crack cops are on the case, investigating the murders and pursuing the body-builder killer? The classy cops gawk at one character's overripe breasts after stopping her for speeding, and share this colloquy:

"Did you see that chick with the big bazooms?"

Since Home Sweet Home is incompetently shot, written and acted, one might hope that the violence Jake ultimately inflicts on the Bradley family would at least prove entertaining. But it isn't (well, except for the death of the mime, to be fair...). One character dies when she falls over and cracks her head against a rock. Can you really blame Ole Jack for that? Another character gets his head crushed under the hood of a car.

Home Sweet Home exhibits the familiar flaw of the worst slasher films, meaning that the killer is always positioned right where he should be in order to kill the one character who happens to be left alone at any given moment. You might accept that level of expertise from a Michael Myers or a Jason...but by Jake Steinfeld? I just can't ascribe supernatural abilities to this guy. Enthusiasm, gung-ho inspiration, yes. Boogeyman capabilities...no.

Mere words can't truly convey how irrevocably horrible this movie is. So Happy Thanksgiving, caveat emptor, and...gobble, gobble.

Wednesday, November 18, 2009

TV REVIEW: V: "A Bright New Day"

If you've been keeping up with this blog, you know I'm not the world's most devout fan of the new ABC version of V.

However, last night's episode, "A Bright New Day," was aptly-named by my reckoning. It seemed like the first installment of the series that was at all promising. In other words...a distinct improvement.

I feel this way because some of my gripes about the new series were actually addressed. For instance, instead of merely hearing about the general reaction of Americans to the Visitors, in last night's segment we actually witnessed some of that reaction.

Early in "A Bright New Day," we got a lightning-quick montage of various confused people in the confession booth at St. Josephine's. "Are the Visitors demons or angels?" "Is everything we believe a lie?" "Can they heal my sister's cancer?"
They asked Father Jack. Again, this was a lightning-quick touch -- a token move, perhaps -- but it was nonetheless a start at constructing the larger global context that has largely been absent thus far.

We also met the wife of the U.S. Air Force pilot killed in the first episode, Mary Faulkner, and learned of her issues with the aliens. In the spirit of Diana, the tricky Anna co-opted this human leader and even (finally...) had a good scene (told in jump cuts...) during which she rehearsed the correct human emotions for dealing with grief. A very slippery lizard, this Anna.

"A Bright New Day" also afforded the series the first mention by name of the Visitor's Fifth Column, an important ingredient of the original series. And beyond that, we got more detailed glimpses of Visitor technology, Visitor written language...and Visitor's lady's underwear. These are all steps in the right direction and signs, I hope, that the show is making a much-needed course correction.

Most impressively, "A Bright New Day" featured at least two authentic, jaw-dropping surprises during the hour. I'm an old hand with genre TV, but I didn't see either of these shocks coming. Again, for perhaps the first time, I felt last night that V was actually making a concerted effort to entertain, rather than just kind of plodding around on automatic pilot.

My big concern with the series now is something that a clever reader brought to my attention last week. In the comments for the review of last week's episode, a reader named Pete noted "if the V traitor *really* wants to fight the V, why doesn't he just go on TV and expose himself as a reptile?"

As hard as I've tried to suspend disbelief since reading that comment...I just can't do it. This is the elephant (or reptile...) in the room.

The whole premise of V and a Visitor Fifth Column just crumbles when you consider this idea; that Ryan, the Fifth Columnist, could defeat the Visitors in one swift stroke by going on television and cutting open his human skin to reveal his scales before a live global audience. Last night, even Anna noted herself the importance of public opinion; and keeping public opinion in favor of the Visitors. Imagine how public opinion would swing against the aliens if Ryan went on TV and revealed to the world that the Visitors were a pack of liars? All the material in "A Bright New Day" about Ryan re-organizing the Fifth Column is a runaround; a time-waste., a cheat. If he wants to win in one fell swoop, Ryan would simply himself to the world.

Now two things. First, some people might say Ryan doesn't want his fiance to know he's a lizard. My answer: priorities, Ryan, priorities! How happy of a marriage can he hope to have if the Visitors are ruling the world? If their love is true, his girlfriend would forgive him his lizardly nature. Secondly, the series could get around this point simply by acknowledging it: by having a throwaway line from Ryan in which he says he can't reveal himself on TV because he's afraid of his girlfriend's reaction or something. It would still be stupid; but at least it would be acknowledged.

However, that's not the end of it. Here's my sinister, paranoid side coming out. There is one other way in which Ryan's unwillingness to reveal his lizard-nature makes narrative sense. What if the Fifth Column is not only anti-Visitor, but also anti-human? What if Ryan, as part of the Fifth Column, is actually carrying water for another malevolent force out to harm humanity, and thus can't reveal himself for that purpose? Remember, the original V miniseries ended with the Resistance sending a message to the Visitor's wartime enemy, another alien race. out there in space

So is V setting this subplot up with Ryan's refusal to strip for the camera? We'll see. I hope that I'm not being cleverer than the writers of the series here...

Tuesday, November 17, 2009

Bad Editing: A Klingon in the bush is worth...?




So...I was re-watching Star Trek III: The Search for Spock (1984) on the weekend, and I caught this blooper that I had long ago forgotten about. Actually, it's not a blooper per se, but actually an example of some really sloppy editing.

At about the 57 minute point of the movie, Lt. Saavik (Robin Curtis) is on the surface of the Genesis Planet resting (top picture), when a tree in the foreground suddenly pops up (as part of the "unstable" matrix of the artificial planet). Saavik then stands up, as the ground spits steam (bottom picture). Saavik approaches adolescent Spock, who is about to undergo Pon Farr.

But between these two shots, the editor inserted a brief view of a huge tree rippling in the wind...and you can see a Klingon warrior standing there, in the shadow of the tree (middle picture). Look closely. At the right side of the photo. Contextually, he shouldn't be there...

This got me thinking, what's the worst example of editing/cutting you've seen in a major motion picture?

Monday, November 16, 2009

MusicMonday: The Crazy Flaming Lips Video Plus More Downloads!


Flaming Lips


If you have never seen the Flaming Lips live, I suggest that you do if they ever perform nearby. I was lucky enough to see the band at a Philadelphia stop last year. There's nothing quite like watching frontman Wayne Coyne come out into the audience inside a bubble -- reminiscent of a giant hamster ball (see right).

Well now the band has a crazy new video that is getting increasingly hard to find on the Web. It's naked bodies galore as everyone bares all to run, cycle and chant around the forest in the video for "Watching The Planets." And what do you know -- the hamster ball returns! Here's a link to view (WARNING -- adults only please!).

Free Downloads

This week's new offerings:
  • Get Bon Jovi's new single "We Weren't Born to Follow"from Amazon here.
  • From Amazon, you can also download Dolly Parton's live version of her hit "Jolene" here.
  • Taylor Swift and Darius Rucker made history last week at the CMAs. But there were plenty of other nominated country stars. Well now Amazon is giving you the opportunity to download a free song from the nominated CMA artist of your choice! Click here for details.
  • Also from Amazon, download "Fly Me Away" from Annie Little here.
  • Download "Racing Lights" from the band Stars of Track and Field here.
And don't forget to continually check the following sources for more free downloads -- new songs covering all genres are added frequently. Just click on the links below and enjoy some new tunes.
One more reminder: enter "MusicMonday" in search box at upper left to review previous Monday posts for more available songs plus music news.

MusicMonday: The Crazy Flaming Lips Video Plus More Downloads!


Flaming Lips


If you have never seen the Flaming Lips live, I suggest that you do if they ever perform nearby. I was lucky enough to see the band at a Philadelphia stop last year. There's nothing quite like watching frontman Wayne Coyne come out into the audience inside a bubble -- reminiscent of a giant hamster ball (see right).

Well now the band has a crazy new video that is getting increasingly hard to find on the Web. It's naked bodies galore as everyone bares all to run, cycle and chant around the forest in the video for "Watching The Planets." And what do you know -- the hamster ball returns! Here's a link to view (WARNING -- adults only please!).

Free Downloads

This week's new offerings:
  • Get Bon Jovi's new single "We Weren't Born to Follow"from Amazon here.
  • From Amazon, you can also download Dolly Parton's live version of her hit "Jolene" here.
  • Taylor Swift and Darius Rucker made history last week at the CMAs. But there were plenty of other nominated country stars. Well now Amazon is giving you the opportunity to download a free song from the nominated CMA artist of your choice! Click here for details.
  • Also from Amazon, download "Fly Me Away" from Annie Little here.
  • Download "Racing Lights" from the band Stars of Track and Field here.
And don't forget to continually check the following sources for more free downloads -- new songs covering all genres are added frequently. Just click on the links below and enjoy some new tunes.
One more reminder: enter "MusicMonday" in search box at upper left to review previous Monday posts for more available songs plus music news.

TV REVIEW: The Prisoner: "Arrival" (2009)

"Breathe in. Breath Out. Village Life Goes On."

-- Number 2 (Ian McKellen) in AMC's mini-series, The Prisoner.

Railing against remakes and re-imaginations is becoming something of a full-time job around these parts, and yet, as a blogger, I have no desire to write the same review over and over again.

That review consists, basically, of my disappointment that a remake of a popular, even classic property has been dumbed down for modern audiences by sacrificing the subtext and social commentary.


You may have read that particular review in regards to ABC's V, of late.

And yet, here I am, confronted with AMC's new mini-series, The Prisoner, which is based on one of my favorite genre TV series of all time, Patrick McGoohan's The Prisoner (1967-1968).

And once more, I am conflicted between my real, heartfelt desire to embrace new genre television and my objective critical reaction; essentially a wholesale rejection of that which has been delivered to us because, simply, the quality of the thing is not up to snuff.

Regarding the original Prisoner's first episode (also entitled "Arrival,") I wrote: "In the valhalla of genre television there is nothing even remotely like The Prisoner, the late-1960s British allegory that focuses explicitly on the idea that "no man is just a number." With steadfast zeal and an almost radical sense of dedication and single-mindedness The Prisoner devotes itself to the ideals of individual freedom and liberty, and finds that contemporary Western society -- here represented by a hermetically-sealed Village -- doesn't measure up."

The new Prisoner is so confused, so hopelessly muddled, you can't tell what it's about (or even what it wants to be about).

On a purely literal reading, you can't even easily discern what information, precisely, Number 2 (Ian McKellen) hopes to extract from the new Number 6 (Jim Caviezel). The original program saw sharp-tongued McGoohan match wits -- week-after-week -- with a different, desperate Number 2, over the reasons behind his resignation from the British secret service. Even in apparent surrender to brain-washing, emotional betrayal, and outright torture, the original Number 6 remained...indomitable.

The new Number # 6 isn't cut from the same stubborn cloth. "Please, I'm nobody," he whimpers pitifully in the first hour, making a personal admission McGoohan's character would just never make, under any circumstances. Then, this Number 6 actually has to be told otherwise by his doctor at the Village clinic. "You're a free man," she insists helpfully.

If this Number 6 is that close to the breaking point at the beginning of his stay at the Village, where's the fun of watching Number 2 go at him for six episodes?

But -- okay, fine -- Hamlet gets re-interpreted all the time. Mel Gibson even made him a man of action, so perhaps this Number Six is going to stiffen his spine in the course of the mini-series.

But a more egregious sin committed by the remake is that it unnecessarily muddles the crisp premise of the original. For instance, the new program adds mysterious Crystal Towers (which look like the World Trade Center towers...) to the skyline of the Village, as well as the not-very cryptic instruction to "follow the towers" to find escape. If that's all it takes to escape, grab a few inmates and that tour bus and go. On foot, the Rover (still a big white ball...) might get you, but in a large vehicle?

The mini-series also resorts to frustrating, momentum-halting, Lost-style flashbacks so audiences can see this Number 6 working on the job he unceremoniously quit, and learn about his reasons for resigning (something we were never, EVER told on the original series).

Again, in the original series, Number 6's refusal to reveal the the reason of his resignation was about a larger, thematic issue. About privacy. About the fact that a government that catalogued, numbered and tagged people still didn't have the right to be privy to individual, personal decisions. Number 6's reasons were his own; and that's why he didn't share them.

Here, I suspect we're going to discover some noble reason for Number 6's resignation. That -- as a data analyst observing human behavior -- he was asked to do something immoral; or that he saw something that he didn't like. That's a corruption of the original program's philosopy. It wasn't that the original Number 6 was trying to do something good, necessarily, by resigning. It's that he believed he had the right to make personal decisions independent of Big Brother. He fought to preserve that right -- the liberty of the individual to make choices for himself.

The new mini-series also throws in mind-altering drugs, and cripples the new Villagers with an arbitrary case of selective amnesia. This means they can apparently remember Thomas Edison and Darwin (mentioned by name...), but have only vague flashes of the Statue of Liberty or Big Ben (images scrawled in secret by Village rebels). This means that the denizens can quote the number of stars in the heaven, but not the source of that information.

You see, this Village isn't just an inescapable burg that happens to be geographically isolated. On the contrary, Number 2 makes the case that the Village is the only civilization in the entire world; and that it is the only civilization where any of the prisoners have ever lived; that has ever existed in human history. This makes no sense, because human memory is a web of connections; a network of context. Can you remember Darwin without remembering the idea of evolution? And if you think of evolution, might you not also think of the Scopes Trial? And Tennessee? And then the American South? See my point? You can't know Thomas Edison, but not know how his inventions were put to use.

In broad terms, the new version of "Arrival" follows the outline of the original premire episode. In other words, Number 6 arrives in a daze, takes a taxi that travels to "local destinations only," and then buys a map that shows only the territory of the Village.

Finally, he becomes entangled with a woman who might be a traitor (the doctor at the clinic) and matches wits with Number 2. But the new show -- in a telltale sign of our age -- also mistakes soap opera-storytelling for mature drama.

Therefore, we are introduced, at length, to Number 2's family, including his sick wife (or rather, a wife he may be keeping sick...) and his curious son, who may be ready to rebel against his Dad and the Village.

Therefore, the cab driver and his family become recurring characters too, and we see their home life as well.

Therefore, we get those disruptive flashbacks showing Number 6 hooking up with a strange woman following his resignation.

The lovely female doctor at the clinic is also apparently a regular character here, a prospective love interest.

Again, this is all just totally unnecessary and burdensome material. The original Prisoner concerned one individual bucking the system in the here and now of the Village; battling his incarceration in the present. He had no friends. He could trust no one. He was a man alone, and his mind -- and his privacy -- were his own too. The new Prisoner spreads the focus around, both in terms of characters and of time line. The result of this unnecessary opening-up is that a sense of immediacy and place is sacrificed.

The thing I most disliked about this new version of The Prisoner is that it is edited exactly like everything else you see on TV these days. It relies on flash cuts, shaky-cam action, and sped-up/slowed-down footage. There's nothing original in the execution And that too is a betrayal of the surreal qualities inherent in the original (right down to production design). Again, this is how I wrote of the original series: "One of the facets that I've always admired about The Prisoner is this powerful sense of place, of another world (and the Village is, in fact, a place called Portmeiron in North Wales.) The series would not be so effective if the Village seemed fake. This is the oddest "jail" you've ever seen, yet it feels real, not gimmicky or the product of special effects.

Well, the new Village looks like a typical movie construct; and because it has been made so large -- more "The City" than "The Village" -- it's impossible to get a real feel for it. The original Village was small enough that Number 6 could explore it, prod at the boundaries, and become familiar with every aspect of it. The new Village -- of greater size -- could never be fully explored by one man.

In fairness, this new Prisoner is much better than the remake of V. And I enjoyed how it attempted to position itself as a sequel to as well as a remake of the McGoohan series. On the latter front, note that old Number 93 is dressed as Number 6 from the original series, that he lives in a similarly-decorated house (down to the lava lamp), and was also obsessed with escape. More importantly take a look at his number. 93. 9 - 3 = 6. Get it?

But overall I found this new Prisoner unnecessarily lugubrious. It is underwhelming from a visual standpoint; soap-opera-ish in the extreme, and it layers too many complications upon the franchise's clean, vibrant premise.

Be seeing you? Perhaps not...

Sunday, November 15, 2009

New Film and TV Books from McFarland

Irwin Allen Television Productions, 1964–1970

Before establishing himself as the “master of disaster” with the 1970s films The Poseidon Adventure and The Towering Inferno, Irwin Allen created four of television’s most exciting and enduring science-fiction series: Voyage to the Bottom of the Sea, Lost in Space, The Time Tunnel and Land of the Giants.

These 1960s series were full of Allen’s favorite tricks, techniques and characteristic touches, and influenced other productions from the original Star Trek forward. Every science-fiction show owes something to Allen, yet none has equaled his series’ pace, excitement, or originality.

This detailed examination and documentation of the premise and origin of the four shows offers an objective evaluation of every episode—and demonstrates that when Irwin Allen’s television episodes were good, they were great, and when they were bad, they were still terrific fun.


Terrorism in American Cinema

The American cinema of terrorism, although coming to prominence primarily in the 1970s amidst high-profile Palestinian terrorist activity, actually dates back to the beginnings of the Cold War. But this early terrorist cinema was centered largely around the Bomb—who had it, who would use it, when—and differs greatly from the terrorist cinema that would follow. Changing world events soon broadened the cinema of terrorism to address emerging international conflicts, including Black September, pre–9/11 Middle Eastern conflicts, and the post–9/11 “War on Terror.” This analytical filmography of American terrorist films establishes terrorist cinema as a unique subgenre with distinct thematic narrative and stylistic trends. It covers all major American films dealing with terrorism, from Otto Preminger’s Exodus (1960) to Ridley Scott’s Body of Lies (2008).


Peter Cushing

From his film debut in The Man in the Iron Mask (1939) through Biggles (1985), here is the movie career of Peter Cushing, known as “the gentle man of horror.” From interviews and extensive personal correspondence, the authors are able to provide Cushing’s own views on many of his 91 films.

A plot synopsis for each film is followed by production data and credits and contemporary reviews.


Encyclopedia of Television Law Shows

When media coverage of courtroom trials came under intense fire in the aftermath of the infamous New Jersey v. Hauptmann lawsuit (a.k.a. the Lindbergh kidnapping case,) a new wave of fictionalized courtroom programming arose to satiate the public’s appetite for legal drama. This book is an alphabetical examination of the nearly 200 shows telecast in the U.S. from 1948 through 2008 involving courtrooms, lawyers and judges, complete with cast and production credits, airdates, detailed synopses and background information. Included are such familiar titles as Perry Mason, Divorce Court, Judge Judy, LA Law, and The Practice, along with such obscure series as They Stand Accused, The Verdict Is Yours Sam Benedict, Trials of O’Brien, and The Law and Mr. Jones. The book includes an introductory overview of law-oriented radio and TV broadcasts from the 1920s to the present, including actual courtroom coverage (or lack of same during those years in which cameras and microphones were forbidden in the courtroom) and historical events within TV’s factual and fictional treatment of the legal system. Also included in the introduction is an analysis of the rise and fall of cable’s Court TV channel.


The Christopher Lee Filmography

The career of Christopher Lee has stretched over half a century in every sort of film from comedy to horror and in such diverse roles as the Man With the Golden Gun, Frankenstein’s monster, Fu Manchu and Sherlock Holmes.

From Corridor of Mirrors in 1948 to Star Wars: Episode II–Attack of the Clones in 2002, this reference book covers 166 theatrical feature films: all production information, full cast and crew credits, a synopsis, and a critical analysis, with a detailed account of its making and commentary drawn from some thirty hours of interviews with Lee himself. Two appendices list Lee’s television feature films and miniseries and his short films.

The work concludes with an afterword by Christopher Lee himself. Photographs from the actor’s private collection are included.


Grande Dame Guignol Cinema

This critically analytical filmography examines 45 movies featuring “grande dames” in horror settings. Following a history of women in horror before 1962’s What Ever Happened to Baby Jane?, which launched the “Grande Dame Guignol” subgenre of older women featured as morally ambiguous leading ladies, are all such films (mostly U.S.) that came after that landmark release. The filmographic data includes cast, crew, reviews, synopses, and production notes, as well as recurring motifs and each role’s effect on the star’s career.



A History of the Doc Savage Adventures in Pulps, Paperbacks, Comics, Fanzines, Radio and Film

Doc Savage is the prototype of the modern fictional superhero. The character exploded onto the scene in 1933, with the Great Depression and1the gathering clouds of war as a cultural backdrop. The adventure series is examined in relation to historical events and the changing tastes of readers, with special attention paid to the horror and science fiction elements. The artwork features illustrations, covers, and original art. Chapters cover Doc Savage paperbacks, pulp magazines, comic books, and fanzines, and an appendix offers biographies of all major contributors to the series.


Dark Dreams 2.0

Greatly expanded and updated from the 1977 original, this new edition explores the evolution of the modern horror film, particularly as it reflects anxieties associated with the atomic bomb, the Cold War, 1960s violence, sexual liberation, the Reagan revolution, 9/11 and the Iraq War. It divides modern horror into three varieties (psychological, demonic and apocalyptic) and demonstrates how horror cinema represents the popular expression of everyday fears while revealing the forces that influence American ideological and political values. Directors given a close reading include Alfred Hitchcock, Brian De Palma, David Cronenberg, Guillermo Del Toro, Michael Haneke, Robert Aldrich, Mel Gibson and George A. Romero. Additional material discusses postmodern remakes, horror franchises and Asian millennial horror. This book also contains more than 950 frame grabs and a very extensive filmography.


Screen Sirens Scream!

These twenty heroines portrayed imperiled women in science fiction, horror, film noir and mystery movies from the 1930s to the 1960s. Some—like Sandy Descher, who confronted the giant ants of Them!—were only girls when they faced their screen perils. Others—such as Mary Murphy, who played opposite Marlon Brando in The Wild One—were leading ladies in other film genres. Yet others—such as June Wilkinson, considered by many as Playboy’s greatest model—came from outside the acting world.

Each interview is preceded by an introduction. Besides the three above, the interviewees are Ramsay Ames, Claudia Barrett, Jean Byron, Linda Christian, Faith Domergue, Amanda Duff, Evangelina Elizondo, Margaret Field, Mimi Gibson, Marilyn Harris, Kitty de Hoyos, Donna Martel, Joyce Meadows, Noreen Nash, Cynthia Patrick, Paula Raymond and Joan Taylor. Among the films they starred in are The Mummy’s Ghost, Robot Monster, Tarzan and the Mermaids, This Island Earth, It Came from Beneath the Sea, Where Danger Lives, The Man from Planet X, The Monster That Challenged the World, Frankenstein, The Brain from Planet Arous, Phantom from Space, The Mole People, The Beast from 20,000 Fathoms and Earth Vs. the Flying Saucers. Some interviews were previously published in a different form in fan magazines.


Food in the Movies, 2d ed.

Although food has been part of motion pictures since the silent era, for the most part it has been treated with about as much respect as movie extras: it’s always been there on the screen but seldom noticed.

For the most part filmmakers have settled on three basic ways to treat food: as a prop in which the food is usually obscured from sight or ignored by the actors; as a transition device to compress time and help advance the plot; as a symbol or metaphor, or in some other meaningful way, to make a dramatic point or to reveal an aspect of an actor’s character, mood or thought process.

This hugely expanded and revised edition details 400 food scenes, in addition to the 400 films reviewed for the first edition, and an introduction tracing the technical, artistic and cultural forces that contributed to the emergence of food films as a new genre—originated by such films as Tampopo, Babette’s Feast and more recently by films like Mostly Martha, No Reservations and Ratatouille. A filmography is included as an appendix.

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