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Tuesday, August 20, 2019

Rare and Iconic Film & TV Memorabilia To Be Auctioned In The UK Next Month




RARE & ICONIC FILM & TV MEMORABILIA

WORTH IN EXCESS OF £6 MILLION ($7.5 MILLION)

TO BE AUCTIONED IN THE UK NEXT MONTH

 
www.propstore.com/liveauction

900 UNIQUE & ORIGINAL ITEMS TO BE MADE AVAILABLE TO BIDDERS BY PROP STORE IN THE UK’S LARGEST ANNUAL LIVE AUCTION OF FILM & TV MEMORABILIA, INCLUDING:



 -  RUSSELL CROWE’S “MAXIMUS” ROMAN GENERAL ARMOUR FROM GLADIATOR (2000) ESTIMATED: £30,000-50,000

- JACK NICHOLSON’S “JACK TORRANCE” HERO AXE  FROM THE SHINING (1980) ESTIMATED: £40,000-60,000

- MEL GIBSON’S “WILLIAM WALLACE’” HERO CLAYMORE SWORD FROM BRAVEHEART (1995) ESTIMATED: £30,000-50,000

- SAMUEL L. JACKSON’S “MACE WINDU” LIGHTSABER FROM STAR WARS: REVENGE OF THE SITH (2005) ESTIMATED: £50,000-100,000

- HOLY HAND GRENADE OF ANTIOCH FROM MONTY PYTHON AND THE HOLY GRAIL (1975) ESTIMATED: £50,000-100,000


    Film & TV memorabilia worth in excess of £6million ($7.5 million) will be auctioned by Prop Store in a two-day auction on Monday 30th September & Tuesday 1st October 2019 at London’s BFI IMAX

    Bids can be placed online from anywhere in the world, by phone or in person

    A free to enter preview exhibition will be open to the public ahead of the Prop Store auction at London’s BFI IMAX, proudly presented by ODEON, from Wednesday 18th September 2019

    Last year’s auction saw Indiana Jones' (Harrison Ford) Signature Fedora from INDIANA JONES AND THE RAIDERS OF THE LOST ARK (1981) sell for an astonishing £393,600 ($492,650)



Prop Store – one of the world’s leading film and TV memorabilia companies has today announced it is to hold the UK’s largest annual live auction of film and TV memorabilia for the sixth consecutive year this September, with the items on offer expected to fetch in excess of £6 million ($7.5 million). The auction is to be held at London’s BFI IMAX proudly presented by ODEON, Europe’s largest cinema group.

900 rare and iconic lots will be sold during Prop Store’s unique Entertainment Memorabilia Live Auction over two days on Monday 30th September and Tuesday 1st October 2019 in Waterloo, London.

The auction will be live-streamed online for fans to track the bidding on auction days. A free preview exhibition will be open to the public in the run up to the auction, opening on Wednesday 18th September - Tuesday 1st October 2019 at the BFI IMAX and showcasing over 250 lots from the upcoming auction.


Top items to be sold at the Prop Store auction (with estimated sale prices) include:

 

    Maximus’ Screen-Matched Roman General Armour (Russell Crowe) from GLADIATOR (2000) est: £30,000-50,000
    Jack Torrance's Hero Axe (Jack Nicholson) from THE SHINING (1980) est: £40,000-60,000
    William Wallace's Hero Claymore Sword (Mel Gibson) from BRAVEHEART (1995) est: £30,000-50,000
    Mace Windu's Lightsaber (Samuel L. Jackson) from STAR WARS: REVENGE OF THE SITH (2005) est: £50,000-100,000
    Holy Hand Grenade of Antioch from MONTY PYTHON AND THE HOLY GRAIL (1975) est: £50,000-100,000
    Screen-Matched Tantive IV Stormtrooper Helmet from STAR WARS: A NEW HOPE (1977) est: £120,000-180,000
    Batman's Complete Batsuit (Michael Keaton) from BATMAN (1989) est: £80,000-120,000
    Radio-Controlled Hero Ghost Trap and Pedal from GHOSTBUSTERS (1984) est: £80,000-120,000
    Light-Up Remote Control R2-BHD Droid from STAR WARS: ROGUE ONE: A STAR WARS STORY (2016) est: £60,000-80,000
    Special Effects Facehugger from ALIEN (1979) est: £50,000-70,000
    Spock's Screen-Matched Science Officer Costume (Leonard Nimoy) from STAR TREK: THE ULTIMATE COMPUTER & THE OMEGA GLORY (TV series 1966-1969) est: £50,000-70,000
    James Bond's Hero Walther PPK Pistol with Silencer and Holster (Pierce Brosnan) from JAMES BOND: GOLDENEYE (1995) est: £40,000-60,000
    Freddy Kruger's Glove (Robert Englund) from FREDDY VS. JASON (2003) est: £20,000-30,000
    Storm's X-Suit (Halle Berry) from X-MEN (2000) est: £20,000-30,000
    John Hammond's Costume (Richard Attenborough) from JURASSIC PARK (1993) est: £15,000-25,000
    Riddler's Costume (Jim Carrey) from BATMAN FOREVER (1995) est: £10,000-15,000
    Vito Corleone's Screen-Matched Brown Pea Coat (Robert De Niro) from THE GODFATHER: PART II (1974) est: £10,000-15,000
    Tony Stark's Desert Costume Display (Robert Downey Jr.) from IRON MAN (2008) est: £10,000-15,000
    Forrest Gump's Screen-Matched Bus Stop Nikes and Socks (Tom Hanks) from FORREST GUMP (1994) est: £8,000-10,000
    The Terminator's Autographed Motorcycle Jacket (Arnold Schwarzenegger) from TERMINATOR 2: JUDGMENT DAY (1991) est: £8,000-10,000
    From Julie Dawn Cole’s (Veruca Salt) personal collection: Scrumdidlyumptious Wrapper from WILLY WONKA AND THE CHOCOLATE FACTORY (1971) est: £6,000-8,000



The Prop Store auction is suitable for fans with a variety of budgets. Some of the least expensive lots in the auction include a Willy Wonka Golden Ticket Announcement Poster from Tim Burton’s CHARLIE AND THE CHOCOLATE FACTORY (2005) estimated at £300, and a Mr DNA Animation Cel Autographed By Steven Spielberg from JURASSIC PARK (1993) estimated to sell for £600.



Registration is now open at www.propstore.com/liveauction. Online proxy bids can be submitted from Monday 2nd September 2019.







Stephen Lane, Prop Store CEO commented on the upcoming auction: “After breaking more records with last year’s sale, Prop Store are thrilled to announce our sixth live auction in London and pleased to be partnering with ODEON again. This year sees us bring 900 lots to the auction, now held over two days, allowing us to present even more of these incredible artefacts to a global audience of film fans and collectors to London’s BFI IMAX, who can visit the free exhibition and place bids in our auction to secure original pieces of film and TV history.”


Chris Bates, Commercial Director at ODEON UK & Ireland said: “We are delighted to welcome back the iconic Prop Store exhibition to London’s BFI IMAX. ODEON is proud to present the UK’s largest annual live auction of film and TV memorabilia for the sixth year running. There is an incredible collection of items up for auction this year and we very much look forward to welcoming film fans through our doors to see some of the world’s most well-known props and cinema moments. ”

Auction items will be on display at a free exhibition open to the public at the BFI IMAX, Waterloo, London, England SE1 8XR from 10:00am to 9:30pm, 18th September – 1st October 2019. Prop Store’s Entertainment Memorabilia Live Auction, in partnership with the BFI IMAX proudly presented by ODEON, will take place at the BFI IMAX Waterloo (1 Charlie Chaplin Walk, London SE1 8XR) over two days on Monday 30th September and Tuesday 1st October 2019 from 1:00pm.



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Great 3 Stooges Running Gag: "Gentlemen! Who Came In?" (video)




Somebody refers to the Stooges as gentlemen...

...and the Stooges respond by looking around...

...and asking "Who came in?"

(threestooges.net)


WE WANT OUR MUMMY (1939)
YOU NAZTY SPY! (1940)
MONKEY BUSINESSMEN (1946)
MALICE IN THE PALACE (1949)
SPOOKS! (1953)
SPACE SHIP SAPPY (1957)
PIES AND GUYS (1957)


I neither own nor claim any rights to this material.  Just having some fun with it. Thanks for watching!


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Monday, August 19, 2019

70s Grindhouse Homage "MOMO: THE MISSOURI MONSTER" Arrives September 20th on DVD and VOD from Small Town Monsters




Small Town Monsters Unleashes
"MOMO: The Missouri Monster" 


DVD and VOD Release Announced for September 20th


Narrative Horror/Documentary Hybrid

   
Wadsworth, OH -- Small Town Monsters has announced the September 20th DVD and VOD release of Seth Breedlove's docudrama MOMO: The Missouri Monster.  The latest title to crawl forth from the production powerhouse behind last year's best-selling documentary On the Trail of Bigfoot, MOMO: The Missouri Monster seeks to tell the true, and truly strange story of the Missouri Monster.

The hair-covered, three-toed monstrosity was said to have prowled the forests of Star Hill, near Louisiana, Missouri during the summer of 1972 where it was spotted by terrified citizens for weeks.  The film will be available nationwide on DVD, as well as Vimeo OnDemand, Amazon Instant Video, and VIDI Space.


The case gained national media attention during the '70s and remains one of the largest tourist draws for the tiny town on the banks of the Mississippi River. The latest release from Small Town Monsters and director Seth Breedlove, MOMO: The Missouri Monster is told in both narrative and documentary form. The narrative sections appear as a lost b-movie from the 1970s, inspired by Breedlove's lifelong fascination with grindhouse movies and creature features. The horror film depicts the widely accepted details of the MOMO legend and is eventually contradicted and corrected by the actual survivors who lived through the events. 

Breedlove describes MOMO: The Missouri Monster as "Rashomon meets Creature from Black Lake or The Legend of Boggy Creek". The film stars Adam Duggan and Sara Heddleston, as well as Animal Planet's Cliff Barackman and James "Bobo" Fay with special appearances by Janet Jay and Elizabeth Saint (Ghosts of Shepherdstown). 

Ahead of the national video release, a midnight premiere is scheduled at the Kentucky Theater in Lexington, Kentucky on Friday, September 6th with cast and crew in attendance. The premiere will coincide with Cryptid-Con, a cryptozoology and paranormal convention celebrating its third year and featuring a number of renowned authors, television personalities, and speakers. 


On Friday, September 13th, the Canton Palace Theatre in Canton, OH will play host to the Ohio Premiere of MOMO with cast and crew in attendance. Finally, on September 20th, as MOMO hits audiences nationwide, the Missouri Monster will storm the State Theater in Point Pleasant, WV as part of the kickoff for the annual Mothman Festival.

The year was 1972 and the place was a tiny, quaint, riverfront town called Louisiana, Missouri. On a warm summer evening, two local kids saw a creature in their own backyard holding a dead dog. Before you could say the word "Bigfoot", local media and police officials had pounced on the story.

Overnight Louisiana became "monster central" with creature seekers and monster hunters combing the woods to look for "the thing" that the newspapers had dubbed "MOMO". One particular family was at the center of this whirlwind of activity and as the Missouri Monster sightings began to increase, so did the negative impact on the Harrisons.

In 1975, a film crew set out to tell an over-the-top, filmic version of the MOMO sightings. Due to one reason or another, this should-have-been-cult-classic was never released. Until now.


MOMO: THE MISSOURI MONSTER - Trailer #2:



Buy MOMO: The Missouri Monster

The DVD release of MOMO: The Missouri Monster (SRP $14.99) will exclusively include a 51 minute behind-the-scenes featurette.

 MOMO: The Missouri Monster: USA / 81 min / English



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Bizarre Opening To "Daughter Of Dr. Jekyll" (1957) (video)




This Allied Artists film starring Gloria Talbott and John Agar...

...which was directed by Edgar G. Ulmer...

...begins with an exceedingly unusual pre-titles scene...

...that is creepy yet amusing at the same time.


I neither own nor claim any rights to this material.  Just having some fun with it. Thanks for watching!


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Sunday, August 18, 2019

Great 3 Stooges Running Gag: "I'll Do It When I'm Ready!" (video)





Moe orders one of the other Stooges to do something...

...but they bravely yell back "I'll do it when I'm ready!"

Moe then asks "Are ya ready?"

And then the Stooge meekly says "Yeah, I'm ready..."

(threestooges.net)


PLANE NUTS (1933)
MEN IN BLACK (1934)
3 DUMB CLUCKS (1937)
WE WANT OUR MUMMY (1939)
I CAN HARDLY WAIT (1943)
WHO DONE IT? (1949)


I neither own nor claim any rights to this material.  Just having some fun with it. Thanks for watching!


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Saturday, August 17, 2019

Strangest & Most Violent Mummy Film? "The Mummy's Curse" (1944) (video)




(spoilers)

"The Mummy's Curse" is the final film in Universal's "Mummy" series.


And despite some lighter moments than the two previous films...
...it may also be the most violent, if judging by body count alone.

The Mummy (Lon Chaney) makes the most of his ample screen time in this one.

The film also contains perhaps the single strangest scene in any "Mummy" movie...
...the mud-caked resurrection of Kharis' beloved Princess Ananka (Virginia Christine).

Ananka struggles stiffly out of her earthen tomb, then staggers toward the light.

The film is a lively swan song for Kharis--one of vintage horror's weirdest monsters.  


I neither own nor claim any rights to this material.  Just having some fun with it.  Thanks for watching!



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Friday, August 16, 2019

"DON'T LET GO" Starring Storm Reid and David Oyelowo Opens Aug. 30th -- See Trailer HERE!




OPENING DAY ANNOUNCEMENT

"DON’T LET GO"

CHANGE THE PAST. SAVE HER FUTURE.

Starring David Oyelowo (Selma) and Storm Reid (A Wrinkle in Time)
Directed by Jacob Estes (Mean Creek)

Opening Nationwide on August 30th

WATCH THE OFFICIAL TRAILER:




In ​Don’t Let Go,​ detective Jack Radcliff (Oyelowo) gets a shocking phone call from his recently-murdered niece Ashley (Reid). Working together across time, they race to solve her murder before it can happen.

Distributors: Blumhouse Tilt, Universal’s OTL Releasing and Briarcliff Entertainment
Starring: David Oyelowo, Storm Reid, Mykelti Williamson, Brian Tyree Henry, Shinelle Azoroh, Byron Mann, April Grace and Alfred Molina
Directed By: Jacob Estes
Screenplay By: Jacob Estes
Story By: Jacob Estes and Drew Daywalt
Producers: Jason Blum, Bobby Cohen and David Oyelowo
Release Date: August 30, 2019


Follow @DontLetGoMovie on Facebook, Twitter, and Instagram




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Great 3 Stooges Running Gag: "The Bystander Gets Slapped" (video)




Moe and another Stooge slap each other back and forth several times.

Suddenly Moe stops, shrugs...

... then turns to the other Stooge, who's just watching, and slaps him.

(threestooges.net)

HOI POLLOI (1935)
CRASH GOES THE HASH (1944)
CUCKOO ON A CHOO CHOO (1952)
FOR CRIMIN' OUT LOUD (1956)


I neither own nor claim any rights to this material.  Just having some fun with it. Thanks for watching!


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Thursday, August 15, 2019

Gripping Sci-Fi Drama "AUGGIE" Opens in Theaters on September 20 -- See Trailer HERE!




SCI-FI DRAMA "AUGGIE"

OPENS IN THEATERS ON SEPTEMBER 20, 2019

Starring Legendary Character and Voice Actor Richard Kind
With Susan Blackwell, Christen Harper and Larisa Oleynik

WATCH THE TRAILER:




Samuel Goldwyn Films is set to release Matt Kane and Marc Underhill's sci-fi drama AUGGIE in theaters and on VOD beginning September 20, 2019. The film stars Richard Kind (ARGO, A SERIOUS MAN, Red Oaks, INSIDE OUT) along with Larisa Oleynik (ATLAS, 10 THINGS I HATE ABOUT YOU) Susan Blackwell (MARGIN CALL, Master of None) and newcomer Christen Harper.

In AUGGIE, Felix Greystone (Richard Kind) is forced into early retirement and falls in love with an augmented reality companion, to the detriment of his relationship with his wife and daughter. At his “early retirement” party, Felix is given a pre-release version of an AUGGIE, a pair of augmented reality smart glasses that project a perfectly human companion onto his world. When Felix’s wife Anne gets a promotion and his daughter Grace gets serious with her boyfriend, Felix suddenly feels very alone.


He opens up to his new companion, AUGGIE, and is recognized and appreciated by her. He feels the ache of loneliness dissipate. AUGGIE reawakens a passion in Felix, and to his own surprise, he begins to fall for her. In a world that feels too good to be true, it’s difficult for Felix to recognize his increasing addiction to the technology, losing sight of what truly matters.

Release Date:                      September 20, 2019 - Opening in theaters and on VOD
Directed/Written by:            Matt Kane, Marc Underhill         
Cast:                                     Richard Kind, Larisa Oleynik, Susan Blackwell, Christen Harper
Genre:                                  Sci-Fi, Drama
Specs:                                  81 min
Distributor:                          Samuel Goldwyn Films



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Jimmy Durante As Adam, The First Man ("Hollywood Party", 1934) (video)




"Hollywood Party" was a screwball comedy with a gaggle of guest stars...

...featuring Jimmy Durante in some downright surreal sketches.

Not the least of which being his riff on reincarnation.

This segment casts him not only as the first man, Adam...

...but also as America's most famous horse.


I neither own nor claim any rights to this material.  Just having some fun with it.  Thanks for watching!



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Wednesday, August 14, 2019

INFERNUM -- Movie Review by Porfle




After seeing so many big-budget horror flicks that depend on gore, flashy effects, and sudden loud noises to try and get scares, it's nice to see someone who can take a low budget and some real talent and make a movie that's genuinely old-school scary.

Which is what writer-director Dutch Marich (MISERABLE SINNERS, HUNTING, BLEED OUT) does with his new film, INFERNUM (Indican Pictures, 2019). Great locations, limited interiors, and pretty much no special effects combine with a capable cast and imaginative script (and yes, one or two well-earned jump scares) to fashion a tale that chills the blood in a way you don't see very often anymore.

In the opening, a little girl's parents leave their camping tent one night to investigate a roaring noise in the woods (later described as a "paranormal rift" through which one may hear the hellish sound of "wailing and gnashing of teeth") and disappear. 


Twenty-five years later, Camille (Suziey Block, DUDE BRO PARTY MASSACRE III, MEANING OF VIOLENCE) is still dealing with her terror and loss by interviewing people with similar experiences as part of an art-school graduation project.

When she misses an anniversary dinner with her boyfriend Hunter (Michael Barbuto, HUNTING, HAPPY CAMP, BLEED OUT), he loses it and goes off on how she embarrasses him with her "a loud noise ate my parents" obsession.

Hunter also chafes at how much time she spends with young James (Clinton Roper Elledge, RUSH), a gawky film student making a movie about Camille and helping with her project's audio-visuals.


This part of INFERNUM is fairly well-done, but it only becomes apparent later how director Marich is setting us up with this borderline-tiresome "lovers' spat" routine just so he can spring the scary on us later.

This comes when Camille and James hear of a mysterious loud noise in a forest in Nevada and drive there right away to investigate, although Camille insists on not getting too close. 

When the road to their destination is closed due to an avalanche, they must instead take an antique museum train that has been pressed into service to transport people to their homes. 

Hunter, it turns out, has followed them and ends up on the train, too.  The three of them are in the middle of an awkward situation in the caboose as we wait for the train to reach its destination so things can finally pick up. (Meanwhile, the night shots of the train traveling through the darkness are beautiful.)


INFERNUM goes from "okay" to "masterful" when they wake up from a brief nap to find that the train has stopped in the middle of a dark tunnel, with no one else aboard except for a woman named Rita (Sarah Schoofs, GUT, BLACK WAKE, THEATER OF TERROR) who has lost her husband.  The engineer, the conductor, and the other passengers are all gone. 

The acting gets better and more natural as the characters go from wandering hesitantly through this unknown situation into flailing about in sheer terror when all the lights go out and that familiar roaring noise starts rushing over the exterior of the train.

One really gets the feeling of being isolated and alone in a very dark, very spooky place, thanks to skillful staging and direction, with shots that are stark clashes of darkness and light conveying eerie, oppressive gloom. 


In fact, this film has more atmosphere and suspense than ten average horror flicks smashed together.  And as is so often the case, it's what we don't see but are forced to imagine that is the scariest.

Of course, not all filmmakers can pull off such a thing, but here our imaginations are working overtime to help conjure up whatever awful force is menacing the poor souls on that train as the fear factor continues to rise.

INFERNUM manages to evoke the immediacy of the best "found footage" films, with all the breathless suspense and creeping terror but without the awkward contrivances.  It would make a hell of an extended "Twilight Zone" episode.






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"A BUCKET OF BLOOD" Comes To Blu-ray From Olive Signature Films 9/24/19




Olive Films is proud to announce the following September 2019​ release:

"A BUCKET OF BLOOD" -- Olive Signature

LIMITED TO 3,500 UNITS



US+CANADA
PREBOOK:          8/27/19
STREET:             9/24/19

A BUCKET OF BLOOD –
OLIVE SIGNATURE   BD
CAT:                 OS019
UPC:       887090601900
SRP:                 $39.95

A BUCKET OF BLOOD – OLIVE SIGNATURE

DICK MILLER
(Gremlins, The Trip, The Wild Angels)
BERT CONVY
(Semi-Tough, Hero at Large, Susan Slade)
BARBOURA MORRIS
(The Trip, The Haunted Palace, The Wasp Woman)
ANTONY CARBONE
(Extreme Close-Up, Pit and the Pendulum, Last Woman on Earth)
ED NELSON
(Airport 1975, Runaway Jury, TV’s Peyton Place)

Directed by
ROGER CORMAN
(The Trip, The Wild Angels, Gas-s-s-s)




In honor of its 60th anniversary, this Olive Signature edition of A Bucket of Blood celebrates the film’s enduring legacy. Shot in five days on a shoestring budget of $50,000, A Bucket of Blood remains one of the most iconic collaborations between Roger Corman and Dick Miller, and has rightfully earned its “cult classic” status.

YEAR: 1959
GENRE: COMEDY, HORROR
LANGUAGE: ENGLISH (with optional English subtitles)
LABEL: OLIVE FILMS
TOTAL RUNNING TIME: 66 mins
RATING: N/R
VIDEO: 1.85:1 Aspect Ratio; B&W
AUDIO: MONO


OLIVE SIGNATURE FEATURES

    Mastered from new 4K scan
    “Creation Is. All Else is Not” – Roger Corman on A Bucket of Blood
    “Call Me Paisley” – Dick and Lainie Miller on A Bucket of Blood
    Audio commentary by Elijah Drenner, director of That Guy Dick Miller
    Archival audio interview with screenwriter Charles B. Griffith
    “Bits of Bucket” – Visual essay comparing the original script to the finished film
    Essay by Caelum Vatnsdal, author of You Don't Know Me, But You Love Me: The Lives of Dick Miller
    Rare prologue from German release
    Super 8 “digest” version
    Theatrical trailer
    German theatrical trailer
    Gallery of newly-discovered on-set photography


With A Bucket of Blood, the multi-talented Roger Corman singlehandedly created his own genre hyphenate: the black-comedy-beatnik-culture-horror film. Dick Miller (Gremlins, The Trip) stars as Walter, a busboy at the hep-cat hangout the Yellow Door CafĂ© who dreams of artistic greatness. Inspired by the scribes and artists who surround him, Walter is introduced to the world of sculpture quite literally by accident – thanks to thin walls and a sharp steak knife. From his very first piece – the aptly titled “Dead Cat” – Walter is hailed a genius by the art snob set, a wunderkind who, unbeknownst to his doting devotees, has raised murder to the level of high art. But when the tortured artist turns his creativity towards the human form, he’s sure to make their blood run cold.

Rounding out the cast are Barboura Morris (The Trip, The Haunted Palace) as Carla, the woman of Walter’s dreams; Bert Convy (Semi-Tough) as undercover cop Lou Raby; Antony Carbone (Pit and the Pendulum) as Leonard, owner of the Yellow Door; and Julian Burton (The Masque of the Red Death) as Maxwell, the Yellow Door’s resident poet-philosopher.

A Bucket of Blood is written by Charles B. Griffith (Death Race 2000), photographed by Jacques R. Marquette (Burnt Offerings), edited by Anthony Carras (The Comedy of Terrors), with music by Fred Katz (The Little Shop of Horrors), and art direction by Daniel Haller (Pit and the Pendulum).


Buy it at Olive Films





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Saucy Pre-Code Banter In "Mystery Of the Wax Museum" (1933) (video)




Glenda Farrell is a delight as wisecracking girl reporter Florence Dempsey.

Frank McHugh is her long-suffering editor, who fires her at least once a day.

Fay Wray is Florence's beautiful roommate, a hopeless romantic.

And sometimes they get up to things that are just a bit, well, pre-code.


I neither own nor claim any rights to this material.  Just having some fun with it. Thanks for watching!



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Tuesday, August 13, 2019

PERFECT SKIN -- DVD Review by Porfle




A darkly voluptuous visual sense pervades director and co-writer Kevin Chicken's disturbing horror thriller PERFECT SKIN (Indican Pictures, 2018). It's so richly, perversely eye-pleasing, in fact, that it makes the equally entrancing story and performances even more compelling and almost seductive.

Not to say, however, that much of what we see isn't utterly hideous. Late in the story we're shocked by scenes of gore which, while not prolonged or overly gratuitous, still wield a potent gut-punch. And some of the images are so bizarre as to weave a strange fascination like something out of a fever dream.

But before we descend to that level of dizzying horror, we first meet Polish immigrant Katia (THE SHADOWS, THE LOOKING GLASS), recently ousted from her job as an au pair and currently out on the streets of London without a pence or a place to stay.


She manages to move in with her friend Lucy (Jo Woodcock, DORIAN GRAY, MONOCHROME), who introduces her to tattoo artist Bob Reid (Richard Brake, THOR: THE DARK WORLD, BATMAN BEGINS, HANNIBAL RISING, "Game of Thrones").   

Three things happen: (1) Lucy is called back to her native Australia due to an emergency and leaves the rent money with Katia, (2) Katia runs out to a nightclub and goes on a drunken bender with the rent money (no wonder she lost her job as an au pair), and (3) we discover that Bob's a weirdly-disturbed dude who's into extreme body modification and has a disease that's robbing him of his skills as a fine tattoo artist.

Long story short--Bob covets Katia's untarnished skin as the perfect canvas for his final tattoo masterpiece, so he kidnaps her and locks her in the basement of his tattoo parlor. The rest of the film shows Katia's long, agonizing descent into body modification hell as an increasingly bugged-out Bob has his way with her.


Meanwhile, the director has his way with the camera and with us, making all of this look somehow darkly beautiful and fervidly horrific at the same time. It reminds me of how Bruce Timm's animated "Batman" cartoons from the 1990s were drawn using black paper instead of white, as most of these shots seems as though they've been drawn out of the darkness itself and finely etched into haunting, modern Gothic images.

Various plot threads include a missing person police investigation, the return of Lucy and her very unfortunate involvement in the ongoing situation, and the sight of Bob being a divorced dad trying to work out visitation with his kids. (The latter almost, but not quite, humanizes him.) 

Most of all, of course, is the continuing evolution of Katia into an unwilling work of demented art that's ultimately both hideous and fascinating.  Surrounded by death and horror in busy Bob's basement, she seems to be giving in to him as her will seeps away.


But is it Stockholm Syndrome, or simply her attempt to lull him into a false sense of complacency before trying a daring escape?  Either way, her transformation is riveting, and we wonder just what kind of monstrous human artwork she's destined to become at the hands of this enigmatic madman.

To reveal any more would lessen the deeply suspenseful narrative that PERFECT SKIN so deftly weaves. With an excellent cast and outstanding production values, it's an experience both viscerally repellent and strangely, disturbingly captivating.


Buy it at Indican Pictures

TECH SPECS
Runtime: 80 minutes
Format: 2:35 HD
Sound: Dolby SR
Rating: R
Language: English
Captions: English
Extras: Trailers


Trailer:
https://vimeo.com/335951100



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Great 3 Stooges Running Gag: "Toupee Or Not Toupee?" (video)




A man's toupee gets removed somehow...

...sometimes by a shooting bullet...

...or by some other comical means...

...which is usually Stooge-related.

(threestooges.net)


POP GOES THE EASEL (1935)
HOI POLLOI (1935)
DISORDER IN THE COURT (1936)
A PAIN IN THE PULLMAN (1936)
PHONY EXPRESS (1943)
THREE DARK HORSES (1952)
TRICKY DICKS (1953)


I neither own nor claim any rights to this material.  Just having some fun with it. Thanks for watching!


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Monday, August 12, 2019

THE BEATLES: MADE ON MERSEYSIDE -- DVD Review by Porfle




Writer-director Alan Byron (BILLY FURY: THE SOUND OF FURY, PUNK '76) opens his 2018 documentary THE BEATLES: MADE ON MERSEYSIDE (Film Classics) with the familiar strains of "Twist and Shout." But it's the Isley Brothers version we hear, not the Beatles' celebrated cover.

This is typical of the entire film, which features not one note of actual Beatles' music (much as the documentary JIMI HENDRIX: THE GUITAR HERO had no actual Hendrix songs save for a public domain version of "Hey, Joe") and not that many images or film clips. It's a bit like making a documentary about the Apollo space program and not including any footage of the first moon landing. 

What compensation there is consists of ample interview footage of people either directly or indirectly involved with the Beatles during their five-year rise from obscurity to stardom, including their tour manager, a business associate of Brian Epstein, Epstein's secretary, and Pete Best's brother.


Best of all (pun intended), the Beatles' initial drummer Pete Best is on hand to offer his quiet, thoughtful reminiscences from a very first-hand point of view, and it's his segments that are the most welcome ray of sunshine in the whole presentation.

What makes it most worth watching, in fact, is finding out at the end that he's enjoying a happy life, both personally and professionally, including ample compensation for "The Beatles Anthology" and a new band which makes terrific music (I've heard them--they're really good).

There are also a couple of original members of the Quarrymen giving us their equally first-hand accounts of what went down on and offstage when John, Paul, and the rest were whooping it up at the Kaiserkeller and Star Club in Hamburg or electrifying local Liverpool kids at the Cavern and Casbah clubs.


Mona Best herself turns up in old footage with son Pete, which is of interest.  And last but certainly not least, Cynthia Lennon appears briefly a few times to share her own intimately personal perspective.

Most of the other interviewees relate familiar stories while the few film clips of the Beatles are augmented by lots of B-roll footage of Liverpool and Hamburg and various locations where the Beatles lived or performed.

When we're told the old story of how young Paul and John acquired American rock and roll records from sailors down at the docks, we're shown a lengthy montage of freighters unloading their cargo at those docks.


Say they liked Elvis and we see a minute or two of Elvis performing; say they covered "Long Tall Sally" and we hear Little Richard singing it. Snatches of other songs later covered by the Beatles turn up in their original form as well.

The Beatles, it turns out, are in the periphery of their own documentary. There are some nice clips of Ringo near the end, talking about joining the band, being in the hospital, etc.  But again, no actual Beatle music.  The effect is ultimately a bit dull and, needless to say, disappointing.

The DVD from Film Movement is in 1.78:1 widescreen with 2.0 stereo sound. No subtitles or extras.

If THE BEATLES: MADE ON MERSEYSIDE were chosen to be enclosed in a time capsule, future archeologists would learn the usual pre-fame history of the group, and get brief samples of their images and speaking voices, but would have no idea what their legendary music sounded like.



Pre-order the DVD from Film Movement

Release date: 8/20/19





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Totally Unnecessary Subplot In "The Mummy's Ghost" (Universal, 1944) (video)




At barely an hour long, "The Mummy's Ghost" is a lean, fast-moving tale that wastes no time.

Except, that is, for one lengthy detour which turns out to be a total dead end.

Earlier, an Egyptology professor experiments with tanna leaves, and gets an unexpected guest.

Later, the police enlist another professor to duplicate the experiment.
They hope to lure the Mummy into a large pit they've dug in the yard.

Not only is this unlikely to work, but after all of their tedious preparations...
...which we've followed for a good part of the movie...

...the Mummy never shows up.
He's across town, moving the actual plot along.

Meanwhile, the Mummy pit almost succeeds--in capturing a frantic old lady.


I neither own nor claim any rights to this material.  Just having some fun with it.  Thanks for watching!



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Sunday, August 11, 2019

"Mystery of the Wax Museum" Unmasking Scene: Fay Wray, Lionel Atwill (1933) (video)




(spoilers)

This two-strip Technicolor classic was directed by Michael Curtiz...


...and was lost for many years before being rediscovered.

Lionel Atwill plays a madman who runs a wax museum...

...with figures made from dead bodies encased in wax.

The beautiful Fay Wray is his ideal Marie Antoinette...

...so he plans to give her the same treatment.

But not before she discovers his terrible secret.


I neither own nor claim any rights to this material.  Just having some fun with it. Thanks for watching!



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Saturday, August 10, 2019

Great 3 Stooges Running Gag: "Knee-Elbow-Chin Bonk" (video)




Moe sets another Stooge up in the knee-elbow-chin position...

...then he kicks that Stooge's knee up...

...causing him to punch himself in the chin. (threestooges.net)

I CAN HARDLY WAIT (1943)
HOLD THAT LION! (1947)
CUCKOO ON A CHOO CHOO (1952)
GOOF ON THE ROOF (1953)


I neither own nor claim any rights to this material.  Just having some fun with it. Thanks for watching!



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Friday, August 9, 2019

THE LUMBER BARON -- Movie Review by Porfle




The patriarch of a 1910 Wisconsin lumber dynasty dies, leaving his family to deal with a failing business and debts that threaten to put them out of their luxurious mansion. 

Not exactly the kind of peril that I can relate to, but THE LUMBER BARON (2018) is fantasy stuff for those of us who wish their problems were so well-appointed. 

The son, Daniel Rimsdale, Jr. (Joseph Bezenek), a disappointment to his father because he's a so-so medical student with no head for business, must quit school and try to save his family. 


In doing so, he uses the journal of his grandfather, the company's founder, as a guide, as well as seeking support from his mother, two sisters, and younger brother.

Most importantly, Daniel assumes a fake identity and goes to work as a lumberjack for his own company, thus not only learning what hardships his employees face but also digging up evidence of corruption that involves his father's main competitor, the vile, two-faced Silas Lynch (Charles Hubbell).

The early part of THE LUMBER BARON shows us the opulent high-society lifestyle of the rather spoiled Rimsdales so we'll know what they're in danger of losing. Fortunately, most of these characters are likable enough not to be as insufferably snooty as they might have been. 


The film's outdoorsy midsection is all about Daniel's lumberjacking adventure, during which he meets Lynch's murderous mole, Doyles (Benjamin Madrid), who receives orders to kill the nosey new employee, and befriends some of the hardworking souls who deserve to be treated like more than galley slaves.

Daniel's return to the family mansion brings on a series of events in which he puts his newfound information and growing business skills to work in setting things right and pulling his family out of debt. 

This means delving into the dark web of deception and foul play surrounding the ever-scheming Lynch, who has his hooks deep in the Rimsdale's affairs and will stop at nothing to take everything they have, even if it means ordering his son to court the oldest Rimsdale daughter who is heir to the estate.


Despite a relatively modest budget, THE LUMBER BARON is elegantly mounted, with authentic locations adding greatly to its production values as well as a stately pace and formal direction by Barry Andersson (EDGE OF INSANITY).

The script by Karen R. Hurd doesn't try to dazzle us with contrived wit--the dialogue is realistically mundane for the most part--nor does it generate edge-of-the-seat suspense or heartpounding drama.

In fact, there are few real surprises (none that we don't see coming anyway) and the plot elements pretty much fall comfortingly into place like an easy jigsaw puzzle, forming a final picture that's pleasing to behold. 

THE LUMBER BARON doesn't try to blast us out of our seats, but is content to offer a calming, balming entertainment that leaves us feeling like we just took a brisk Autumn stroll or a refreshing nap. Which, after some of the depressing downers I've seen lately, is a nice change of pace.



Find out more about this film at Indican Pictures

TECH SPECS
Runtime: 109 minutes
Format: 2:39:1
Sound: Dolby SR
Country: USA
Rating: PG-13
Language: English






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"Sex Madness" (1938) Falling Window Blooper (video)




Dwayne Esper's vintage exploitation films were done on very low budgets...
...much too low for needless retakes.

And so, when a window slams shut in the background...

...watch the two actresses keep right on going.

Watch it again and notice how the startled blonde stumbles her line a bit.

"NO RETAKES!"


I neither own nor claim any rights to this material.  Just having some fun with it.  Thanks for watching!


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Thursday, August 8, 2019

6 HOT CHICKS IN A WAREHOUSE -- DVD Review by Porfle




I have to hand it to 6 HOT CHICKS IN A WAREHOUSE (Indican Pictures, 2017).  It starts out sorta not-so-great and then, once its rather contrived premise is established, gradually turns into a pretty fun suspense-slash-sexploitation flick. Dumb fun, yeah, but still fun.

Six models are called together for a photoshoot at the warehouse studio of Adrian (Oliver Malam), a frustrated "incel" who bristles at the constant rejection and ridicule they hurl at him during all of their professional interactions.

It seems Adrian has discovered a weird new diet supplement called Pump-N-Go that turns people into vicious killers, and his plan is to keep the six women in cages, inject them with the drug, and pair them off in gladiatorial death matches which will give him (a) revenge, and (b) perverse sexual thrills.


Interestingly, we're initially inclined to sympathize with Adrian because some of these models really are obnoxious, hateful bitches who do lay on the ridicule pretty thick.  The only one we really get to know is Mira (Jessica Messenger), who just dresses like a slut because she needs the money and really isn't a "mean girl" type.

But as the story progresses, Adrian becomes more of a hateful psycho and we start siding with the girls as they're forced to battle each other to the death for his sick gratification. 

These scenes are pretty much meat-and-potatoes stuff--no dazzling choreography or shocking gore--but they do the job of holding our interest until the models start planning their escape.


That's where the suspense factor kicks in and the movie starts being more than just a collection of fetish montages.  (Although the girls do wear dominatrix outfits throughout almost the whole thing.) 

It's not Hitchcock or anything, but director and co-writer Simon Edwards is doing capable work here and giving us a fair amount of tension.  While the inevitable conclusion to all this doesn't exactly give THE WILD BUNCH a run for its money, I found it satisfying enough. 

By the time it was all over, I had actually started to like some of these unlikable chicks (the ones who were still alive, anyway).  The story actually has two endings--the official one, and the "gotcha!" during the closing credits.




6 HOT CHICKS IN A WAREHOUSE sets out to give us some voyeurism (there's an extended photoshoot montage that shows off the girls' bodies, and a bit of nudity here and there), some humor, some violence, and some revenge.  I don't expect it to get nominated for any Oscars, but to be honest, I'd rather watch this than the Oscars.


More on 6 Hot Chicks in a Warehouse at Indican Pictures:

Release Date: September 3rd, 2019 (DVD, Digital)

TECH SPECS

Runtime: 91 minutes
Format: 1:78 HD
Sound: Dolby Sr.
Country: USA
Language: English (with captions)
Rating: R

Bonus: outtakes, trailers







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The Godfather Monster Mash ("The Godfather", 1972) (video)




The best scene in Francis Ford Coppola's "The Godfather" (1972)...

...is the one where Don Corleone (Marlon Brando) uses an orange peel to make vampire teeth...

...and terrifies his grandson, Anthony.

The only trouble is, this precious scene just too brief.  It needed to be longer.

And now, that problem has been wonderfully, delightfully solved.

Because now we have, for current and future generations to cherish...

...The Godfather Monster Mash.


I neither own nor claim any rights to this material.  Just having some fun with it. Thanks for watching!


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Wednesday, August 7, 2019

THE REFLECTING SKIN -- Blu-ray Review by Porfle




A stunningly beautiful film, Philip Ridley's 1990 psychological thriller THE REFLECTING SKIN (Film Movement Classics) is also stunningly weird.  His sweeping vistas of vast fields of wheat swaying in the breeze and dotted with rustic, rambling old houses may look like something out of Andrew Wyeth, but this twisted coming-of-age tale is pure rural American Gothic whose bright fascade hides a profound inner corruption.

We see it all through the eyes of eight-year-old Seth Dove (Jeremy Cooper), who lives with his violently abusive mother Ruth (Sheila Moore) and feeble-minded father Luke (Duncan Fraser)--neither of whom is "all there"--behind an auto-repair garage with two rusty gas pumps. 

Ruth, who should be the subject of someone's psychiatric thesis, constantly complains about the smell of gasoline and grease, driving Luke to lose himself in cheap pulp magazines about vampires and such. It's touching to see how Seth gravitates toward his father, harmlessly lost in his pulp magazines, clearly out of his mind but comfortingly nonthreatening.


Growing up in the middle of nowhere is getting to Seth, too, and his playtime consists of things like inflating a live frog like a balloon so that he can leave it in the road and splatter it with a slingshot in the face of an unwary passerby.  The tragedy is that he seems like a sweet kid when life isn't slowly turning him into a sociopath, until he shocks us by doing something despicable.

Naturally, the strange woman living in the big, empty house nearby fires the imaginations of Seth and his two friends, Eben and Kim. After a visit in which she reveals that her young husband hanged himself in the barn years before, Seth gradually suspects that Dolphin Blue (Lindsay Duncan) is a vampire.

When his war-hero brother Cameron (Viggo Mortensen) finally returns home from the South Pacific, Seth becomes convinced that Dolphin wants to seduce him and drain him of his life-giving blood. But when dead bodies start turning up, the local sheriff suspects Seth's oddball father due to some scandalously sordid events in his past.


The lead actors all are excellent here, especially Duncan as Dolphin Blue, who, as director Ridley points out, bears a similarity to Miss Havisham in Dickens' "Great Expectations." We're often as unsure of her intentions as Seth, although as the story unfolds we begin to see what a tragic and damaged figure she is.

Mortensen's Cameron surprises by behaving less nobly than we expect for a returning WWII hero, displaying a short temper that's sometimes directed at Seth. We think he's going to be a calm, stabilizing influence, but it soon becomes clear that he's a product of the same bizarre upbringing that's in the process of warping his little brother.

And while Cameron's sudden affair with Dolphin is desperately intense for both, the meeting of two such troubled souls is itself troubling.  She speaks of how exciting it was to be in London during the German bombings, and he talks of how beautiful it was to watch whole Pacific islands explode.


The most affecting performance, however, comes from young Jeremy Cooper as Seth.  He's fascinating to watch as the intensely emotional child who seems heartbreakingly normal one moment and frighteningly twisted the next.  (We can't blame Seth for being messed up after seeing how his mother treats him.)

Jeremy's concentration is such that the camera lingers on his face and expressive eyes as he loses himself in the part of the volatile young boy and gains our sympathy. Not once does he come off as a kid actor being directed or reciting lines, and much of his performance is quite intuitive.

Pictorially, THE REFLECTING SKIN is one of the most splendid films I've ever seen. Each carefully composed shot is exhilarating to behold as the cumulative effect washes over the viewer like the wind swaying those fields of wheat.  (We're reminded at times of Terrence Malick's DAYS OF HEAVEN.)

 
This combines with the fever-dream strangeness of the story to produce a feeling that I didn't want to end.  It's like Tom Sawyer meets David Lynch, only more insidiously weird and unexpected and seductively intoxicating as it fluctuates between the mundane and the surreal. (And I haven't even mentioned a lot of the REALLY weird stuff.)

The Blu-ray from Film Movement Classics is in 1:85:1 widescreen with 2.0 stereo and English subtitles. The director oversaw the new 2K digital restoration which looks and sounds beautiful.  Besides his informative commentary, there's a lengthy featurette called "Angels & Atom Bombs: The Making of The Reflecting Skin" and trailers for this and other Film Movment Classics releases. Also included is an illustrated essay in booklet form.

THE REFLECTING SKIN is like one of those dreams which on the surface seems normal but just isn't quite right, and then without warning it kicks into nightmare gear and back again. Although I found the ending somewhat jarringly abrupt, and thus rather unsatisfying, it may just be that I simply didn't want this story to ever end and resented the fact that, eventually, it had to.


Buy it from Film Movement Classics




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