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Showing posts with label screening. Show all posts
Showing posts with label screening. Show all posts

Tuesday, October 30, 2012

Zombies Strike in Bridgeport! Next Up? Vampires...

 
It has been my pleasure to welcome Bridgeport to the Vault of Horror, and I hope to be able to do so for some time to come. Coming fresh off my second monthly installment of BEDLAM AT THE BIJOU in the city's historic downtown district, I have to say it is just about the most fun I've ever had. Sharing my passion for horror with like-minded individuals, and opening the minds of intelligent folks giving it a chance for the first time? Count me in!

And speaking of "Count", that brings to mind my *next* BATB presentation, happening next month on Thursday, November 15. But I'm getting ahead of myself.

The Bedlam faithful take in the undead goodness.

The Captain in human guise prepares to bloody up some moviegoers.

Last Thursday night, I had the privilege of screening a zombie double feature made up of White Zombie and The Last Man on Earth (yes, I know it's technically not a zombie film, but anyone who's seen it knows why I included it.) Just like my first Godzilla/Them double feature last month, it was truly a blast bringing these flicks back to the big screen with fans old and new on hand. I cannot thank those who came out to support the event enough.

I am especially grateful to the Bijou's tireless Molly Ann Sabas, who put up with all my anal retentive crap and made sure everything ran smoothly from a technical standpoint. I was very excited to see my zombie-themed photo montage pre-show flash on the big screen prior to the movies. I must also thank the amazing Chad Anderson, who took more great pictures of the event, and Michael Barnes, who designed another fantastic poster for the event (I'm officially stealing a copy of every poster he creates for BATB!).

One of our adventurous patrons gets zombified by Cruella!

Dr. Paffenroth drops some zombie knowledge.

The lovely Captain Cruella was on-hand to zombify a few of our patrons right there in the Bijou's sumptuous lobby, and the Bram Stoker Award-winning author and good friend Dr. Kim Paffenroth made the trek all the way from Westchester to be my special Q&A guest. Just as it was last month, the Q&A was my favorite part of the evening, and I got a huge kick out of some of the very thought-provoking questions that were asked and answered.

And what can I say about seeing Bela and Lugosi and Vincent Price up on the big screen? These movies will never be as enjoyable as they are in an environment like this, and the Bijou is such a beautiful venue for it. I'm not sure what was more enjoyable--feeling the excitement of long-time fans as they witnessed these movies 20 feet high, or watching the rapt discovery of those who had never seen, or maybe even heard of them, before.







I was proud to discuss the unique cultural zombie phenomenon at length, and will be equally proud next month when BEDLAM AT THE BIJOU returns with my next double feature: "The Count Begins". I cleverly called it that because I'll be screening a double feature of the first two screen adaptations of Bram Stoker's Dracula: the original 1922 Nosferatu, and the classic 1931 Universal film Dracula. I'll be joined by another great horror non-fiction author, Paul Bibeau--whose book Sundays with Vlad proves what a Dracula aficionado he is. I'm also working on scoring some live musical accompaniment for Nosferatu, which should be enthralling. And of course, what would a Dracula double feature be without some wine specials? After all, he may never drink it, but that doesn't mean we can't.

The good Doctor and myself.

Sharing the stage with our newly minted zombies.

So I hope you'll join me for the next BEDLAM AT THE BIJOU, coming up Thursday, November 15 at 7pm. If you love these movies, or want to discover them for the first time, I encourage you to come down to the Bijou Theatre. For more info, check out the Bijou website!



Wednesday, October 17, 2012

Bringing Bedlam to the Bijou!


It's no secret that I love movies. Especially horror movies. And like anyone who loves something, my greatest joy comes from sharing that love with others. As a horror movie buff, I've always wanted to host public screenings of classic fright flicks, and thanks to The Vault of Horror, that dream has been able to be realized.

Last month, I had the pleasure of taking to the stage for the very first time for special double feature at Bridgeport's historic Bijou Theatre. It was the kickoff for a little series I've entitled... Bedlam at the Bijou. If you've been following the Vault, you probably know a little bit about it. Maybe you were there. In any event, it's been serving for me as a sort of fifth anniversary celebration for the VoH (which officially blew out the candles last Sunday, by the way). And I can't think of a better way to celebrate such a milestone.

Tickets!
"Welcome to Bedlam at the Bijou!"
I had the pleasure, a few years ago, of hosting screenings at Stamford's Avon Theatre along with Captain Cruella--as part of the Avon's very cool Cult Classics series. However, that never afforded me the opportunity to do any kind of programming. This time, I'm running the show--picking the films, inviting guests, thinking up fun promotions. I'm grateful to all the fine folks at the Bijou for giving me carte blanche like this--and to the good Captain for brokering the deal with her wicked zombie influences!

Anyway, September 27 marked the start of Bedlam at the Bijou with "Nuclear Nightmares", a double feature of the original Gojira and the giant ant epic Them! It was a joy seeing both these gems on the big screen, and back-to-back, no less! I never realized how much they had in common until I picked them for this screening, and it was fun exploring those connections with a very eager audience. I was also blessed to be joined by none other than Hearst media film critic--and fellow uber movie geek--Joe Meyers, who was more than happy to expound on both films during a most engaging post-screening Q&A.

The Avon crew represents.
Big G does what he does best.
It made me proud to be able to stand there, before my friends, my parents, and my love, and blabber about classic horror. I consider myself privileged to have such an outlet, and I don't take it for granted! I sincerely hope that everyone who attended had a magnificent time being immersed in all the radioactive monster mayhem.

But it hardly ends there... Because next Thursday, October 25, the second installment of Bedlam at the Bijou will grip Bridgeport in its icy clutches. This time out, I'm hosting "The Undead Among Us", a double feature of White Zombie (the original zombie film) and The Last Man on Earth (the movie that inspired Night of the Living Dead). What better month than October to explore the origins of zombie cinema? Captain Cruella will be on hand to zombify our moviegoing guests, and there will even be a zombie costume contest. Plus, I'm joined by Stoker-award winning author Dr. Kim Paffenroth, who may be the world's only theologian/zombie expert.

*ch-ch-ch-ch-ch-ch-ch-ch-ch-ch*
Sharing the stage with the amazing Joe Meyer.
Once again, it will be a pleasure to celebrate the fifth anniversary of The Vault of Horror in such fashion, and share my love of the nightmares of the silver screen with a gaggle of like-minded enthusiasts. I hope you'll be among them. 

Whether you caught the first Bedlam at the Bijou or not, I encourage you to join me next Thursday night, October 25 at 7pm sharp! Check out the official website for more info, and read all about it at the Bijou blog!


Thursday, August 16, 2012

Celebrating the 5th Anniversary of The Vault of Horror--With PURE BEDLAM!!

Half a decade ago, I was a recently deposed WWE Magazine editor with a dream. A dream to find a way to continue pontificating to the masses and have my voice heard--no longer on the subject of pro wrestling, but in another area at which I was a tried and true blowhard of epic proportions: Horror.

Thus was born my little foray into the blogosphere, the mighty Vault of Horror in which you currently find yourself. This October 14, the Vault turns five years old. To commemorate this milestone, I'm joining forces with the historic Bijou Theatre in Bridgeport, Connecticut, to put on a series of horror double features this fall, and I hope you'll come out and join me to celebrate. I can think of no better way to mark the occasion, and my utmost thanks go out to my running partner Captain Cruella for using her undead powers to help make the whole thing possible.

It gives me great pleasure to announce BEDLAM AT THE BIJOU. I've concocted this special series myself, and with such an amazing venue as this, it's sure to be a blast. Here's what I have in store:

   
Thursday, September 27: Nuclear Nightmares
Two movies about giant monsters spawned from nuclear radiation, released the same year, on opposite sides of the Pacific. It's the original Gojira, followed by the ant epic Them! I'm working on getting some Japanese finger foods lined up for the evening, as well as a special guest speaker to join me in a little Q&A action...


Thursday, October 25: The Undead Among Us
A good old-fashioned zombie double feature. But not just any zombie flicks--these are the originators of the genre. I'm talking about Bela Lugosi in White Zombie, plus Vincent Price in The Last Man on Earth--the movie that inspired NOTLD. Best of all, joining me will be the one and only Dr. Kim Paffenroth, fellow LoTTD member, Bram Stoker award winner, and the world's only theologian/zombie expert!


Thursday, November 15: The Count Begins
OK, so I use a lot of puns. It's the mag editor in me. But what better title for this unique pairing of the first two cinematic adaptations of Bram Stoker's Dracula: the silent classic Nosferatu, and Universal's iconic 1931 Dracula? I'm working on a wine special for the evening (Dracula never drinks wine, but we will!), and possibly even some live musical accompaniment for Nosferatu. Plus, I might even lure Paul Bibeau, author of Sundays with Vlad, to join me as a special guest...

There you have it, Vault dwellers. I hope you can all make it down for one or all of these, if you happen to be anywhere near the Connecticut area... A nice turnout will almost certainly ensure that BEDLAM AT THE BIJOU will continue with future killer double-features hosted by yours truly.

So come help me celebrate the fifth anniversary of The Vault of Horror in style. For more information about the venue, check out the Bijou Theatre's official website. In the days to come, there should also be more info on there as far as showtimes, ticket prices and other details. You can check here for more information as well. It's been an amazing five years here in the Vault, and I can't wait to kick off the festivities!

The Bijou Theatre
275 Fairfield Avenue
Bridgeport, CT
203-332-3228
[email protected]

Tuesday, October 18, 2011

We're Gonna Get You: The Legacy of The Evil Dead

It was at some point during the mid 1980s that I first became aware of a film that would eventually become synonymous with horror in my estimation. My dad, a perennial fright fan and instructor on my road to the dark side, found it on the racks one day at the local mom and pop video store (remember those?) and brought it home. I wasn't allowed to watch it at the time, but I can still remember listening in my bed to my mom's screams of terror emanating from our basement living room as my parents watched it that night. Needless to say, there was no greater enticement possible. I knew right from the start that it was something I simply had to see.

My dad had a knack for picking out the best horror flicks back then, in those days of lurid VHS box covers and giant cardboard cases. He prided himself on finding this gem of a film, still rather obscure at the time. He was so blown away by it that he tried in vain whenever he could to properly convey its horrific intensity to friends and family. And I listened, trying to imagine a horror movie that could be so utterly harrowing. My experience up to that point, after all, was pretty much confined to Frankenstein and Dracula.

And so, when at last I came of age, one of the first R-rated movies I made sure to rent at the video store was Sam Raimi's classic. Well OK, I wasn't exactly of age yet, but let's just say I was old enough that the guy behind the counter at the store didn't care anymore (Hey, Video Reflections in Bensonhurst went out of business about a decade ago, I doubt anyone's going to get into trouble over this one.) I giddily and anxiously watched the movie with my very best friend, at last able to partake in the cornucopia of horror I had heard so much about.

At the time, I imagined The Evil Dead as being the most gut-wrenching, unthinkably terrifying horror movie imaginable. And I'd have to say that, at the time, my expectations turned out to be right on the nose. It was, in my teenaged opinion, exactly what the back of the box boasted--the ultimate experience in grueling horror. The gore was beyond anything I had ever seen before. Every moment seemed to be electrified with the stuff of pure, undistilled nightmares. In short, it was a teenage boy's idea of a perfect movie.

For some years thereafter, The Evil Dead became a sort of litmus test for me; I would use it to test out my friends, to see if they could get through it. It became a badge of honor for those around me to survive a viewing of the film. I would show it to my girlfriends within the first few weeks of dating, just to see if they were cool enough to handle it. And I never got tired of it.

Fast-forward all these years later, and even though I may not watch it as religiously as I used to, there is still a very special place in my horror-lovin' heart reserved for it. While I may no longer call it a "perfect movie" per se, and there are many horror films which the movie critic inside me recognizes as being far superior, nevertheless it still retains an undeniable amount of raw power which makes it a joy to watch every time I take it down from the shelf. In fact, I did so most recently with Captain Cruella, and was reminded all over again why it had captured my imagination in the first place.

The reason I chose to rewatch it for the first time in years is that I'm privileged enough to be hosting a screening of the film at Saugerties, New York's Sugartown Vintage Boutique this weekend as part of the 2nd Annual Village Invasion Zombie Crawl. Needless to say, the opportunity to introduce this movie after worshiping it for so very long is the latest in a long line of wonderful experiences which The Vault of Horror has made possible for me.


What is it about this film that reaches into the souls of so many horror fans, possessing them much like the Deadites themselves? You will find the movie included on almost anyone's list of favorites, and its influence cannot possibly be underestimated. In a word, the film is seminal, and I would even go so far as to say that it has joined that elite group of movies which literally embody the concept of horror in cinema. And despite the fact that so many of us have watched it so many times that it often teeters on the brink of being passe or played out, it is only because we can't stop going back to it.

The Evil Dead was an integral part of my horror coming-of-age, helping to define the genre for me from a young age. It has been with me ever since, a dear old friend covered in gristle and viscera. I hope to see some of you next weekend as I get to watch it once again. And if you can't make it, just take it down from that shelf one more time and watch it for yourself. I know it's got to be there somewhere...

Tuesday, August 2, 2011

Horror Double-Header at the Avon Theatre!

David Cronenberg's Rabid. Troll 2, the "best worst movie." Just hosting one of these films would be a hoot and a half. But I'm proud to say that Captain Cruella and I will be hosting both of them in the days to come at Stamford's historic Avon Theatre. We've been party to a lot of cool stuff over there, but this just may take the cake.

Sure, meeting William Lustig was great. And last year's zombie double feature was a blast. As was Carpenter's Halloween, with my parents on hand. But this time, I'm bubbling over with more excitement than ever. Firstly, I've never seen either of these films on a big screen before. Secondly, for the screening of Troll 2, we will also have VoH junior team members Zombelina and Skeleton Jack in tow for a rare public appearance...

There are many who have called Rabid Cronenberg's underrated masterpiece. I'm a huge fan of the man's entire body of work, so it's hard to say, but it's definitely up there. Not to mention that it has Connecticut's own Marilyn Chambers as the star. And while I'm not thrilled that it will no longer be a double feature with that other movie she made, Behind the Green Door, I'm still incredibly psyched to be there to introduce such a psychological body horror masterpiece.

As for Troll 2, what really needs to be said that hasn't already been? In the pantheon of movies that are "so bad, they're good," this one may be king. Hell, there was an entire documentary made about it and its bizarre fan following. The Captain and I are so overjoyed to be hosting this one that Cru has vowed to craft a custom-made goblin replica to be given away during the pre-show trivia contest! And if you're lucky, it may just be delivered to you by one of your pint-sized associates...

So join us this coming Thursday night, August 4, and the following Thursday night, August 11, for a night of horror goodness, vintage trailers and fun giveaways. Visit the Avon website for more details, or follow them on Facebook and Twitter!



Sunday, June 26, 2011

A Trip Back in Time for NOSFERATU at Lyric Hall


There are a few horror films which have particularly shaped me into the fan that I am today. And on the short list of these would certainly be F.W. Murnau's Nosferatu, which has long been one of my favorites, and also among my picks for the most frightening motion pictures ever made. And this weekend, the Captain and myself were blessed with the opportunity to witness it as it was meant to be seen--on a big screen in a theater, with a live musical accompaniment.

I first discovered Nosferatu as a college student back in the early 1990s, having come across an old VHS copy at a street fair in Brooklyn. I'd heard a lot about it, but it wasn't until I saw it that I truly became mesmerized by this German Expressionistic masterpiece. I instantly became a champion for the film, publicly exhibiting it on my college campus during my time in the English Club (hey, it was based on Bram Stoker's novel, right?) and showing it to everyone I could. I even had a rare opportunity to head to Greenwich Village with some of my college pals to actually see the movie in a proper theater, with a live piano accompaniment. It seemed like a once-in-a-lifetime chance, but little did I know I'd have the chance to revisit it.

Fast-forward some 15 or so years later, and there we were, converging on New Haven's historic Lyric Hall for a unique exhibition of Nosferatu, this time with a live jazz ensemble accompaniment, no less. And it truly was a thrill to witness one of the most powerful horror films ever made, in such a way.

The venue alone made it worth the trip. Lyric Hall was an old vaudeville house going back a hundred years, and exactly the kind of intimate theatrical setting in which the movie might have originally been seen in 1922. Decorated with ornate chandeliers, elaborate moldings and gorgeous paintings, it was the ideal place to immerse oneself in such an experience. Sure, they were using a projection of the 2007 Kino DVD special edition release, but so what? That's the version with the remastered picture and restored tint, which only made it all the better.

The Lyric Hall Theater Orchestra, a small ensemble made up of guitar, tuba, accordion, saxophone, drums and assorted bizarre electronic noisemakers, put together an eccentric and engaging score for the film, which was especially effective during its more original portions. The droning, accordion-led music helped paint a nightmarish picture of dread that made me see the picture in a way I never had before.

That said, if I had to gripe about anything, it would be the noticeably inappropriate musical choices that peppered the score at periodic intervals. For instance, what would possess them to employ the theme to the movie Ben during the rats scene on the ship? Or "Happy Trails" as we watch Hutter gallop toward Count Orlock's castle? Or the Motown hit "Please Mr. Postman" at the moment he sends off his letter to his wife? While amusing, such post-modern, ironic touches only served to undermine the power of the film, and turn it into something to snicker at, rather than be terrified by. Much of the music actually worked against the film, which a good score should never do. Unless it was their intention to turn it into a comedy, which was not clear from the advertising at all.

Nevertheless, the music was, by and large, quite ingenious and suitably foreboding, in an unorthodox fashion. I can honestly say, that even after all these years, I've managed to see Nosferatu in a new light, taking away from it something I never did before. So you can imagine my delight when it was announced that in the fall, Lyric Hall will be presenting John Barrymore's 1920 Dr. Jekyll & Mr. Hyde. If only they can restrain themselves from the snarky musical interjections, that should be a lot of fun--and you can bet that the Captain and I will be on-hand with proverbial bells on.

Nosferatu has meant a lot to me through the years. I've shared it with close friends, with my children, and now, with my dear Captain Cruella. And I'm honored to have seen it not once, but twice on a big screen with live music. 2012 will mark the 90th anniversary of the film, and I'm already gearing up for a year-long celebration here in The Vault of Horror. So as I see it, this weekend's screening was the perfect warmup...

Wednesday, June 8, 2011

Halloween Comes Early to the Avon Theatre!

Ever since last fall's showing of Return of the Living Dead, it has been the distinct pleasure of my cohort Captain Cruella and myself to host horror films at Stamford, Connecticut's wonderful Avon Theatre, on Bedford Avenue right in the heart of one of the Nutmeg State's most bustling metropolises. We've been party to Poltergeist, The Thing, Maniac and other fine selections in the intervening months, but I think this time we're more psyched than ever before.

That's because next Thursday night, June 16, promptly at 9:15p.m., we will be introducing a special screening of John Carpenter's Halloween--a film that never fails to be at or near the top of just about everyone's list of all-time favorite fright flicks. If you'll recall, this is the film that actually made the very top of the list back when I polled the entire horror blogosphere to determine the 50 Greatest Horror Films of All Time. That's a pretty big deal.

It's the prototypical slasher film, one of the most important in the history of the genre, and it will be our honor to take part in its presentation on the big screen next week. As always, there will be trivia and giveaways before the film, as well as some awesome retro trailers. So join us, Michael Myers, Laurie Strode, Dr. Loomis and the gang for the one, the only, the original Halloween. This is going to be a big one.

For more information, head over to the Avon's website!

Thursday, November 18, 2010

Poltergeist at the Avon Theatre Tonight!

Attention Vault dwellers! I will once again be returning to the historic Avon Theatre in the Connecticut metropolis of Stamford, this time for the pleasure of hosting a special screening of Poltergeist as part of the theatre's "Cult Classics" series. Many of you may recall that Captain Cruella and I hosted the 25th anniversary screening of The Return of the Living Dead last month, and the Avon was kind enough to invite me back, so who am I to say no? Alas, I will not be joined by the good Captain this time, as she is in the midst of mustering her vast zombie forces for the upcoming Ghouls Yule in Saugerties next month--all the more reason to come down and keep me company, of course.

I'm beyond psyched to be introducing one of the seminal horror-event films of the 1980s, and would be even more psyched if you would join me. So if you're anywhere near the Stamford area, I expect to see you there as I delve into the awesomeness of Craig T. Nelson, the infamous Hooper/Spielberg directorial controversy, and much more.

The Avon Theatre is located at 272 Bedford Street in Stamford, and the screening kicks off at 9pm. Special thanks to the staff for allowing yours truly to show his face once again--especially Adam Birnbaum, director of film programming. And of course, thanks as always to my murderous muse, Captain Cruella, for getting her steel-toed foot in the door and making these evenings with the Avon possible in the first place!

Saturday, October 9, 2010

Celebrate Return of the Living Dead's 25th Anniversary at the Avon Theatre!

As loyal Vault dwellers, you might be aware that one of--if not the film that transformed me into a died-in-the-wool horror fanatic was the late Dan O'Bannon's masterpiece, The Return of the Living Dead. From when I first experienced it at age 12, I was enthralled by it, and the fascination has only increased with time. It's a fantastic horror comedy for so many reasons, but I've been through that many times before. The bottom line is, it's a film that means a whole lot to me (and no, not just because of Linnea Quigley as Trash...)

You may also be somewhat familiar with the vintagely fantastic Avon Theatre of Stamford, Connecticut, which I have occasionally big-upped on this very blog, whether it be to help spread the word about some really cool screenings they were having, or to report on a great time I had at one of those screenings. The Avon has a Cult Classics series, for example, that has long been a source of unmitigated joy in my life. And now, I'm proud to say that I'm going to be a part of the Avon's Cult Classics series, and in particular, they're upcoming showing of ROTLD. In short, it gets no better than this.

Basically, the Avon will be screening ROTLD on Thursday night, October 21, to commemorate the 25th anniversary of the film's release. It will also be showing alongside an unrevealed second feature. Now, I've been sworn to secrecy as to what it is--but rest assured, it will not disappoint. And I'm proud to say that both myself and the lovely Captain Cruella of the Carnivorous Cadavers will be hosting this screening. Now if that won't get you down to the theater, than dammit people, I don't know what will...

I'll have the privilege of introducing both films, and well, the good Captain will be providing zombie ambience as only she can. In fact, I can thank her and her mysterious undead powers for helping to finally get the Avon and the Vault together in the first place. This place is a local treasure, and it is literally a dream come true to be able to join in on the fun.

In addition to introducing one of the films crucial to my development as a horror fan, Cruella and I will also be giving away passes to one hell of a horror film festival on the horizon, the Hudson Horror Show. The festival's organizer, Chris Alo, will even be on hand to promote the event, lighting up Poughkeepsie, New York on November 6 (more on the Hudson Horror Show to come next week here in the Vault...)

So if you're in the area, I urge you to make your way to the Avon Theatre on October 21 for this screening of one of the most beloved horror films of them all. It is sure to be a blast. Not only that, but keep an eye out for future Cult Classics screenings at the Avon, as the theater's director of business development and film programming, Adam Birnbaum, has extended an invitation to yours truly to not only host more of the Avon's horror screenings, but to actually take part in their selection. So fasten your seat belts, Connecticut horror fans--things are about to get interesting...

Thursday, April 1, 2010

The Night I Experienced MANIC MONDAY

As you can imagine, I was intrigued when I received an invitation via email to yesterday's hush-hush New York screening of Manic Monday, the debut film from Canadian director Dex Baxter. I'm usually not a big fan of music video directors switching to feature films, but the stuff he put together for bands like Antigone's Veil and Wormsign has been pretty striking to say the least, and so I was actually kind of intrigued to see what he was capable of. As it turned out, my curiosity was more than warranted.

Pretty much everyone inside the industry who would actually speak to me about it over the past month or two assured me that Manic Monday was going to be 2010's Paranormal Activity, to the 10th power. At first, I was annoyed when I couldn't find a damn thing about the project anywhere on the internet, but after enough exasperated searching, I became impressed that the studio has been able to keep such a tight lid on this thing. Obviously, the suits are finally learning from the lessons of the past.

Remembering the air-tight confidentiality that surrounded the whole deal, I wasn't surprised to find that when the curtain of secrecy was finally pulled back for yesterday afternoon's screening at the brand-new Steiner Studios in New York's historic Brooklyn Navy Yards, not very many people were there. After all, there was a very limited number of people even made aware of it, so I was grateful just to be there. Plus, I never pass up an opportunity to go back to my hometown.

It's hard to write about what I saw yesterday without plunging into hyperbole, so bear with me. You may not have heard too much about Manic Monday yet, but trust me, you're going to, and soon. Now that the cat is out of the bag, it's pretty obvious to me that this movie is going to make some major waves. Honestly, I don't think I've seen a horror film that affected me this much since the first time I watched the original Dawn of the Dead, some 20 years ago, curled up by myself in my best friend's girlfriend's den (don't ask.)

Lots of horror movies have been made about things like ouija boards and opening up portals to hell and all that stuff, so I wouldn't blame you if you went in thinking it was going to be some hackneyed bit of cliched nonsense. But I have to point out that you'd be very wrong. Manic Monday, as far as I'm concerned, takes its place amongst the likes of Trick 'r Treat, [REC] and Let the Right One In as one of the most astonishing and inventive horror flicks of the century thus far.

Filled with relatively unknown actors, the realism quotient is very high. I recognized Elaine Barstow, the actress who plays the mother to the troubled girl who opens said portal, from the short-lived '90s Melrose Place rip-off Taylor's Ridge, but for the most part these are people who are completely new to me. And watching Barstow struggle to remove her little daughter's arm from a garbage disposal before it turns itself on, set to the strains of Aerosmith's Dream On, is certainly a far cry from the soapy schmaltz of TV melodrama.

Of the entire cast, however, it's Tom Huston as the enigmatic Ezekiel Smit who stands out the most. Not young by any means, it's remarkable how he's managed to slip under the horror radar--reminds me of Deranged, the 1974 serial killer movie that put middle-aged and largely unknown Roberts Blossom on the map. Huston (seen here in the obscure Canadian sitcom Salad Days) is destined to become the cult-figure for fans of this movie, playing a horror villain unlike anything we've seen in a while. Credit is due to Baxter for the unflinching material that's written for this character.

Obviously, as I've said, the concept of supernatural invasion is nothing new to the horror genre. This movie benefits greatly from the influence of Lovecraft, and if I had to pin it down, I might say it's something like The Gate meets Poltergeist. And yet, that does absolutely no justice to the film whatsoever, since it's actually far superior to either one of those films. The core subject matter may not be anything new, but it's what Baxter does with it that will leave audiences in stunned silence.

Lately, it seems like so many horror films are trying to push the envelope to become that "IT" film that everyone talks about, that it's becoming harder and harder to achieve that. But make no mistake, Manic Monday is destined to be exactly that, and perhaps a large part of it is directly because of the almost total lack of hype surrounding it. As someone who works in marketing, I can relate to the temptation to get the word out, and the difficulty involved in creating a bona fide buzz in this era of over-saturated markets. So I respect what these guys accomplished here, and now that the word is out, it's going to be interesting to watch it pay off. I hope more films can be so well-guarded--reminds me of the old days of rifling through issues of Starlog just to find a few scant hints about upcoming projects.

Several of the reports I've managed to get my hands on seemed to be under the impression that part of the reason the movie was so heavily protected has to do with some of the extremely shocking content pertaining to Heather, the little girl who is both victimized by Smit and exposed to some unthinkable horrors over the course of the film. Everyone seems to get up in arms when a child is in peril in a movie, and I can't say I don't totally understand, being a parent myself. Maybe it does go a little too far, or maybe I'm just getting too old to stomach it. But I certainly acknowledge its raw power, and completely understand why the filmmakers went in that direction.

Depending on who you see this movie with, you're going to find it challenges a lot of convictions and even basic assumptions about morality, and human nature in general. I saw it by myself, which in a way only intensified its effect, since I literally had no one to talk with about it, and had to internally process everything I had seen on the screen without the benefit of feedback. But in a way, I much prefer that, since I can't imagine very many people I know who wouldn't have wanted to walk out in the middle. This is not a film for the squeamish, or for those who only occasionally challenge themselves with a horror film or otherwise disturbing picture. This is the kind of movie that makes your non-geek friends think you're a complete sicko for liking it.

And so, I can only strongly recommend that those who do take their horror seriously check this film out as soon as it gets an official release, which presumably is going to be happening sometime in late spring. This movie is so powerful in so many ways, that it's almost hard to encapsulate everything in a review. Certainly Walter Podolak's relentlessly grim cinematography is a big part of it, as is the bleak, minimalist score of Turkish wunderkind Galiba Yanlış.

Yesterday, a handful of my illustrious colleagues were also blessed with the opportunity to check out Manic Monday at similar screenings in their respective nearby urban centers, so expect the buzz to only continue to grow. Reviews have already been posted from the likes of Billy Loves Stu, Heart in a Jar, The Drunken Severed Head, Chuck Norris Ate My Baby, The Horror Digest and the one and only Day of the Woman (you're welcome for the screener passes, BJ!)

Saturday, January 16, 2010

The Emperor Has No Clothes; or, Payola in the Age of Blogging

This was originally supposed to be a straight-up screener review, but in the days since I've seen the movie, it's developed into something far different. There's an issue that's been weighing heavily on my mind, and it's about time I get it off my chest. Let me explain.

Recently, I was sent a screener DVD for a low-budget, independent horror/thriller called SERIAL: Amoral Uprising. It was sent to me personally by the filmmaker himself, who was looking for the movie to obviously be reviewed on The Vault of Horror. I was more than happy to do so, but after seeing it, I realized that I was faced with an interesting dilemma. Because the movie was not very good.

The acting, for the most part, was uninspired, with the exception of the female lead, who was awful. The editing and camerawork was sub-par, to the point of seriously detracting from the viewing experience. The script was amateur and forced. At just under an hour in length, it was still difficult to get through. Even the opening and closing theme music seemed entirely inappropriate to the material.

However, in researching the film, both before and after viewing, virtually all the reviews and feedback I found regarding it were resoundingly positive. And this has been a situation echoed many times since I began the Vault. This time, I was tired of saying nothing about it.

Now, don't get me wrong, I'm far from an enemy of independent horror filmmaking. Just don't expect me to give you the slow, dramatic applause and gush enthusiastically just because you had the ingenuity and wherewithal to make a movie on your own. That doesn't necessarily mean your movie is good. I'm not going to judge it in the same way I would a big-budget mainstream Hollywood extranaganza, to be sure, but it still has to be good. Many are. But for every Zombie Girl and Chemical 12-D, there are unfortunately a dozen SERIAL: Amoral Uprisings.

Is it a bit awkward? You bet. After all, I was sent this film directly by the guy who made it--a man who obviously was hoping I would like it. And while I greatly appreciate being sent the movie for review, and don't wish ill to the filmmakers in their endeavors, the bottom line is that I didn't think they made a very good movie.

This is an issue faced by bloggers--and also other online writers--all the time. I have spoken to some fellow bloggers who outright refuse to review screeners on their blog because of it. A bizarre dynamic has been set up, which is unique in some ways, and sadly reminiscent of the past in others.

As a blogger, I consider myself a journalist--amateur, alas, but a journalist nonetheless. And maybe it's because I've also worked on the professional end as well that I have such a strong conviction on this matter. But there's something going on here that just doesn't sit right with me.

In the past two-plus years, I've had some DVD screeners sent to me that, quite frankly, would function better as coasters than as movies. And yet, time and again, I will find reviewers online almost unanimously raving about them. And I think there are a few reasons for this. There's issues on both sides here.

On the one hand, I think there are some bloggers and writers who are a bit unaware of how the setup is supposed to work. Some believe that they are somehow expected to write positive reviews, or want to do so in order to stay in the good graces of those who send them, and insure that they continue to receive them. Some have never been in a professional writing environment, and honestly don't, I believe, fully grasp the way it's should ethically work.

We are not beholden to these studios, filmmakers and marketers. When they send in a movie to be reviewed, they take a chance that it may get a good review and may get a bad review. That's the way the game works. There should be no expectation on their part of a good review--and this whole "you scratch my back, I scratch yours" scenario is part of the reason bloggers unfortunately get stigmatized by the mainstream media.

If you don't like a movie, say so. And don't go the route of only reviewing movies you like, either. Long-time followers of Ain't It Cool News know that that doesn't turn out very well. Your first responsibility is to your readers, and they will not respect or trust you if you only review movies you like, or give good reviews to movies they will obviously discover are not very good at all. As I said, bloggers are journalists, and if you're going to make the decision to review movies, you have to man up and review the bad with the good. In the end, your readers will respect and appreciate you for it. And yet, the only way to describe some of what's going on is to dredge up that old word, payola.

A studio or distributor has no right to complain or be upset about a negative review, as long as it is fair, rational and balanced, and not outright libelous or defaming. That's the way it's been done for generations, and there's nor reason that online media should be any different.

But unfortunately, that does happen, and that's the other side of this messy conundrum. It's my belief that some distributors--more so than the individual indie filmmakers--believe they can push around bloggers. They believe they can bully what they perceive as younger, perhaps inexperienced writers into giving them free publicity. I know, because it's happened to me.

I was once invited to a screening of a major horror release in New York City by the distribution studio for the film. I attended, and wrote up a draft review, only to find myself contacted by a marketing person inquiring as to what my review was going to be like. As a professional writer with a dozen years in magazines, I can tell you that this was a MAJOR no-no, and immediately raised a red flag.

When I informed said marketer that my review was going to be mixed, I was sent a strongly worded email letting me know that I may not be able to run the review, and that the marketer would have to inform the distributors and get back to me on the matter. Plain and simple, they were trying to bully me, and it wasn't going to fly.

I immediately fired off an indignant response, asking if it was their intention was to only allow me to run positive reviews as a condition of my being invited to screen their films--and informing them that I was aware of how unethical that was. The person immediately backed down, and explained that all they really meant was that maybe I should wait until the week of the movie's release to run my mixed review--a compromise to which I agreed, although in hindsight, I wish I hadn't. I was then informed point blank that the main reason online writers are invited to the screenings is so the studio can collect positive review blurbs to use on the movie posters and DVDs.

There you have it--the backwards, dysfunctional symbiosis that has arisen in the era of movie blogging. If I had to assign the most blame, it would be on the big-time distributors. After all, the smaller filmmakers who send their stuff out personally are only trying to market themselves when no other options are available to them, even if sending their films directly to critics without a press relations go-between is admittedly a small-time, unprofessional way to go about things. As far as the writers themselves, some seem to think this is what they're supposed to be doing; others feel legitimately intimidated, which is very unfortunate.

The last thing I'm trying to do is alienate indie filmmakers or studio distributors, but if the result is that I receive less screeners after this post, then so be it. I support what they do, particularly filmmakers, but the bottom line is that if I am sent a screener, I'm going to give it an honest review. If I love it, I will say so. If I think it's bad, I'm not going to pretend I like it, and I'm not going to just be silent--I'm going to say I don't like it. Bloggers and other online writers are part of the media--they should be treated as such, and they should also think of themselves that way.

This is not meant as an affront to the makers of SERIAL: Amoral Uprising, and I appreciate that they thought of me when sending out screeners. But this was a "straw that broke the camel's back" kind of thing. I'm tired of bloggers feeling pressured to write reviews a certain way (whether that pressure is intended or not, it's inherent in the system), and I'm tired of those who speak their mind in the negative being afraid of vilification from studio big-shots, and yes, even filmmakers on occasion.

Bottom line, I'm tired of seeing rave reviews for movies that, categories aside, we all know are not very good--independent, mainstream or otherwise. Oscar Wilde once said of books that there are really only two kinds--good and bad. The same can be said of movies.
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