Moon Monster - Animated Horror Fan Club Spot (Comic Book Ad, 1970) from Jason Willis on Vimeo.
Each year animator Jason Willis puts together a Halloween project in which he takes neat image or ad from his Monster Kid childhood and brings it to life. This year's is fantastic and funny to boot! Check this out- it'll put a smile on your face.
Thursday, October 30, 2014
Wednesday, October 29, 2014
The Last Horror Film relates the sad tale of Vinny Durand (Joe Spinell). A
New York cab driver, Vinny
has dreams of becoming a Hollywood film
director but as the film begins he lives at home with his mother (Spinell's
real-life mom). Obsessed with horror film actress Jana Bates (Caroline Munro),
he's convinced that if he can just speak to her she will recognize his genius
and be thrilled to star in his movie. He is, of course, delusional — and if
there is any doubt seeing his bedroom covered in photos of Ms. Bates from floor
to ceiling will put them to rest. Determined to overcome all obstacles he loads
up his 16mm camera and sets off to the annual Cannes Film Festival to somehow
meet with his beloved actress.
Once he's in France Vinny begins darting around
Cannes, camera on
shoulder, trying any way he can to get in front of Jana and attract her
attention. The actress is being feted about town and spoken of as 'in the
running' for awards for her roles in a string of horror movies — my favorite
unbelievable element of the film. At the same time someone starts killing
movie-makers at the festival... all of whom are connected to Vinny's favorite
actress in some way. Is the clearly unstable Vinny doing the slicing and
dicing? Or is there something else going on? And who is sending notes to Jana and
her filmmaker boyfriend (Judd Hamilton, Munro's actual spouse) stating that
they have made their "last horror movie"? Is it Vinny? Someone with a
16mm camera certainly seems to be able to catch Jana's reaction to the
discovery of her dead ex-husband on film just before the body mysteriously
Does our erstwhile obsessive film fan have more than a single screw loose or is he just a determined man misunderstood by less discerning people trying to hold him back? Actually, that's a silly question. Vinny is obviously nuts! Unable to hold his shit together long enough to watch a gore film, or control his lustful urges while a nude woman dances in a club, he's the classic repressed sicko with no good way of expressing his feelings. The film tries hard to slather a sense of social commentary over these goings on with a reoccurring voice-over that lets us partially inside Vinny's mind, but it doesn't work very well. Even less effective is the repeated, intrusive radio news broadcasts relaying violent real-life incidents from the year the film was made. The filmmakers were trying (I guess) to underscore the harsh, terrible reality of the world that makes horror movies such a tame thing in comparison, but it just comes off as pointless. I agree with what I think the film is saying with these inserted news stories but it would take a better movie to effectively communicate the idea without seeming inane.
There comes a point while watching a movie when the viewer realizes that they are watching a bad 'un. No matter when this moment comes it's immediately followed by a conscious decision to either keep watching or to move on to some other, less crappy thing in life. I almost always opt for sticking through to the bitter end just to see if there is anything of note in the disaster onscreen. Often this can be a fool's game and a real waste of time, but on occasion there are benefits to my drive to complete whatever film I've started. In the case of The Last Horror Film there are a number of reasons I'm glad I stayed until the end credits — but the script is not one of them. The reasons to soldier on are the two stars and the one stroke of brilliance the filmmakers mustered up: shooting the entire thin tale on location during the 1981 Cannes Film Festival. The movie could be a whole lot less good and still be worth watching simply to see the amazing sights of
Cannes in full movie
spaz-drag. I found myself pausing and rewinding several times to get a better
look at posters, theater marquees and strange advertising gimmicks that litter
the French landscape. My favorite is the hotel entrance made up with the
artwork for the Bond film For Your Eyes Only that places the doorway
between a pair of shapely female legs. Mon dieu!
Monday, October 27, 2014
Sunday, October 26, 2014
Director Edgar Ulmer is responsible for one of my favorite movies of all time –THE BLACK CAT (1934) – and scattered around his list of credits you will find several other excellent pictures well worth your attention. His film noir DETOUR (1945) is a classic; the 1944 BLUEBEARD is fascinating; THE MAN FROM PLANET X (1951) is wonderful; and MURDER IS MY BEAT (1955) is quite entertaining. Sadly, for me, THE AMAZING TRANSPARENT MAN (1960) is not one of Ulmer's works I can recommend. Spurred on by a commenter to this blog and the fact that TCM recently ran the film I decided to revisit the movie the other night. My memories were that it wasn’t very good and I have to report that I still feel the same way.
The movie is barely feature length clocking in at 58 minutes but DAMN- you feel each and every one of those increments of sixty seconds crawl by. The film is best described as a combination of film noir crime elements and mad scientist tropes but that makes it sound much more interesting that it is. Hell - just saying that a scientist creates an invisibility ray that is used to make a professional safe-cracker's job easier makes the film sound like a surefire blast but the resulting movie is just dull. Deadly dull! Tedious. Monotonous. Lifeless even. THE AMAZING TRANSPARENT MAN is the filmic equivalent of watching paint dry or insects slowly die as the weather gets cold. I need never see this sleep inducing cinematic bog again. Ugh!
Saturday, October 25, 2014
My old buddy Larry Underwood is the reigning Horror Host of Nashville and has been doing a web series covering each of the films of Vincent Price. Here he covers one of the most overlooked of his early horror movies and does a fine job summing up its strengths and weaknesses. Its not my favorite of the Invisible Man sequels but its better than its reputation.