Music Video of the Day: Don’t Answer Me by The Alan Parson’s Project (1984, dir. D.J. Webster)


Just like when you watch early cinema, you can see that they were innovating in music videos shortly after the launch of MTV. With famed comic book artist Michael Kaluta at the helm, they used cel animation, stop-motion, and claymation to create the video. It’s a nice throwback to the Old Hollywood days of Humphrey Bogart and Dick Tracy complete with a reference to A Trip To The Moon (1902).

By the way, thanks Lisa for the encouragement to not throw out this idea to spotlight a music video from time to time this morning.

Cleaning Out The DVR, Again #6: Lemora (dir by Richard Blackburn)


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Continuing the process of cleaning out my DVR, I watched an odd little film from 1975 called Lemora.  I recorded Lemora on March 25th, when it aired as a part of TCM Underground.

Lemora opens with an odd scene that appears to be set in the 1920s.  A man dressed up like a stereotypical movie gangster (think Edward G. Robinson in Little Caesar) guns down another man with his tommy gun and then races off in his car.  After he crashes, he crawls into a dark forest where he is apparently captured by a mysterious, black-clad woman.

Suddenly, we cut to 13 year-old Lila Lee (Cheryl Smith), singing in church.  Lila is blonde, innocent, and has an almost heavenly singing voice.  Everyone listens to her with almost worshipful attention.  When the Reverend (played by the film’s director, Richard Blackburn) steps up to the pulpit, he announces that he knows what some people are saying about Lila and her father but that she is pure and innocent.

It turns out that the gangster is Lila’s father.  Lila hasn’t had much contact with her father.  Instead, she has been raised in the church by the Reverend.  However, Lila receives a letter from her father.  The letter claims that he’s dying and that he wants to see Lila and ask for forgiveness before he passes.  The letter also says that her father is in the town of Astaroth.

(You would think that, having been raised in the church, Lila would know that Astaroth is also the name of a legendary demon.)

Knowing that the Reverend would never allow her to go, Lila sneaks out of the house.  She stows away in the back of a couple’s car and listens as the couple gossips about her relationship with the Reverend, suggesting that the Reverend is just waiting for Lila to “turn legal.”  After she gets out of the car, she takes a bus the rest of the way to Astaroth.  Sitting on the dark bus, just her and the somewhat creepy driver, Lila listens as the driver tells her that the people of Astaroth have a certain look.

When she arrives at Astaroth, Lila finds herself being pursued by seemingly deformed vampires but she’s rescued by the mysterious Lemora (Lesley Gilb).  Or is she?  Lemora is the same woman who found Lila’s father in the forest and it soon becomes obvious that Lemora has plans for Lila as well…

Meanwhile, the Reverend discovers that Lila has run away and his reaction leads us to suspect that there may have been more than a little bit of truth to the conversation that Lila previously overheard in the car.  The Reverend sets out to track down and rescue Lila but, at this point, the viewer trusts him even less than they trust Lemora.

It’s a very strange movie and a difficult one to describe.  It’s a movie that creates its own unique and odd reality.  Lemora expects the viewer to conform to its style as opposed to conforming to the audience’s expectations.  Lemora‘s full name is Lemora: A Child’s Tale Of The Supernatural and it really does play out like a particularly nightmarish fairy tale.  Though the film was definitely low-budget, it’s full of strikingly surreal images.  The entire movie feels like a dream — everything from the almost campy, gangster-film opening to Lila’s strange journey on the dark bus to Lemora’s hypnotic stare to the sudden and shocking conclusion of the Reverend’s relationship with Lila.  The film has one of those endings that forces you to reconsider everything that you previously witnessed.

Much like Messiah of Evil, Lemora is one of those surrealistic and low-budget horror films that almost defies conventional criticism.  It’s a surreal dream of dark and disturbing things and one that everyone should see for themselves.  You may love it, as I did.  You may hate it.  But you will never forget it.

Music Video of the Day: If You Don’t Know Me By Now by Simply Red (1989, dir. Vaughan Arnell & Anthea Benton)


A few years back I noticed that music videos were largely missing from IMDb. Sure you could find Thriller, but that was about it. I went and tried to get Metallica’s One submitted. I knew I could argue anyone into the ground about it. I did have to argue with someone at IMDb about it, but it went nowhere. Last year I went and checked to see if maybe it eventually had made it’s way in there. It had. Why not try again? I submitted Take On Me by a-ha knowing I could also argue anyone into the ground about it. It was almost instantly accepted the moment I pressed the submit button. I tried again and again with various videos. They were all accepted. I even received two emails from two separate people at IMDb telling me to keep submitting them with a couple little guidelines. I don’t think they should be marked as video rather than a regular music short, but it’s progress.

Lately it has been difficult for me to get on here and do full reviews of movies for various reasons. As a result, I thought it would be fun to spotlight a video here from time to time. There are some interesting ones out there. I know I found it interesting to discover that William Friedkin made Laura Branigan’s Self Control and Brian De Palma did Bruce Springsteen’s Dancing In The Dark. I’ll try to have something to say about it, but other times it will just be the video itself.

This one is directed by veteran music video directors Vaughan Arnell and Anthea Benton. I love the choice of going with black and white. The 80s turned the use of color upside down from color meaning a dream like in The Wizard of Oz (1939) to black and white meaning a dream. The video essentially takes place inside of the lead singer’s mind filled with empty chairs, the rest of the band, and memories that play out on projections around him. To my knowledge, all the clips are original, but I’m not 100% sure and I’ve seen other music videos use clips from other films. Enjoy.

The Girl With All The Gifts Gives A Glimpse of A Hungry, Dystopian Future


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Several years ago, a video games was released for the PS4 that took on the zombie survival horror genre and put a new twist on it. The game was called The Last of Us. It was a game set in a post-apocalyptic Earth where an unknown fungal infection had decimated the world’s population by turning those it infected into mutated creatures with a taste for living flesh.

There’s been talk of turning the game into a live-action film, but things never progressed beyond the concept and pre-development stage. The game’s narrative does lend itself well into being a live-action film.

Now let’s move up a few more years. The year 2014 to be exact and we see comic book writer and novelist M.R. Carey release a novel titled The Girl with All The Gifts. It’s a novel which shares the detail of a fungal infection creating zombie-like creatures (called “hungries” in the book and film) from those who become infected. Outside of that important detail the novel and the game only share the post-apocalyptic setting.

The novel was so well-received by critics and readers alike that plans to adapt the book into a live-action film was made soon after it’s release. While the live-action plans for The Last of Us languishes in development hell, it looks like we’ll finally be able to see something similar with the soon-to-be released film The Girl with All The Gifts.

The film stars newcomer Sennia Nanua as the titular girl with all the gifts with veteran actors such as Glenn Close, Gemma Arterton and Paddy Considine backing her up. As the so-called zombie fatigue (maybe for some general audiences but definitely not to most horror fans) begin to set in, it’s stories like The Last of Us and The Girl with All The Gifts that continues to breathe in new life into a sub-genre of horror storytelling to keep it going strong.

The Girl with All The Gifts is set to hit the theaters on September 23, 2016.

Artist Profile: Bill Cunningham (1929 — 2016)


Bill Cunningham meets a future fan

Bill Cunningham meets a future fan

I woke up to some sad news today.  Bill Cunningham has died.

Bill Cunningham was a fashion photographer who revolutionized the industry by taking pictures of not just the rich and famous but also candid shots of everyday people on the streets of New York.  His life, philosophy, and work are the subjects of a documentary called Bill Cunningham New York, which is a must-see if you’re a photographer.

Here are a few of Bill Cunningham’s pictures:

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Four episode test: #Greenleaf


First off, this is my first post on TSL since being back from my health scare, happy that is over with, for now! So I will be back to reviewing and posting TV stuff you want to know about on a regular basis again! 🙂

I am going to start my TV reviews with Greenleaf, and do it in a bit of an unorthodox way. You will see what I mean in a minute.

What is Greenleaf about?

It is a family drama, a bit soapy, but a bit gritty. Grace Greenleaf, with her daughter, comes back to her Tennessee home for a funeral. Shortly after she is plunged into the family secrets she so longed to keep herself and her daughter out of. Mixed in a setting of betrayal, infidelity and a lot of scandal.

Who is in it, you ask? I got that answer too!

Grace: (Merle Dandridge) of ‘Sons of Anarchy’ fame and others

Bishop James: (Keith David) who needs no introduction

Aunt Mavis (Some lady named Oprah, but I can’t find much about her)

What does Greenleaf bring to the table?

Greenleaf is the first time the OWN network has branched out in it’s own scripted series. Prior to this series it it has tried with Oprahs talk show and some Tyler Perry shows, most with hitting ratings bottoms .

Review:

Very character driven. I got invested in them really quick. I wasn’t expecting much going in, but after watching four episodes, I am hooked! It differs greatly from what you would think this type of show would be. There is nothing campy about it. The acting lacks for a bit, but all the drama you want is there.

Four episode test*?

After four episodes I am giving it a B+ I will definitely keep watching!

Greenleaf airs on the OWN network Wednesdays at 10pm East. with re-airs prior to that.

*four episode test = after four epis I stay or go

Happy to be posting back at TSL!

 

 

 

Saddle Sore: BILLY THE KID (MGM 1941)


gary loggins's avatarcracked rear viewer

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What kind of topsy-turvy world is this? Perennial bad guy Brian Donlevy is on the side of the law, loveable Gene Lockhart is the villain, and almost 30 Robert Taylor is BILLY THE KID. This 1941 Technicolor horse opera has only a passing resemblance to reality, and was actually a remake of a 1930 film starring Wallace Beery and Johnny Mack Brown, which depicted the outlaw’s legend a bit more truthfully… but not much!

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In this version, Billy joins up with ruthless cattleman Hickey, who’s out to takeover Lincoln County. They start a stampede of rival Keating’s cattle, and during the commotion Billy encounters childhood friend Jim Sherwood, now working for Keating. Billy and his pal Pedro switch sides, and Pedro takes a bullet for it. The Kid is out for revenge, but Keating’s cooler head prevails, and he sets out to seek help from the territorial governor.

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But Keating doesn’t make it, as we…

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Cleaning Out The DVR, Again #5: We Are Still Here (dir by Ted Geoghegan)


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The fifth film on my DVR was the 2015 haunted house film, We Are Still Here.  I recorded We Are Still Here off of the SyFy channel on March 20th.  Sad to say, I really can’t remember what I was doing or watching on March 20th while my DVR recorded one of the best horror movies of the previous year.  I was probably watching something pn Lifetime.  That usually seems to be the case.

But anyway, let’s talk about We Are Still Here.

As a self-professed lover of both horror and old grindhouse exploitation films, there is really no excuse for it to have taken me this long to see We Are Still Here.  We Are Still Here is one of those wonderfully low-budget indie films that mixes a traditional genre — in this case, the haunted house film — with a far less traditional view of humanity.  With its mix of bump-in-the-dark horror and cynicism about human nature, We Are Still Here feels like a mix of the Coen Brothers and H.P. Lovecraft.

Anne (Barbra Crampton, a veteran of horror films like Castle Freak and You’re Next) and Paul (Andrew Sensenig, who played the mysterious antagonist of Upstream Color) are a married couple who are struggling to deal with tragedy.  Their son, Bobby, was recently killed in a car wreck.  Anne is trapped in a prison of depression, while Paul just wants to move on with their lives.  Hoping that it will help them to forget their sadness, Paul and Anne buy a house in New England.

(New England, not coincidentally, was also the home of H.P. Lovecraft, as well as being the setting for some of his best-remembered stories.)

But, of course, the house proves to be anything but therapeutic.  From the minute they move in, Anne is convinced that they are not alone.  With every mysterious sound and strange happening within the house, Ann becomes more and more convinced that the spirit of Bobby is with them.

If you’re a horror fan, you will not be surprised to learn that they are not alone.  There is a presence in the house but is it Bobby or is it something far more sinister?  Shortly after moving in, Anne and Paul meet their new neighbors.  As friendly as they may be, there is definitely something off about Dave (Monte Markham) and his wife, Cat (Connie Neer).  Dave tells them that the house was originally a funeral home an about how it was owned by the mysterious Dagmar family.  The Dagmars were reportedly forced to leave town after it was learned that they were selling the bodies brought to them for burial and burying empty coffins.  Could this have anything to do with the strange vibe that Anne and Paul both get from the house?

Despite Paul’s skepticism, Anne invites her friends, May (Lisa Marie) and Jacob (Larry Fessenden), to come for a visit.  May and Jacob are both spiritualists and Anne hopes that they can contact Bobby’s spirit.  Again, it’s not a spoiler to reveal that they do contact something.  The surprise comes from what they contact and what happens as a result.

We Are Still Here is a chilly and dream-like film, one that wisely devotes as much time to creating and maintaining a properly creepy atmosphere as it does to all the expected scare scenes.  When the presence in the house is finally revealed, it’s a scary moment but for me, the most haunting scenes in the film are the shots of the snow-covered landscape surrounding the house.  The icy roads are as cold and unforgiving and as potentially dangerous as anything that might be living in the old Dagmar house.  And, just as the weather cannot be controlled, neither can the paranormal.

We Are Still Here is a deliberately paced film.  In fact, it’s probably a bit too deliberate to really be effective when viewed with commercial interruptions.  We Are Still Here works because it creates an atmosphere of foreboding and certain doom and it’s hard to maintain an atmosphere when, every 20 minutes or so, the action has to stop for a commercial about Tide pods.  To best appreciate this film and what it has to say about loss, faith, and delusion, it’s necessary to watch the story unfold without any pause to the narrative.

Fortunately, this intelligent and well-acted horror film is currently available on Netflix, where it can be viewed without commercial interruption!  If you’re a horror fan, you owe it to yourself to watch.

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