“Delivery : The Beast Within” Births Some Memorable Terrors

Trash Film Guru


In case it’s not already obvious, I’ve been on a semi-massive “found footage” horror kick lately, and while I suffered through a lot of sub-standard crap last week, the weekend brought with it a welcome spate of much-worthier efforts (all of which — including the one under review here — were found on Hulu), and perhaps none have been better (so far,at any rate) than Delivery : The Beast Within, a low-budget indie effort lensed in 2013 in, I believe, the Los Angeles area by director Brian Netto, who also co-wrote the script along with Adam Schindler. The flick got a little bit of play on the horror film fest circuit, but it’s obvious this was intended as straight-to-video fare from the outset, and as such is duly available on DVD (though not, interestingly, Blu-ray), as well as any number of major streaming services (with the notable exception of…

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“Bigfoot : The Lost Coast Tapes” Deserves To Be Found

Trash Film Guru


When you really sit down (or, heck, stand up) and think about it, no two horror subgenres are a more natural match for “cross-breeding” purposes than Sasquatch stories and “found footage” flicks. The 1970s were absolutely rife with low-budget “In Search Of Bigfoot”-type documentaries, so it’s something of a wonder that once the “shaky – cam” craze took hold in earnest in the wake of the enormous critical and commercial success of The Blair Witch Project that it took several years before intrepid (and, perhaps crucially, broke) indie filmmakers chose to chronicle the exploits of “mockumentary” crews out for a weekend of ‘squatching. As a matter of fact, I foolishly believed that Bobcat Goldthwait’s admittedly-quite-good Willow Creek was the first of its ilk, but I’ve recently discovered that my assumption was — contain your surprise, please! — wrong and that he was beaten to the punch a year earlier by…

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Artist Profile: Owen Kampen (1922 — 1982)

I couldn’t find much biographical information on Owen Kampen.  He worked as an illustrator in the 50s and the 60s, painting covers for many paperback publishers.  Because cover artists were rarely credited, there are a lot of covers that Kampen is speculated to have done but, for this profile, I have tried to only include covers that are definitely known to have been painted by him.  Owen Kampen was born in Wisconsin and lived in both New York and Connecticut during the height of his career.  In his later years, he worked as an art instructor at Madison Area Technical College in Wisconsin and, while there, he inspired several future artists.

Owen was also married, for 11 years, to Irene Kampen.  After a bitter divorce in 1954, Irene wrote several humorous novels about their marriage, their divorce, and Irene’s life afterward.  Her 1961 book, Life Without George (George being a stand-in for Owen), was so popular that it was later adapted into The Lucy Show, a sitcom starring Lucille Ball.

Here are a few samples of Owen Kampen’s work.

Ask For LindaEast Side GeneralFall of NightLust for LoveMurder, IncSecrets of a Co-EdThe Deadly ReasonsThe Gathering DarknessThe UnpossessedToo Fast We LiveWeep For MeYou Belong To Me

Music Video of the Day: You Oughta Know by Alanis Morissette (1995, dir. Nick Egan)

It’s another Canadian holiday that is on my calendar today. Thankfully there are more musicians from the Great White North than just Rush. Otherwise I’d run out of music videos very quickly for other Canadian holidays. It’s my understanding that this “Civic Holiday” is something called a “public holiday” that basically is a day set aside for whatever a particular place decides to celebrate. I am going to co-op this Canadian holiday to celebrate that Alanis Morissette decided to pull a Tori Amos in 1995, and we got the album Jagged Little Pill as a result. To be fair, she was a decent Paula Abdul knockoff before she changed her tune. I could have started with her earlier videos like I did with Ministry. However, I already did the equivalent by spotlighting the early 90s cheese fest of Nothing My Love Can’t Fix by Joey Lawrence back in July. That’s how her music videos used to look.

I remember back in 1995 when I was up in Lake Tahoe, CA with my parents, and saw this music video for the first time. I’m not sure how I wound up watching MTV considering I used to watch the Weather Channel all the time when I was up there for reasons beyond me. Kennedy was interviewing her late at night if memory serves. This was an odd time to release an album like Jagged Little Pill. 1994 saw the height, and deathblow to the early 90s musical renaissance. Kurt Cobain killed himself that year, which brought Nirvana to an end. We also saw the release of Dookie by Green Day, The Blue Album by Weezer, The Downward Spiral by Nine Inch Nails, Throwing Copper by Live, Purple by Stone Temple Pilots, Smash by The Offspring, and Superunkown by Soundgarden to name a few. The next few years we went through a transitional period, and this music video was at the center of it. It’s a great song and good music video, but just like bands such as Bush and Collective Soul, it was part of an aborted second wave of musicians following in the footsteps of Nirvana. A few years later we would be neck deep in boy bands, pop princesses, nu metal, and faux-punk/alt.

The video today looks like they took a standard “just put the musicians in front of the camera performing and add a few arty scenes elsewhere” then passed it through an Instagram filter. It’s a simple music video. The question is does it complement the anger of the song? Yes, it does. Does Alanis really look that angry? No, but that’s not really her fault. She isn’t the type that conveys that easily, which is probably why we’d get much more peaceful stuff from her after this. No, I’m not going to say it. Just enjoy this time capsule. I think 21 years is enough time for us to have gotten over it being played to death.