You know, I kind of looked at Hesher as a primal scream
towards life. Mundane Life. Lives dealing with loss. Lives dealing with
bullying. Lives dealing with the throngs of aging. Lives dealing with hurt.
Lives dealing agony. Lives dealing with miscommunication.
The Nazis, in 1941 Berlin, take a particular interest in the animation fluid that brings Toulon's marionettes to life, but when they are responsible for the death of the master puppeteer's wife, there'll be hell to pay.
The Chronicles of Benjamin Knight
A mad scientist wants radioactive crystals located in the lab of a wheel-chair scientist, his scientist lover, and their colleague who is plagued by invisibility caused by radiation.
The Return of Jack Deth
It came to my mind as I was watching the sequel to Trancers
that you can have the lowest of budgets, not be able to afford the effects and
such you would love to have available to accompany a grand vision in script,
and must unfortunately deal with the lack of funds at your disposal the best
ways possible, but if the film has a cast with a genuine chemistry and some
really fun characters that are reasonably developed, it can work wonders.
The Bates Motel
I just wanted to throw some quick thoughts up here since the
show’s pilot was on my mind since I have advertised it on my blog, considering
I’m such a fan of Hitchcock’s Psycho and the subsequent films thereafter.
Paranormal investigators, working for the government, are allowed the luxury of monitoring the Bodega Bay Inn, the place where characters from the first film "went missing." They encounter the very same situation, with a different leader commanding the killer puppets to do his bidding...which includes killing them.
I guess it can be said that I'm currently in a Full Moon state of mind, as I have a Puppetmaster II review coming up shortly, and I have a couple other films in mind for the blog soon (I've never seen Meridian with Sherilyn Fenn--I'm definitely stoked about it--or Invisible) so a lot of the old stuff from my VHS days as a teen coming up. I wax nostalgic quite a bit on the blog as you can tell...
A television station in the Southwest is operated by a secret revolutionary assisting a liberation movement hoping to tear down the control of a company that now seems to be as powerful as a government as the global environmental ozone depletion now renders living on the surface out in the open sun impossible. A delivery man for this company will wind up playing a major role in this battle for the freedom of the human race.
Psychics congregate at the hotel where a former colleague (and now enemy) is staying with a new wife, hoping to address him on matters involving alchemy and his possible nefarious use of an old magic. What they do encounter is a dead former colleague and killer marionettes.
A car crash brings two women together. The woman with no name (Béatrice Dalle) harbors a rage that motivates her to invade the home of the very pregnant, Sarah (Alysson Paradis), on Christmas Eve, the night before she is to be taken to the hospital for the child birth. Sarah is in for a real night of terror as this psychopath has an agenda, which includes taking her child and murdering anyone that threatens to keep her from doing so.
I have always felt that subtle moments without a loud score letting us know like at this moment when the female killer passing quietly in the background as the cop prepares to find her not knowing what lies ahead for him work so much more effectively.
On a road trip through the Outback, three friends encounter a human monster who seems quite friendly until his dark side is revealed. He's actually a human hunter who takes their cars and personal objects once he's killed them.
From Beyond has Barbara Crampton returning for Stu Gordon after her memorable part in one of many of us 80s kid's favorite crazy horror-sci-fi movies. But, I would argue that her role here is far more substantial and memorable.
There is a circus in town and for three boys spending the night at home alone, they will not look at clowns quite the same again when three escaped psychos from the asylum will visit them in the night with murderous intent. Taking the costumes and clownface of circus performers after killing them, these three psychos have a slaynight in store for whoever crosses their path.
Crawford Tillinghast (Jeffrey Combs) is assisting Dr. Edward
Pretorius (Ted Sorel) as they have been responsible for creating a machine that
can open a pathway into another place. Something
“takes” Pretorius’ head when they turn the machine on, with Crawford escaping
within an inch of his life with quite a story to tell. Of course he’s
considered daft until a psychiatrist, Dr. Katherine McMichaels (Barbara
Crampton) wants to see if his story has truth considering she’s an admitted admirer
of Pretorius’ work. With a cop accompanying them, Bubba Brownlee (Ken Foree, in
the best shape of his life), a former football player, Katherine will have Crawford
show them the machine and prove what he said is true. The machine, turned on,
allows a different Pretorius, now almost totally influenced by “it” on the
other side, to return and raise havoc on the trio with some nasty results.
I wish I could put the experience into words. I wrote a small paragraph about the film after I got home, but to see it in the theater, I checked it off my cinematic bucket list. This was perhaps the scene--along with the stargate sequence, of course--that rocked my world. Jupiter sequence was not the one I had recalled immediately from memory when thinking about 2001, but when I watched the film at the theater, it left me spellbound. What a moment in my life I'll treasure as a sci-fi fan.
You can't really describe it well enough, though. Being in that theater, I was all by myself. I was the only one in the theater. This mall theater in a city near where I live has these classic Wednesday nights and 2001 was the feature when I went and seen it. I was the only one to show up; everyone else's loss.
Rehabilitation through art is how it was described by Dr. Paul Ruth (McGoohan) to Cameron Vale (Stephen Lack). Benjamin Pierce (Robert Silverman) tried to kill his family and needed an outlet to release the madness from within. When I was a child, this scene never left me. To see madness--to see the nightmares of the disturbed mind--artistically sculpted in form, left quite an impression that I never forgot. It is just a momentary part of the film's whole but enough to press home the effects that come with the scanner ability. If you don't deal with the effects in some sort of creative or healthy way, then suicide or destruction (Darryl Revok (Ironside) such an example) can result.
There is a current thread about Captain Rhodes in Day of the Dead that I think is quite a compelling question regarding his status as villain or hero :Here or villain I wrote this response to his thread title.