Welcome to Hands Down, FRED’s own look into the world of the folks that frequent this sordid world of geekery. Follow Aaron, Brian and Colin (and a menagerie on the way) as they traverse the light fantastic or some such nonsense… What? It’s an online fortnightly comic strip, what kind of description did you expect?
Written by Aaron Poole. Art by John Merker. Copyright 2011.
Check out my other column, This Week In Trailers, at SlashFilm.com and follow me on TWITTER under the name: Stipp
DUNCAN JONES – Interview
Two things happen when you watch filmmaker Duncan Jones’ first feature, MOON:
1. If properly attune to the vibes the movie is giving off you can sense greatness dripping from every scene. It’s a one man show of not only the abilities of Sam Rockwell as he dominates that film with the kind of talent that deservedly had him nominated for award after award.
2. You wonder what a talent like Jones could do with a little more money.
Thankfully, that latter problem has been solved with Source Code, a sci-fi thriller that attempts to bend space and time with a yarn that supposes that a man could travel back in time and stay there for eight minutes at a time in order to solve a crime involving an explosion aboard a commuter train. The pacing is fast, the editing is tight, and Jones is now out promoting the film with the movie’s star, Jake Gyllenhaal, who actually was the one to put the script in Jones’ hand. We talked about getting the film made and discussed the nuances of what it was like to go from low budget to full-on craft services.
SOURCE CODE opens today.
CS: About Source Code, I didn’t know what to expect and I am glad I went in there as cold as possible. I didn’t really know what to expect. I’m a fan of David Mamet, his filmmaking style is great at keeping details away from the viewer and keeping people out of the loop of what they could know”¦”I could tell you but I’m choosing to keep something back.” How is it, as a director, and certainly Moon is a great example as well as Source Code, how you were going to disperse the information within the film?
JONES: I was actually introduced to the script by Jake. It was already sent to Jake and he was intrigued. He saw Moon and was a fan of that and asked me if I wanted to take a look at it and I did. I very much wanted to work with Jake and thought the script was great and thought I could really get my teeth into it.
One of the things I felt about it though, as a science fiction fan myself, there is soft sci-fi and hard sci-fi, and to me hard sci-fi is science fiction where you can see how we get from present day technology to this future that we’re talking about. And, soft sci-fi is where you sort of start here and talk about dragons and magic and stuff that doesn’t make any sense. And time travel is kind of in that grey area.
I kind of understand the theory of it and how it might work but I don’t necessarily see exactly how the technology is going to get to the point where it’s possible. So rather than get bogged down in the details of technology and try and somehow give a lecture to the audience through unnecessary dialogue about the technology, I wanted to set up the rules and quickly as I could and lighten the whole tone of the film, inject some humor into it so the audience feels OK to take that leap of faith with me, jump into the story, it’s going to be a great ride. That’s what I wanted to do.
CS: Did you find in being able to tell that story that this movie presented itself, obviously instead of Sam Rockwell, you have”¦.
JONES: More than one actor?
CS: Right”¦.exactly. You pull up your resume and you have Moon and Source Code. That’s it. It’s a huge leap. Was there a learning curve?
JONES: Working with actors wasn’t a learning curve. That was great, that felt very natural. I really enjoy working with actors and understanding what they are trying to do and give them my suggestions and try to steer them when I see something is not working and then try to reinforce them and give them the confidence to go with it if it really is working. That’s kind of what the director’s job is, you know? You get these amazing talented people. Let them do what they are good at. And then help them find the path to make it even better. So working with the actors wasn’t the problem. Learning about making a film through the Hollywood system, where there are the levels of bureaucracy and the teams of producers you have to deal with. That was all expected but a new experience for me.
And fortunately, I came off a small British independent film so it took time to convince them that I knew what I was doing. But by the time we were shooting I think I had won everyone over and was able to just get on with my job but I kind of learned a new skill doing that. And that was the skill of being able to justify my decisions. When I made Moon, it was just myself, my producer, Stuart Fenegan and Sam Rockwell. The three of us just decided what we wanted to do and we would just do it. I didn’t have to convince anyone. And in Source Code there was that initial inertia of just having to find ways to convince these huge groups of people ““ understandably because of the millions of dollars of other people’s money that I’m making decisions about. If it were a company I sure as hell would want to know that this person knew what they were doing. And as a director that’s pretty much what I’m doing. So it was a slow process at first fortunately but by the time I came back to London with my BAFTA I had everyone on side and we were all working together.
CS:Â And to that point, getting to the bureaucracy of things, the material itself ““ Jake presented it to you as a story ““ what leapt out at you and said ““ never minding that you probably had directors, producers, actors, what have you, tossing you scripts left and right – what leapt out at you where you said, “I need to make this one?”
JONES: Well, the initial draw for me was Jake because it’s so important to me to work with actors who I respect and who I believe can carry a movie. I knew that about Sam Rockwell. I knew that he could and knew that he had the potential to be a leading man. And with Jake, he already was a leading man but I felt like there were things I could bring out of him which I hadn’t seen in a particular way and I think to me that sort of Harrison Ford/Indiana Jones rough on the edges normal guy who’s frustrated with the world around him but he gets the job done. I felt like Jake could do that and I think that’s where hopefully the Jake you see in Source Code. I really wanted to work with him. And, there were elements of the script ““ the fact that it starts with a bang and it just keeps going. It’s so fast paced. I love that! And it was so different from Moon. And, for me, it was exciting to have done Moon and then go on and do something that was so different in that respect.
CS: The movie itself ““ it’s set in Chicago and the film is very place specific when it comes to saying as such. Was that intentional? Somehow it felt like Chicago or Illinois, that geography played a part in this story being told. Or was it just random chance?
JONES: I have to be honest. The original script was set in New York.
CS:Â Really?
JONES: Because of sensitivities to New York’s terrorist attacks, they needed to find a different city to put it in. Totally justifiable.
We considered a number of different places and Chicago is geographically middle of the country ““ east and west coast could relate to it. And for me there was a specific thing, the Anish Kapoor sculpture, the amazing mirrored thing in the park there ““ I love that. It looks sci-fi and it’s real. It’s really there. It’s a new and growing landmark for Chicago.
There was this element in the original script that wasn’t in the film that I made. It was this weird abstract shape with spokes on it and over the course of the film in nightmarish segments you sort of move out and see more of it and eventually you see that it’s a bicycle next to a train tunnel and the film would end with a train going through the tunnel. I thought, well I think there is something I can do that’s a little different and I think that might work better and that was to use the sculpture as this nightmarish image because if you get close enough the reflections in it are all strange and distorted. That’s what I used as a replacement for what was in the script. The payoff is that you end up looking at this landmark of Chicago.
CS: The development process itself ““ they say a movie is made three times ““ on the page, making it, and in the editing room. Can you talk about how you went from the script and you’re thinking about it in your head, how you had it storyboarded out, how you worked with your other directors and saying “This is what we need to capture” ““ how did that process evolve from what you thought it was going to be to what it ultimately ended up being?
JONES: It was fairly organic. I had fantastic people to work with. Don Burgess was my cinematographer ““ he did the first Spiderman film, Forest Gump, he did The Book of Eli, which is a great looking film as well. Don is a really experienced guy, very calm, very practical. He just knows how to get on with things, and, very experienced in working with special effects. We had many special effects in the film so there was a lot of stuff that someone like him had to bear in mind. You just couldn’t get a cinematographer. You had to get someone who could deal with special effects as well. So he was terrific to have on site. My editor, Paul Hirsh, is a true Hollywood legend. He edited Empire Strikes Back, Ferris Bueller’s Day Off. He won an Oscar for Ray. He did the first Mission Impossible film. He’s an institution and to have him on my side as well. I was surrounding myself with incredibly talented, experienced people and that made things much easier.
CS: How does that process work? Like a job posting saying “I need help with this film, come apply”?
JONES: I did interviews. It was crazy. I did interviews with people who made films I watched as a kid. It was intimidating but it was fantastic. Paul Hirsch sat across a desk from me and told me why he should edit this film. It’s very strange thing making a Hollywood film. You don’t do that when you are an indie director. When you are an indie director you desperately plead people to come and work with you. When you do a Hollywood film, they come and make an argument on why they should do it. It’s very unusual.
CS: Is it alluring in a way? I’m thinking of Soderbergh and his process ““ big, small, big, small ““ he has found a good balance. Do you see why it’s so alluring to be a big time director versus indie independence?
JONES: I know on a very practical level that I want to work at a budget that allows me make the crazy stories that I have of my own. I want to make them the way I see them and I know I can’t do that for $5 million the way I did Moon. Moon was designed as a calling card to say, “Look, I can do something interesting if you give me a chance.” Source Code was the opportunity to work in Hollywood, to work with Jake and to make a fun film that shows, hopefully (we’ll see how the opening weekend goes), but I can make you films that will be successful and be interesting at the same time. Hopefully with those two I can make my own projects with some more money and do it through the Hollywood system. We’ll see how it goes.
CS: Final question: Sci-fi ““ I know we have Moon, Source Code, Mute is now going to be a graphic novel, bringing that to life the same way Darren Aronofsky brought The Fountain to life. Sci-fi ““ is that going to be your wheel house?
JONES: I’m going to do one more sci-fi film next and then I’m going to take a sabbatical break for a while and go do some other genres which I really want to do and then I will, one day if I get the chance, I’ll come back and do Mute just because I have to. It was the film I tried to make from the very beginning so I’d just like the chance to make that film. It may be small ““ make it as a little film but I’ll come back to do it.
Celebrate St. Patrick’s Day as it was meant to be celebrated – with Beaker, Animal, & The Swedish Chef…
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The weekend’s here. You’ve just been paid, and it’s burning a hole in your pocket. What’s a pop culture geek to do? In hopes of steering you in the right direction to blow some of that hard-earned cash, it’s time for the FRED Weekend Shopping Guide – your spotlight on the things you didn’t even know you wanted…
(Please support FRED by using the links below to make any impulse purchases – it helps to keep us going…)
It’s a bit bloated and unwieldy, but I have to admit that I have quite a fondness for Richard Attenborough’s biopic Chaplin (Lionsgate, Rated PG-13, Blu-Ray-$19.99 SRP), starring Robert Downey Jr as the Little Tramp – and his wonderful performance alone makes the film worth watching. Bonus materials include featurettes and a brief Chaplin home movie.
Got more kitchen utensils than space? Countertops and drawers at a premium? How brilliant is the Click n Cook ($34.99) modular spatula system, which features 5 various-sized spatulas and a detachable handle in a conveniently small stand that allows you to swap spatulas with a simple click (and save space!). Brilliant.
Those wonderful purveyors of fine comic appreciation over at Twomorrows have decided to focus on the creator of the landmark comic series Bone with Modern Masters Volume 25: Jeff Smith (Twomorrows, $15.95 SRP), which – like previous must-have volumes in the series – contains an in-depth, comprehensive interview with Smith, as well as dozens of pieces of art.
The animation isn’t the best, but what Hoodwinked (Weinstein Company, Rated PG, Blu-Ray-$24.99 SRP) lacks in visual flair it more than makes up for with a punchy script and catchy clutch of songs, all of which has found its way to high definition. Bonus features include an audio commentary, deleted scenes, featurettes, and a music video.
It’s no Broadcast News, but Morning Glory (Paramount, Rated PG-13, Blu-Ray-$34.99 SRP) does have the fun of the 80s TV flick Switching Channels with a touch of Working Girl, as it revolves around a young woman’s attempt to wrangle a last place mess of a national morning show as its new executive producer. And, best of all, it features Harrison Ford in an all-too-rare comedic turn as a veteran newsman who becomes the new morning host opposite Diane Keaton. Bonus materials include an audio commentary and a deleted scene.
Oh, Warner Archive. I do so love how you’re releasing every marginal and obscure Hanna-Barbera cartoon in your vast library. So thank you for the a release like the set containing the complete runs of both The Space Kidettes & Young Samson (Warner Bros., Not Rated, DVD-$29.95 SRP). Yes. That’s right.
It’s not as well put together as the UK original, but there’s certainly some interesting genealogical twists and turns to be found in the 1st season of the US Who Do You Think You Are? (Acorn, Not Rated, DVD-$39.99 SRP), which finds celebrities tracing their family trees. The first season features the ancestral explorations of Sarah Jessica Parker, Emmitt Smith, Lisa Kudrow, Matthew Broderick, Brooke Shields, Susan Sarandon, and Spike Lee.
It’s no Rocky, but there is a charm to The Fighter (Paramount, Rated R, Blu-Ray-$39.99 SRP), which stars Mark Wahlberg and Christian Bale as a pair of pugilistic brothers who reunite for a title bout that could save their family and their community. Is redemption for both in the offing? What do you think? Bonus materials include an audio commentary, featurettes, and deleted scenes.
Wrap up the second half of Batman: The Brave And The Bold‘s first season (Warner Bros., Not Rated, DVD-$19.98 SRP) with the next 13 episodes full of action and good-natured crime-fighting absolutely loaded with gust stars, from Booster Gold to Aquaman.
I find Clint Eastwood’s films can be hit-or-miss for me, with every great flick like Unforgiven matched by a disappointing one like Gran Torino. His stab at the supernatural, Hereafter (Warner Bros., Rated PG-13, Blu-Ray-$35.99 SRP) is one of the latter, as I could never become invested in the touchy-feely tale of a man with a connection to the afterlife (Matt Damon) and a journalist (Cecile de France) seeking answers. The sole bonus is the documentary The Eastwood Factor, which looks at his career at Warners.
Hal-shark. Half-octopus. All schlock. Yeah, that pretty much sums up Roger Corman’s Sharktopus (Anchor Bay, Not Rated, Blu-Ray-$24.99 SRP), and there’s really not much else that needs to be said about it. Just… Sharktopus.
Don’t have enough 12″ Star Wars figures filling your house yet? Well, Medicom (via those nifty nellies at Sideshow Collectibles) has released another addition to their Real Action Heroes line, this time featuring the intergalactic bounty hunter Boba Fett ($149.99) as he appeared before his untimely ingestion by the Sarlaac Pit in Return Of The Jedi. The details – from the tools in his pouches to this Wookie-braid trophies – are amazing, and the overall effect is pretty spot-on. Do you want this on your shelf? Yes, you want this on your shelf.
So there you have it… my humble suggestions for what to watch, listen to, play with, or waste money on this coming weekend. See ya next week…
-Ken Plume
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Oh no! Just when you thought it was safe to hang out at the FRED…
Cabin Fever (hosted by the twisted souls Brian Fitzpatrick and Aaron Poole) is the result of having too much time on your hands and access to your local community radio station.
Over the course of an hour, they manage to trawl the depths of good taste, plus throw some music in. How much more could you want from a podcast?… Quality? Oh… we didn’t think of that.
Enjoy! And we hope our cross Atlantic friends can understand the Irish accent 😉
Hugs and Kisses,
Aaron P. + Rev. Fitzy
CABIN FEVER #102: Blow It Out Your Podcast, Mate! – Ghosts! Chicken Balls! Birdemic! Pizza! Bieber Fever! All this and more can be heard discussed in this rather ADD addled episode. The fact that two thirds of our cabin dwellers are slightly inebriated probably doesn’t help matters, but it makes for some interesting listening.
[CONTENT WARNING]: Explicit contents! We say every naughty word you can think of. You have been warned!
DOWNLOAD: (right click to save)
Episode #102 (MP3 format)
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Got something to say? E-mail Aaron & Brian at the Cabin Fever mailbag.
CLICK HERE FOR THE CABIN FEVER ARCHIVES
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ENCINO – One of the joys of life is not in the getting, but the ability to give. For the longest time I thought that sentiment was bullshit. It sounded more like the excuse of plague carrier. How can giving a trophy be better than receiving it? I found myself overblissed while handing hardware to a certain star.
In case you tuned in late to the Icon Celebration special on the Dumont network, that was me on the podium announcing that 2011’s Spirit of Bob Crane Award winner was Charlie Sheen. Tears of joy were shed on the trophy that’s a bronzed Sony Portable camera from ’77. Who knew Charlie was capable of emotion – especially anyone who bought the DVD of Navy Seals.
Charlie continues the legacy of the late great of Bob Crane. Both starred in completely absurd sitcoms. Crane played Col. Hogan on Hogan’s Heroes. We were supposed to believe he could run a major allied operation from beneath a Nazi POW camp. Charlie appears on Two and a Half Man. We’re supposed to believe he’s family entertainment and wears those shirts. What’s a bigger suspension of disbelief for a viewer? This would be easier if Jon Cryer looked more like Hitler.
What ultimately led the jury to their decision is how Charlie embraces Bob’s belief that “A day without sex is a day wasted.” Charlie has numerous canceled checks to prove he walks the walk and talk the talk and bangs anything within his air space. He now has the Goddesses populating his life. Bob would so approve of having porn stars around the house even though he’d be having them do more action on his Ustream channel if you know what Bob means.
There were plenty of reservations in giving the award to Charlie since along with sharing the love, he’s gotten nasty and surly. His recent meltdowns on Ustream have gone from good natured joshing to please let this be a scream for help. He’s like his father playing Col. Kurtz in home movies. He’s kinda like what we would have expected Keith Olberlmann to be doing on internet after he split with MSNBC. These two guys are baseball loving fans who despise their old bosses. The difference is that Keith showed us the new Topps baseball cards instead of rant about MSNBC dorks. Charlie needs to lay off Chuck Lorre since he’s proven that he can be funnier than Chuck. Odds are high that Chuck will turn his fury on Jim Parsons. Please don’t hurt Jim Parsons, Chuck!
Why is Charlie Sheen delighted to be working with Mark Cuban on an HDNET series. Why? Charlie is all about Tiger Blood and Winning! Mark Cuban has how many NBA championship rings? Where’s the winning? At least I have a Midget League champions trophy on my mantle. I’m a winner. Maybe Cuban will be smart enough to shoot the Warlock rants in 3-D using red and blue glasses. I’ve already told Charlie he needs to stock his show with Jell-O wrestling with the ladies. People love the debauchery when you’re smiling. That gameplan has made Howard Stern’s career.
Ultimately we hope that Charlie Sheen embraces the Spirit of Bob Crane Award and learns the lesson about the lifestyle – lock up your tripods after dark.
As we were leaving the ceremony, it began to rain. Charlie took it as a bad omen. But I informed him that it was Bob Crane’s tears from heaven. He was touched that Charlie was living the dream that he feared America would never accept. Winning!
ESCALATOR DISASTER
If you remember back in the Fall, I wrote about being part of the great escalator disaster during the Rally to Restore Sanity in Washington D.C.? Well they finally released the footage from the bottom of the escalator at L’Enfant Plaza Metro Station. You can see the giant pile of humanity. And you can spot the star of my “Josie Rallies for Sanity?” video on the left side right before the nastiness.
Here’s my original short:
BIG RUMOR
The word on the cable street is that Time-Warner and Comcast have decided to offer FoxNews and FoxBusiness as premium channels in certain markets. Fans of the channels will pay $2 a month to watch their favorite news and commentary shows. Why? Now that Comcast owns CNBC & MSNBC, they’re looking for an advantage to goose their ratings while not affecting the bottom line. Time-Warner is the same way with CNN. An unreleased poll conducted at the end of last year showed that constant viewers of FoxNews would be willing to pay extra to have the channel – like they do for HBO and Showtime. This is win-win since people who hate Fox News will no longer think they’re contributing to the channel’s coffers.
SPITEFUL MILLIONAIRE
I already hate Secret Millionaire because of its secret message: Rich People are nice too so don’t touch our taxes. This is the same sort of BS programming that makes Undercover Boss just one big pity plea for love. Here’s a simple thought – if giving matters this much to a rich person, why do they need network time to do it?
These fat cats want to be as famous as a poor pregnant Teen Mom.
Where’s a TV show about a poor person who sneaks inside a Rich Guy’s elite country club to make these stuffy jerks think he’s on of them? Or how about an series where the lowest ranked employee gets into the board room as an alleged fat cat? Of course that doesn’t happen cause the last thing rich people want to know is that they’re not that special. They have to belittle the poor acting rich like The Beverly Hillbillies or My Big Redneck Wedding. The harsh reality is a majority of the rich are trailer trash who fashion their life off Architectural Digest instead of the Jerry Springer Show. Look at Donald Trump’s hair – is it any better than what you’d see on the top of a People of WalMart photo?
MUSICAL INTERLUDE
Louise Lasser (Mary Hartman, Mary Hartman) makes a cameo in this video for The Indecent’s “Her Screwed Up Head.” These kids are so adorable, I want to adopt them or at order them to do yard work.
BLU-RAY HEAVEN
Battle of the Warriors really comes alive in 1080p. It’s an epic film that requires a big screen. The small town of Laing finds itself being attacked by the huge Zhao army. in 370 B.C. It looks like they’re going to be overwhelmed. But they don’t count on Andy Lau (Infernal Affairs) stepping up to defend the city. He’s a bad ass when it comes to big time fighting. He’s not going to cower in the wake of a siege. He’s ready to go 300 on the Zhao. You’ll get sucked into this with a good 50 plus inch screen. The bonus features include a commentary track with Bey Logan and nearly an hour long behind the scenes special. Here’s a couple clips to tempt your eyes.
DVD SHELF
Mystery Science 3000: Volume XX is all Joel Hodgson with the Bots. The biggest thing on the boxset is both episodes of Master Ninja. You might remember this goofy series by its original series title: The Master when it aired on NBC in 1984. They slapped together four episodes to make 2 movies. Lee Van Cleef (The Good, The Bad and The Ugly) is the only American Ninja in Japan. He returns home to find his lost daughter. His only help is Timothy Van Patten (The White Shadow), his van and his hamster. Lee is hilarious in the role since he loses 40 pounds when he gets in the black ninja suit. There’s plenty of odd guest stars including a really young Demi Moore. George Lazenby (James Bond in On Her Majesty’s Secret Service) proves he hadn’t fallen off the face of the earth in ’84. The best part is when Joel comes up with a new theme song for the series. Project Moonbase is a first Comedy Channel season episode with Josh Weinstein. The space movie is so short that we get two chapters of Radar Men From the Moon. The Magic Voyage of Sinbad is a big budget Soviet film that isn’t really about Sinbad. But that’s half the fun of the riffs that attempt to make it be a film about Arabia. Mike Nelson’s voice does crop up during the sketches. The big highlight is the bonus feature of Tom Servo Vs. Tom Servo from Dragon-Con. Besides bringing together Josh Weinstein and Kevin Murphy, we get to spend 45 minutes with Ken Plume! That’s right, the editor of Asitecalledfred returns after last year’s Crow Vs. Crow. They talk about fan reaction to the switch and bring out a nasty “letter.” Hopefully this years Dragon-Con will rule with the rumored Cambot Vs. Cambot. If you order this straight from Shout! Factory’s website, they’re throwing in a squishy ball made to look like the MST3K moon logo as seen here:
Roger Corman’s Cult Classics Double Feature – Jackson County Jail / Caged Heat! is what happens when future Oscar winners get involve in women behind bars. This is a double feature that requires you to bring money for popcorn and bail. Jackson County Jail serves as a warning as to why people who live in Los Angeles and New York City must flyover the rest of America in their travels. Yvette Mimieux gets fed up with Hollywood and makes a deal for a job back in Manhattan. Instead of hoping on an airplane for a red eye east, Yvette gets in the car to see America. She plays nice with a young couple and gives them a ride. Turns out the couple are pure evil and rob her blind. In the middle of the heartland, she gets arrested by the cops for vagrancy. While locked in the cell, a deputy sexually attacks her. Her only hope is Tommy Lee Jones (The Fugitive). He helps her escape the hell hole even as the law comes down on them. This was Tommy Lee Jones first major role. You can tell the guy was bound for bigger roles and not being stuck in the low budget ghetto.
Caged Heat! was Jonathan Demme’s first major directorial effort. Erica Gavin (Vixen) gets busted when a robbery goes wrong. She gets sent off to a woman’s prison run by Barbara Steele. All the good things you want out of a women’s prison flick are elements including lots of group shower scenes. Erica can’t stand life behind bars with Steele’s sadistic rules. The girls are given shock therapy to calm them down. There’s a plan to escape. The cute Rainbeaux Smith is Erica’s cellmate. The action is so sweaty and steamy. The bonus highlight is a commentary track with Demme, Gavin and cinematographer Tak Fujimoto. Once more this movie makes me wish Demme would get back to his entertaining roots that peaked with his Oscar success of Silence of the Lambs. This film has a little more going for it when compared to other Women Behind Bars flicks. Major warning that this trailer is not to be viewed around children or people who can fire you from your veal pen gig:
If you haven’t ordered any of the Roger Corman’s Cult Classics titles, this double feature is a perfect place to start.
Gamera Double Feature – Gamera Vs. Zigra / Gamera: The Super Monster wraps up the Showa era of the mutant turtle. Zigra arrives from outer space as a UFO with a bubble gum machine top. It wants to take over the Earth since its own planet has been polluted. This is almost a reverse of most monster films where the mutant monster needs warn the earthlings about polluting our world. The only thing that can stop Zigra is two kids and Gamera. When Gamera first battles the UFO, it turns into a mega-shark. He can tear through the turtle’s shell with his fin. Can the kids help Gamera recover? Or are we all doomed? Gamera: The Super Monster was a revival of the series using clips of previous monster battles to save the budget more than the Earth. A little boy with a turtle must rescue us from a faux-Star Destroyer. He has a connection to Gamera cause Gamera is a friend to all children. The new effects were made on video so they look low budget TV shots. The movie ends on a closing note for the epic series. All eight of the original flicks are now on high quality transfers from Shout! Factory. It’s a childhood dream come true. But don’t cry since Gamera shall be returning with all five of his entries on Mystery Science Theater 3000: Volume XXI.
Capone lets Ben Gazzara wear the scarface of Al Capone. This shows the rise of a small time hood into the Underworld king of America during the prohibition era. Gazzara’s hardcore attitude makes him perfect for being a criminal mastermind. He’s got Sylvester Stallone as enforcer Frank Nitti. John Cassavetes is the New York crime chief that gives him a big break. There’s a sublime gritty nature to the frame. It looks like an underworld pic versus the sterile visuals of recent gangster flicks. This is worthwhile viewing for fans of The Untouchables and mobster flicks. Getting to see a young Stallone being hoodish is a bonus. The commentary track with director Steven Carver is very informative with the help of Nathaniel Thompson’s questions. Carver had previously done Big Bad Mama. He admits that Corman had the director use old footage from his The St. Valentine’s Day Massacre film to save on the budget. There’s a Timothy Carey casting story that will drop your jaw. The trailer for Massacre is included in the bonus features along with trailers and TV spots for Capone.
Hannah Montana: Forever – The Final Season brings us to the end of the sensational series that made Miley Cyrus a superstar. She was the hottest thing on the TV dial. What happened? The fate of so many Disney Channel stars – she graduated from high school. These final 13 episodes get into how Miley Stewart let others in on her secret life. That she wasn’t just a normal high school kid. She was an international singing superstar known as Hannah Montana. There are plenty of guest stars for the goodbye. “Hannah Montana to the Principal’s Office” lets Ray Liotta (Goodfellas) play the principal. He’s not nearly as evil as he could be to the girl. Sheryl Crow strums it up on “It’s the End of the Jake as We Know It.” Wrestling champion John Cena pumps up the action on “Love That Let’s Go.” Proving his chin doesn’t scare kids, Jay Leno has Hannah on his show for “I’ll Always Remember You.” Dolly Parton takes time away from Dollywood for “Kiss It All Goodbye.” The final two episodes deal with Miley graduating from high school and wondering what to do with her life. Of course the answer is make more movies. The DVDs are stored within a book that contains cast memories of the show. Tons of photos to remind us that Billy Ray Cyrus really did have a comeback thanks to the show. There’s even a section devoted to the various wigs worn by Miley when she’s really Hannah. This is a proper gift for anyone that’s moaning the end of the series. Strange to think that we are living in a Post-Hannah Montana universe.
It’s been quite a few years and even though I’ve had a lot of time invested in it I’m just not sure that I want to continue my relationship with THE OFFICE.
As many of you have heard by now STEVE CARELL is leaving the hit show to pursue whatever it is that he is going to pursue. In many ways I think knowing this information ahead of time has really gotten in my way of trying to passively watch a show that is meant to be passively watched. I spend my time watching plot details unfold and start over-analyzing what is going on. I start to look for the under-current being set-up for the upcoming departure and I begin paying too much attention. THE OFFICE wasn’t meant to be analyzed. It’s mental chewing gum, not Shakespeare.
First and foremost THE OFFICE is a situation comedy. It isn’t meant to be scholarly, it isn’t going to be intellectual. A good sitcom is meant to distract and entertain and allow me to sit there mindlessly taking in the entertainment. This has been taken away from me as I’ve noticed a change in the dynamic of the show this season. When I watch the show I get the impression that we’re seeing far less of MICHAEL SCOTT and a lot more of the other people in THE OFFICE. This shouldn’t be a big deal however it is something that feels contradictory to the formula I’ve grown accustomed to. I’m used to an absurd MICHAEL SCOTT main plot and an office worker sub-plot playing out. This season I’ve felt that dynamic has been flipped and it really takes me out of the moment.
With CARELL’s departure I’ve also been analyzing the show in too deep a fashion trying to see if the writing had any foreshadowing of the reason behind MICHAEL SCOTT’s departure. I know this is a silly type of thinking since this show isn’t written by the team from LOST or by JOSS WHEDON, but the fact that the guy is leaving means that they would have to come up with the scenario why he was going. There wasn’t anything that was obvious in the early episodes but in my opinion the writing has been on the wall since they re-introduced MICHAEL’s former and now once again burning flame HR specialist HOLLY. I now wouldn’t be surprised in the least if the reason why MICHAEL were to leave was to follow HOLLY wherever she was going. I also really hope that this is the reason why MICHAEL SCOTT leaves THE OFFICE because the romantic in me is always rooting for true love.
About mid-way through this television season I discovered that CARELL’s departure wasn’t going to come at the end of the season but would come near the end. There’s going to be a few awkward week’s of people filling in for the departed office manager. I know I’m going to stick around to at least say good-bye to MICHAEL but the weakness in the last few episodes make me wonder if the magic isn’t already gone from this long running show and after MICHAEL SCOTT is gone we will have seen the man behind the curtain and all of the magic will be gone for us from the all-powerful Oz.
Now that I’ve said my piece on THE OFFICE let’s see what else is on tap for the week ending in my 40th birthday, shall we?
MONDAY
ABC – 8:00 PM: Those into THE BACHELOR finally get to see if BRAD actually chooses a girl this time.
NBC – 8:00 PM: Hello ladies. Try to enjoy ISAIAH MUSTAFA tonight on CHUCK as he starts as the super spy your man could smell like.
FX – 8:00 PM: Part of me is a little embarrassed to admit that I really liked the TINA FEY movie BABY MAMA.
TUESDAY
FOX – 8:00 PM: It’s finally time for sectionals on GLEE and the show ventures into unknown territory as they perform original music. The cynic in me thinks this is an attempt at them not having to pay royalties out the nose for the inevitable soundtrack.
NBC – 8:00 PM: The teams on THE BIGGEST LOSER get merged and they compete to see who can make the lowest calorie meal in 30 minutes. This one screams CURTIS STONE appearance.
ABC – 9:00 PM: It’s the season (series?) finale for V tonight as ANNA tries to trick out her daughter to TYLER. Those space lizards really know about good parenting.
FOX – 9:00 PM: Everyone gets down to writing out their will’s and JIMMY has the difficult choice of bestowing guardianship of hope in his absence on RAISING HOPE.
WEDNESDAY
ABC FAMILY – 7:00 PM: Please, no one tell my daughter that there’s an airing of BEVERLY HILLS CHIHUAHUA followed by BEVERLY HILLS CHIHUAHUA 2 tonight or I guarantee that’s all I’ll be watching. Really, there’s money involved if you don’t let this one out.
CBS – 8:00 PM: It just feels hollow and empty on SURVIVOR: REDEMPTION ISLAND now that RUSSELL is out of the game.
FOX – 8:00 PM: I know you don’t need this column to tell you that there’s a new AMERICAN IDOL on tonight so instead let me warn you that it’s two hours of listening to half-talents scream sing with a few stars shining in the mix.
ABC – 8:30 PM: I can’t put my finger on what exactly it is that I’ve been enjoying about MR. SUNSHINE but it has at least made me not miss COUGAR TOWN so I guess that’s saying something for it, right?
THURSDAY
FOX – 8:00 PM:Â THE BLACK EYED PEAS continue their “We’re appearing on every show” tour as they perform on tonight’s elimination episode of AMERICAN IDOL.
NBC – 8:00 PM: There’s a baby shower for SHIRLEY tonight on COMMUNITY and I’m sure CHANG won’t do anything to make it uncomfortable. Also the entire NBC lineup tonight is new except for THE OFFICE so now we’ve got that out of the way.
FOX – 9:00 PM: Tonight on BONES there’s a blizzard, a blackout and a viral outbreak. Is the guest star tonight the four horsemen of the apocalypse?
BRAVO – 9:00 PM: KATHY GRIFFIN returns to BRAVO with a new stand-up special 50 & NOT PREGNANT. Catch it now because her stuff is topical so you’ll want to get it while its fresh.
FRIDAY
ABC – 8:00 PM: Tonight is the series finale of SUPERNANNY to which I have to say, “This show was still on the air?”
BRAVO – 8:00 PM: Did you miss last night’s airing of KATHY GRIFFIN: 50 & NOT PREGNANT? Here’s a second chance at it.
FOX – 9:00 PM: If you’ve been wondering where exactly this universe’s LINCOLN LEE is than you have to look no further than this week’s FRINGE to find out. I can’t wait to see how they explain that OLIVIA doesn’t recognize him.
SATURDAY
TNT – 8:00 PM: If you haven’t seen the KILL BILL saga then TNT is giving you a chance to see both volumes back-to-back. I’m not sure if this will be a TV edit of it but if so I hope the watered down version is as entertaining as the uncut.
SCIENCE – 10:00 PM: Repeat or not I just can’t get enough of AN IDIOT ABROAD.
BBCA – 9:00 PM: Even though all of this third season has been good, tonight’s episode of BEING HUMAN is by far one of the most compelling. The return of HERRICK was nothing that I expected and what transpires is just engulfing. I don’t think I blinked the entire time.
NBC – 11:30 PM: I’ve tried so very hard to forget this episode of SATURDAY NIGHT LIVE hosted by JEFF BRIDGES. Why oh why did they have to bring it back?
SUNDAY
FX – 8:00 PM: Following up an airing of IRON MAN with X-MEN: THE LAST STAND is like following up a thing of beauty with X-MEN: THE LAST STAND.
HBO – 9:00 PM: After five seasons we finally see what the future holds for the HENRICKSON‘s as the BIG LOVE series finale happens tonight.
A&E – 10:30 PM: Let me tell you something Fish, if you’ve been missing your T-BAG fix than you won’t want to miss this week’s episode of BREAKOUT KINGS since the con that’s gone is none other than Theodore Bagwell of PRISON BREAK fame. Now just take a hold of my pocket…
Star Wars: The Phantom Menace’s Jake Lloyd does not find your questions amusing, fanboy…
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The weekend’s here. You’ve just been paid, and it’s burning a hole in your pocket. What’s a pop culture geek to do? In hopes of steering you in the right direction to blow some of that hard-earned cash, it’s time for the FRED Weekend Shopping Guide – your spotlight on the things you didn’t even know you wanted…
(Please support FRED by using the links below to make any impulse purchases – it helps to keep us going…)
The Disney restoration team do another incredible job with one of their animated classics, making the new high definition release of Bambi (Walt Disney, Rated G, Blu-Ray-$39.99 SRP) look like it was produced last year instead of 70 years ago. Bonus materials include all of the original DVD’s bonus materials, plus a new intro from Diane Disney Miller, deleted scenes, a deleted song, featurettes, and galleries. The release also includes Disney’s now-standard bonus DVD version.
I’m a big fan and longtime user of Zoom’s portable audio recorders, often using them while I’m the road to record live events and podcasts. Well, with the Zoom H1 Audio Recorder ($99.99), you get Stereo X/Y mic configuration, microSD memory (2GB card included), a ton of functionality and recording options, and all in a small case that’s half the size of older Zoom recorders.
It’s always a delight when another Mystery Science Theater box set comes down the pike, but even more delightful when it contains a bonus feature I produced and am actually in – Which is the case with Mystery Science Theater 3000: Volume XX (Shout Factory, Not Rated, DVD-$59.97 SRP), which contains not only Fugitive Alien I, Fugitive Alien II, The Magic Voyage Of Sinbad, & Project Moonbase, but also the Servo vs Servo panel that I hosted at last year’s DragonCon. If that weren’t enough MST3K, the fine folks at Shout are also re-releasing a pair of out-of-print releases as standalone discs – Beginning Of The End & The Incredibly Strange Creatures Who Stopped Living And Became Mixed-Up Zombies (Shout Factory, Not Rated, DVD-$19.99 each).
I’m beginning to think that the supply of classic Doctor Who adventures is inexhaustible, as we get another pair of old school releases in the form of the William Hartnell serial The Ark (BBC, Not Rated, DVD-$24.98 SRP) and Tom Baker’s The Seeds Of Doom (BBC, Not Rated, DVD-$34.98 SRP). It should surprise no one that these bear a TARDIS-load of extras, including documentaries, featurettes, commentaries, and much more.
Just when you think the zombie genre has finally been exhausted, along comes something like The Walking Dead (Anchor Bay, Not Rated, Blu-Ray-$49.99 SRP), which manages to translate it all to an ongoing TV narrative, playing like an undead version of The Wire. The series 1 set contains making-of featurettes and deleted footage.
Let’s set aside his smug, off-putting hosting gig at the Oscars and concentrate on the rather remarkable performance James Franco gives in 127 Hours (Fox, Rated R, Blu-Ray-$39.99 SRP), which is perhaps better known as the “guy cuts off his arm” film. Franco stars as the real life Aaron Ralston, whose adventuring in a remote Utah canyon comes to tragedy when a boulder pins his arm and prevents his escape. He has no ability to communicate, no one knows he’s down there, and he can’t extricate himself. Or can he? Errr… yes, he can. Bonus materials include an audio commentary, featurettes, and deleted scenes.
Miss the good ol’ days of Whose Line Is It Anyway? Well, two of the show’s strongest improvisers – Colin Mochrie & Brad Sherwood – have banded together into a touring partnership featuring an evening of those improv games, which has now been immortalized on DVD via Colin & Brad: Two Man Group – Live And Dangerous Comedy (Image, Not Rated, DVD-$14.98 SRP). It’s funny from start to finish, and makes me miss WLIIA even more. Bonus materials include an interview and a featurette on improve DOs and DON’Ts
The kids are covered this weekend as well, with a brand new Spongebob release, Spongebob Squarepants: The Great Patty Caper (Nickelodeon, Not Rated, DVD-$16.99 SRP) – featuring 7 episodes and a clutch of animated shorts – plus The Backyardigans: We Arrrr Pirates (Nickelodeon, Not Rated, DVD-$16.99 SRP).
What do the fine folks at the Warner Archive have for us now? How about Humphrey Bogart and Barbara Stanwyck in The Two Mrs. Carrolls (Warner Bros., Not Rated, DVD-$19.95)? Or William Holden, Ryan O’Neal, & Karl Malden in the western Wild Rovers (Warner Bros., Not Rated, DVD-$19.95).
Yeah, I know it’s lowbrow, but so help me, I do enjoy the Jackass feature films, and the winning streak continues with Jackass 3 (Paramount, Not Rated, Blu-Ray-$39.99 SRP), which features the return of Johnny Knoxville and the gang in full mental form, with stunts and a joie de vivre that manages to top the previous two entries. Bring on more, I say! Bonus features include deleted scenes, outtakes, and a making-of special.
The designs have been slightly updated, but the spirit of the classic series remains in Scooby-Doo: Mystery Incorporated Season One Volume 1 (Warner Bros., Not Rated, DVD-$14.98 SRP), featuring 4 adventures with the gang going up against beasts, creatures, ghosts, and monsters.
So there you have it… my humble suggestions for what to watch, listen to, play with, or waste money on this coming weekend. See ya next week…
-Ken Plume
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Welcome to our weekly round-up of featured giveaways here at FRED. Every week, we’ll present a new clutch of DVDs, books, and other cool stuff you can take a shot at winning. All you have to do is click on the graphics below to be taken to their respective contest pages. And good luck!
In conjunction with BBC Home Video, we’re giving away three (3) copies of DOCTOR WHO: SEASON 5 on both Blu-Ray & DVD.
In conjunction with Universal Home Video, we’re giving away ten (10) copies of LES MISERABLES: THE 25th ANNIVERSARY CONCERT on Blu-Ray.
In conjunction with History Channel Home Video, we’re giving away three (3) copies of ICE ROAD TRUCKERS: SEASON 4 on Blu-Ray.
In conjunction with History Channel Home Video, we’re giving away three (3) copies of HOW THE EARTH WAS MADE: SEASON 2 on Blu-Ray.
In conjunction with History Channel Home Video, we’re giving away three (3) copies of I AM ALIVE: SURVIVING THE ANDES PLANE CRASH on DVD.
In conjunction with Warner Home Video, we’re giving away five (5) copies of ALL-STAR SUPERMAN on DVD.
In conjunction with Lionsgate Home Video, we’re giving away three (3) copies of WEEDS: SEASON 6 on DVD.
In conjunction with Lionsgate Home Video, we’re giving away three (3) copies of NURSE JACKIE: SEASON 2 on DVD.
In conjunction with Image Home Video, we’re giving away three (3) copies of COLIN & BRAD: TWO MAN GROUP on DVD.
In conjunction with Underground Toys and Thinkgeek, we’re giving away two (2) DOCTOR WHO: LEVITATING TARDISes.
In conjunction with Underground Toys and Thinkgeek, we’re giving away two (2) DOCTOR WHO: LEVITATING TARDISes.
Contest ends at 11:59pm EST on Wednesday, March 30th.
No member of FRED Entertainment or their immediate families may enter.
No Purchase necessary to win.
Must be 18 years of age or older to enter.
One entry per day, per person.
All submitted entries must be received by 11:59pm EST on Wednesday, March 30th.
The winner must allow 4-6 weeks after notification of win to receive the product.
In conjunction with Image Home Video, we’re giving away three (3) copies of COLIN & BRAD: TWO MAN GROUP on DVD.
Contest ends at 11:59pm EST on Wednesday, March 30th.
No member of FRED Entertainment or their immediate families may enter.
No Purchase necessary to win.
Must be 18 years of age or older to enter.
One entry per day, per person.
All submitted entries must be received by 11:59pm EST on Wednesday, March 30th.
The winner must allow 4-6 weeks after notification of win to receive the product.
In conjunction with Lionsgate Home Video, we’re giving away three (3) copies of NURSE JACKIE: SEASON 2 on DVD.
Contest ends at 11:59pm EST on Wednesday, March 30th.
No member of FRED Entertainment or their immediate families may enter.
No Purchase necessary to win.
Must be 18 years of age or older to enter.
One entry per day, per person.
All submitted entries must be received by 11:59pm EST on Wednesday, March 30th.
The winner must allow 4-6 weeks after notification of win to receive the product.
In conjunction with Lionsgate Home Video, we’re giving away three (3) copies of WEEDS: SEASON 6 on DVD.
Contest ends at 11:59pm EST on Wednesday, March 30th.
No member of FRED Entertainment or their immediate families may enter.
No Purchase necessary to win.
Must be 18 years of age or older to enter.
One entry per day, per person.
All submitted entries must be received by 11:59pm EST on Wednesday, March 30th.
The winner must allow 4-6 weeks after notification of win to receive the product.
In conjunction with Warner Home Video, we’re giving away five (5) copies of ALL-STAR SUPERMAN on DVD.
Contest ends at 11:59pm EST on Wednesday, March 30th.
No member of FRED Entertainment or their immediate families may enter.
No Purchase necessary to win.
Must be 18 years of age or older to enter.
One entry per day, per person.
All submitted entries must be received by 11:59pm EST on Wednesday, March 30th.
The winner must allow 4-6 weeks after notification of win to receive the product.
In conjunction with History Channel Home Video, we’re giving away three (3) copies of I AM ALIVE: SURVIVING THE ANDES PLANE CRASH on DVD.
Contest ends at 11:59pm EST on Wednesday, March 30th.
No member of FRED Entertainment or their immediate families may enter.
No Purchase necessary to win.
Must be 18 years of age or older to enter.
One entry per day, per person.
All submitted entries must be received by 11:59pm EST on Wednesday, March 30th.
The winner must allow 4-6 weeks after notification of win to receive the product.
In conjunction with History Channel Home Video, we’re giving away three (3) copies of HOW THE EARTH WAS MADE: SEASON 2 on Blu-Ray.
Contest ends at 11:59pm EST on Wednesday, March 30th.
No member of FRED Entertainment or their immediate families may enter.
No Purchase necessary to win.
Must be 18 years of age or older to enter.
One entry per day, per person.
All submitted entries must be received by 11:59pm EST on Wednesday, March 30th.
The winner must allow 4-6 weeks after notification of win to receive the product.
In conjunction with History Channel Home Video, we’re giving away three (3) copies of ICE ROAD TRUCKERS: SEASON 4 on Blu-Ray.
Contest ends at 11:59pm EST on Wednesday, March 30th.
No member of FRED Entertainment or their immediate families may enter.
No Purchase necessary to win.
Must be 18 years of age or older to enter.
One entry per day, per person.
All submitted entries must be received by 11:59pm EST on Wednesday, March 30th.
The winner must allow 4-6 weeks after notification of win to receive the product.
In conjunction with Universal Home Video, we’re giving away ten (10) copies of LES MISERABLES: THE 25th ANNIVERSARY CONCERT on Blu-Ray.
Contest ends at 11:59pm EST on Wednesday, March 30th.
No member of FRED Entertainment or their immediate families may enter.
No Purchase necessary to win.
Must be 18 years of age or older to enter.
One entry per day, per person.
All submitted entries must be received by 11:59pm EST on Wednesday, March 30th.
The winner must allow 4-6 weeks after notification of win to receive the product.
In conjunction with BBC Home Video, we’re giving away three (3) copies of DOCTOR WHO: SEASON 5 on both Blu-Ray & DVD.
Contest ends at 11:59pm EST on Wednesday, March 30th.
No member of FRED Entertainment or their immediate families may enter.
No Purchase necessary to win.
Must be 18 years of age or older to enter.
One entry per day, per person.
All submitted entries must be received by 11:59pm EST on Wednesday, March 30th.
The winner must allow 4-6 weeks after notification of win to receive the product.
Oh no! Just when you thought it was safe to hang out at the FRED…
Cabin Fever (hosted by the twisted souls Brian Fitzpatrick and Aaron Poole) is the result of having too much time on your hands and access to your local community radio station.
Over the course of an hour, they manage to trawl the depths of good taste, plus throw some music in. How much more could you want from a podcast?… Quality? Oh… we didn’t think of that.
Enjoy! And we hope our cross Atlantic friends can understand the Irish accent 😉
Hugs and Kisses,
Aaron P. + Rev. Fitzy
CABIN FEVER #101: Caabin pHever Is Dead. Long Live Cabbbin Fever! – After a long hiatus, Cabin Fever finally returns to brighten up your dull little lives. The new line-up features the comedic stylings of pHitzy’s long-time cohorts Cin & Wird, and they waste no time in getting into the swing of things. Amongst the madness, they manage to lambaste the silliness of Marvel/DC’s underhanded issue-numbering tactics, Cam Clarke’s extensive vocal work and for the ladies in the audience Wird shows off his favourite party trick. Yes, he IS single.
[CONTENT WARNING]: Explicit contents! We say every naughty word you can think of. You have been warned!
DOWNLOAD: (right click to save)
Episode #101 (MP3 format)
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Got something to say? E-mail Aaron & Brian at the Cabin Fever mailbag.
CLICK HERE FOR THE CABIN FEVER ARCHIVES
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Welcome to Hands Down, FRED’s own look into the world of the folks that frequent this sordid world of geekery. Follow Aaron, Brian and Colin (and a menagerie on the way) as they traverse the light fantastic or some such nonsense… What? It’s an online fortnightly comic strip, what kind of description did you expect?
Written by Aaron Poole. Art by John Merker. Copyright 2011.
ROCHESTER, NY – Ever wonder why schools today stink compared to decades ago? Every think tank moron has their dubious reasonings that appeases their corporate masters. But the truth is extraordinarily simple: Schools dumped their education films.
Do you remember those days when the gym teacher had to pad out health class by wheeling in the 16mm projector from the AV department? They’d thread up classic tales about your body, narcotics, driving safety and manners. Things which kids nowadays can’t seem to handle.
When the VCR arrived in schools, the 16mm projector was quickly dumped as teaching tool.
Where did these classic films go? Many arrived at the city dump. However a few lucky tens of thousands found themselves on the racks of the AV Geeks Archive. This repository of cinematic education is overseen by Skip Elsheimer. He started collecting the films after I moved out of the infamous PineHaus. I left that much space to be filled.
Over the years, Skip has toured the country and released various video compilations with such titles as “Sex and Drugs,” Social Engineering” and a Lunch Box with a thermos and 4 discs.
Safe…Not Sorry and The Celluloid Salesman are the recently released two volumes of Kino’s Classic Education Shorts series curated by Skip. Thus it was time to have a little email exchange with Skip about the two DVDs and the AV Geeks archive. Let the educating begin.
Party Favors: How many titles are now in the AV Geeks Archive?
Skip Elsheimer: Well, there’s over 23,000 reels but there’s duplication and some titles are more than one reel but I feel pretty confident that I have over 20,000 titles.
Party Favors: Which of the collections was harder to curate for the DVD?
Skip Elsheimer: The real challenge for the DVDs was figuring out which films to pick and which to leave off the DVDs. I had whole other DVDs worth of material for both titles. Celluloid Salesman was maybe a bigger challenge because the concept is a little foreign to most folks.
Party Favors: How often are you on the road with presentations?
Skip Elsheimer: I do monthly shows in the Triangle and then hit the road every couple of months.
Party Favors: Are these topics ones that you’ve explored as themes to screenings?
Skip Elsheimer: Yes. Although, with these DVDs I’ve pulled from a couple of different shows that I’ve done. I’ve done very general and very specific shows on safety and advertising.
Party Favors: Did you do a live performance of the films to see which titles connected better with the audience?
Skip Elsheimer: Yes, I get a good sense of what audiences respond to.. Even so, I do put films on the DVDs that I haven’t screened publicly.
Party Favors: Is it odd to think there’s an entire generation of college graduates that has no memory of a 16mm projector in their classroom?
Skip Elsheimer: Oh yeah, most folks don’t know what the projector is or they don’t understand that I have the actual film on a reel and not on a video tape or DVD. I mention that because a stack of 100 film reels takes up a lot of space and is very heavy. So imagine 23,000 reels.
Party Favors: What do today’s kids receive as far as educational films in the classroom? Do they have time for such things while studying for the No Child Left Behind tests?
Skip Elsheimer: I’m not sure what is happening in most schools. I know that teachers often show feature films or programs taped from the History Channel or Discovery Channel. There are plenty of topics however that aren’t addressed by video nowadays – social responsibility, courtesy and manners, etc. And it isn’t just No Child Left Behind. School shootings increased the need for schools to address bullying and diversity issues (to reduce their liability mostly), so social programs are usually geared towards those topics.
Safe…Not Sorry focuses on the child abduction, school burnings and running with scissors. It reminds kids of the various ways they can poke an eye out.
Party Favors: What made the “The Dangerous Stranger” so alluring?
Skip Elsheimer: This film is the quintessential Sid Davis film. That guy made scores of films but they all have the same feel as this film. Plus it shows us the vocabulary of how we talk and think about strangers and children nowadays. I feel that our society has become super paranoid and it’s not helping protect children any more than before.
Party Favors: Does it explain what child abductors did before the advent of the windowless van?
Skip Elsheimer: I wouldn’t know. The hidden tragedy of these films are that many children are actually abused in their own homes by people they know. That subject is only really addressed in the 1980s films…
Party Favors: How do kids react to seeing “Live and Learn?”
Skip Elsheimer: I actually haven’t screened this film for kids. I’m guessing when it was released some kids would giggle and some would be aghast. Given the film is more than fifty years old, I’m guessing most kids now would just laugh at the slapstick aspect of the film – since it would seem so far removed from their contemporary lives. That was always the challenge of filmmakers – to keep current and relevant to young minds who were quick to dismiss.
Party Favors: Do you think it’s important for small kids to see these films to get a visual as to the consequences to their actions?
Skip Elsheimer: I’m not sure if the films are as effective as the filmmakers hoped. I think talking with kids – not at kids – is most effective.
Party Favors: Has “Jackass” made children forget that most injuries don’t lead to fat paydays?
Skip Elsheimer: I think it’s part of our genetic code that we think watching somebody fall down is hysterical. I’m sure somebody will figure out that even apes laugh at slapstick.. Jackass is just the latest version of the Three Stooges.
Party Favors: We’re you spooked by “Ghost Rider?”
Skip Elsheimer: I was amazed by the ending and that a bus safety film plays as a love story.
Party Favors: What’s the best safety tip you received from watching these films?
Skip Elsheimer: Well it’s not from this set but in “Sudden Birth” – a police training film – I learned to hold tight onto the legs of a just-delivered baby. “They’re slippery!”
Party Favors: What’s the most paranoid piece of advice that was in a film?
Skip Elsheimer:“Dangerous Stranger” is pretty paranoid but there’s another film called “Cautious Twins” which has these animated twin kids being stalked by every creepy adult imaginable just walking to get some bread for their mother. It’s so heavy handed that kids probably would miss the subtly of most child abductors.
Celluloid Salesman teaches us
Party Favors: Is there a real difference between the advice on these films and the various better salesman seminars offered at hotels around the country?
Skip Elsheimer: Well, there are two types of films on this DVD. Some of the films are made specifically for salesmen. The others are advertising to sell the viewer a product, service or concept. The films made for salesmen certainly reinforce the same concepts over and over. The sales pitch films are like proto-infomercials. They capitalize on our desires and fears and laziness – just like nowadays.
Party Favors: Were you motivated to buy any products featured in these films?
Skip Elsheimer: Not these films. But I was involved with a project where I digitized 10,000 TV commercials. After watching 13 hours of Crest commercials, I had to start using Crest.
Party Favors: What happened to the Potato Chip Institute that made “The Adventures of Chip and Dip?”
Skip Elsheimer: They became the Snack Food Association and moved to Alexandria VA as a lobbying body. They lobbied and sued Proctor & Gamble and General Mills when those companies tried to call their potato crisps snacks – like Pringles – “potato chips”.
Party Favors: Did Alistair Cooke make you want to visit Swinging London?
Skip Elsheimer: No, the possibility of meeting swinging British chicks does however…
Party Favors: What made “This Is…Elk Country” essential to the collection? Is there “This Is….Moose Country?”
Skip Elsheimer: I had so many films targeting women as consumers that I wanted to include a couple for men. It’s a great film about hunting elk and “roughing it” with Schlitz beer and portable batteries. Moose Country? No, but Schlitz has a series outdoor sportsman films.
Party Favors: Have you become a better salesman for the treasures of the AV Geeks archive from the films?
Skip Elsheimer: We’ll see.
Party Favors: Were there any titles you wanted to include, but couldn’t for copyright issues?
Skip Elsheimer: Yes, I am stymied by that all the time. There is a great wealth of material that I would love to share but I’m limited by copyright – even though many of the companies no longer exist or are so big they don’t know they own the copyright. It’s often hard to search out the copyrights on some material and YouTube are hairtriggered in taking down anything copyrighted. We are losing a lot of our cultural history (film, music, literature) because a few companies are greedy and successfully lobby to extend Copyright durations.
Party Favors: Any clue to the topics you’ll tackle in the next Classic Educational Shorts series?
Skip Elsheimer: Well I’m doing two DVDs with Alpha Video soon. How To Be A Housewife and How To Be A Soldier. After that, who knows. I average getting a couple of films a day and have only seen about a fifth of my collection. I’m discovering gems all the time.
Remember that educational films might be the best way to keep your kid from turning out to be a lawless moron unlike those Baby Stalin DVDs. Visit AVGeeks.com to find out if Skip’s bringing his films to your area.
STORAGE RAIDERS
Who knew that “abandoned” storage lockers would contain ratings gold? A&E has Storage Wars, Spike gives us Auction Hunters and finally TruTV has Forbidden Storage. All three shows have the same structure. A bunch of people running thrift shops and treasure hunters converge at storage centers to bid on storage lockers that are unpaid.
My major issue with the genre comes from being shafted in the past by a storage center that first didn’t properly file a check and wanted to auction off our stuff with a week’s notice. Later the same storage locker was robbed when a creep cut off the lock, picked through the boxes and put their own lock on our unit. Who knew how many times they came and went. Naturally the owners of the storage place claimed they weren’t responsible for security. Their security cameras were useless since they weren’t angled right. Even worse, a week later they announced their monthly rates were going up. No larceny victim discount from them.
But even with my antagonism towards the subject, I’m suckered into watching this like the freakish surgery shows that run late at night.
The thing that gets me is that the producers never attempt to find out what happened to the old owners of the lots. There probably is a high percentage of the defaulting owners being dead. Watching the bidders poke their heads into the units and get mesmerized by the auctioneer makes it seem like they’re bidding to be grave robbers. They pick through the belongs like vultures devouring meat on bones of decaying cows – which is also my favorite show on Animal Planet. There’s plenty of time when you see a locker that can easily be understood as abandoned. The one full of dirty laundry and a cat urine soaked sofa wasn’t worth saving. People who figured it was easier to let the storage people toss it in the dumpster. But there are curious moments when there’s a true treasure inside. Once a guy found nearly $2,000 hidden in a painting. Why didn’t the person who rented the locker not just pay up their bill with their stash?
But why dwell on such an obvious question when you’ve got to find out what else is tucked inside various objects? Of the three shows, I prefer Storage Wars for two of the regular characters. Barry Weiss is hilarious. He’s got an old Los Angeles hustler charm to him. He’s willing to do weird things to get the edge on what’s inside the unit like bring night vision goggles, a small person on stilts and psychic sisters. He also has cool skeleton gloves when he’s doing the dirty work. While Jarrod Schulz gets the star billing, his wife Brandi runs the show. She’s six sextuplets short of a TLC series. She’s got plenty of great ballbuster moments. Why A&E doesn’t give her a full biography on their website is a damn shame. They give Darrell’s barely on camera son Brandon the dazzling bio. Give Brandi her due!
In the end, the shows do seems to speak of our rough economic times. People can’t even afford the rent. Others with money fight for their consumer remains. And we sadly witness stuff we hold near and dear get tossed into the dumpster since it isn’t fetching a dollar on eBay. Sometimes you are better off just setting stuff on fire.
When will Flea Market Queens, Plasma Princes and Copper Recycling Kings be coming to TruTV?
MILLION DOLLAR CAMPAIGN
To all readers on Madison Avenue; why haven’t any of you properly marketed smartphones and computablets with the right advertising slogan? What could the most genius way to sell your phone to America? Sit down. Dim the lights. Be prepared to receive the wowza moment that shall get you the executive washroom key. Ready? Here it is:
(Your Product) makes life an open book test.
The ads write themselves. A nerdy guy telling an auto mechanic that there’s no such thing as a Dual Gasperator for his car thanks to a quick search. A dumb jock telling a professor they’re so wrong on historical facts. A driver telling a cop that he can’t give him a ticket for that offense. Isn’t that the best part of having a smartphone with internet access?
The first Don Draper or Brian Kinney that drops me a line gets the deal done.
GREATEST X-RATED COMEDY EVER
This movie needs to get released on DVD by either Shout! Factory or Criterion. This is the movie Kevin Smith thinks he’s made.
HOW MUCH FOR A MONKEY SKULL?
My other new favorite show is Oddities on The Discovery Channel. This is about the Obscura Antiques and Oddities shop in Manhattan. Imagine Pawn Stars with Mike Zohn as Rick Harrison except instead of buying gold, he’s hunting down mummy hands and two faced calf heads. Mike’s assisted by Evan Michelson and Ryan Matthew in procuring only the best of Jim Rose-worthy bizarre items. I’m impressed since this is the type of cool and freaky store you’d imagine stumbling into while wandering through New York City. Sad to think that WalMart now wants to take over the Big Apple. Can’t wait to hear the intercom announce, “Clean up at CBGB aisle.” Oddities does need a visit from Chumlee although a drop by from Amy Sedaris was fun. This is where she bought outfits worn in her Simple Times: Crafts for Poor People book. Oddities gets shown on both Discovery and Science channels.
FACEBOOK HATES BUNNIES
How dare Facebook yank down Bunny Love’s profile. She’s an HBO superstar on Cathouse. Yet that doesn’t matter to Mark Zuckerberg and his little prude patrol. I miss my updates on the snow conditions in Tahoe.
FOX SHOUT!
Shout! Factory has made a deal with Fox to release a few of their films that haven’t been released on DVD. They’re going to come out with Sylvester Stallone and Ben Gazarra’s Capone, Peter Fonda’s drive-in epics (Dirty Mary, Crazy Larry, Race With the Devil & Fighting Mad) and Damnation Alley in the coming year. The first four titles hit the shelves this month with major stars in overlooked roles.
Lucky Lady gives the triple team of Burt Reynolds, Gene Hackman and Liza Minelli when they were at their prime. The trio take us back to the prohibition era when evil people thought they could cure America by banning booze. Liza plays a widow that takes over her husband’s smuggling business around San Diego. She enlists her lover (Burt) and a mystery partner (Gene) to work the boat. They sail out past the territorial waters of the US, get the bottles of booze and sneak them past the coast guard. Things get tricky when John Hillerman (Magnum P.I.) arrives to bring the law to the open sea. The big thing is the hint that the stars are into threesome action. It might have been a period piece, but they were a mod squad. There’s even a role for Geoffrey “I’m not Robert Pine” Lewis. Stanley Donen does a fine job recreating the time. It’s kinda like The Sting with Burt Reynolds. This came out in 1975 so Liza was still on her hot streak post-Cabaret.
11 Harrowhouse comes from that strange era when Charles Grodin was a cinema superstar. He plays a diamond merchant in England that gets a major chance with a major diamond. However things go wrong and the precious stone is swiped. The thieves don’t want the diamond. They want Grodin assistance on a huge theft at the title’s namesake address. He has to drag his girlfriend (Candice Bergen) into the criminal planning. There’s a trio of British greats filling out the cast with James Mason, Trevor Howard and John Gielgud. It’s far from an average jewel heist flick with enough talent on the screen to dazzle beyond the rocks.
Butch and Sundance The Early Days / Death Hunt is a Western double feature. After the success of the original film, the studio wanted its sequel. However it had to wait a decade and get new stars to play the playful outlaws. Instead of Paul Newman, the younger Butch Cassidy was Tom Berenger (Platoon). The Sundance Kid’s boyish face belonged to William Katt (Greatest American Hero) instead of Robert Redford. The good new is that they hired Richard Lester (A Hard Days Night, Three Musketeers & Superman II). He brings the action. There’s plenty of great supporting faces including future Buckaroo Bonzai cast member Peter Weller, Christopher Lloyd and Vincent Schiavelli. The film is a bit more comedic since Allan Burns wrote the script. You might recognize him as a creator of My Mother the Car, The Munsters and The Mary Tyler Moore Show. There’s plenty of slapstick as the duo learn the ropes to being train robbing outlaws. It’s interesting to think that William Katt was pegged as the next Redford before his successful career in Cinemax After Dark favorite films.
Death Hunt features Charles Bronson and Lee Marvin in their later years. Marvin is going after Bronson in the snowy wilderness. He’s a mountie who always gets his man. Bronson has zero plans from being nabbed. Marvin’s woman is Angie Dickinson. It’s pure macho as they race across the frozen mountains. It’s a chilled badass super cinema cocktail. This is based on a true story. Andrew Stevens appears in the film which is interesting since he made the Cinemax After Dark films that William Katt couldn’t book. The film was directed by Peter Hunt. He’s best known as the innovative editor on the first James Bond movies. He went on to direct On Her Majesty’s Secret Service – one of the three best Bond films. The action really looks great. This movie is meant to be experienced inside a man cave with the air conditioning blasted.
THE DVD SHELF
Hoodwinked gives another version of Little Red Riding Hood. The police interrogate the fairytale suspects to get the truth of the story. Famous voices are all over the project with Anne Hathaway as Little Red Riding Hood. Patrick Warburton goes sly as the Big Bad Wolf. The woodsman gets dumber thanks to Jim Belushi. Andy Dick voices a bunny. Case is solved since there’s no way Andy Dick isn’t guilty. The new release comes with both a Blu-ray and DVD so you can have one for the house and one for the car when it comes time to CGI dazzle the kiddies. It looks better in the 1080p of Blu-ray with Warburton’s voice wrapping around you. There’s deleted scenes, a commentary track from the filmmakers, a Behind the Scenes featurette and a piece on how to make your own animated film. This is more fun than Green Hornet.
The Fugitive: The Fourth and Final Season, Volume Two brings to an end the greatest television pursuit show of all times. Dr. Richard Kimble (David Janssen) has been running around the country in search of a one-armed man that he swore killed his wife. On his trail is Lt. Philip Gerard (Barry Morse). There’s a lot of other adventures before the finale lets the mystery of the homicide be revealed. “The Other Side of the Coin” gets Kimball framed for a robbery since the real crook is the sheriff’s son (Beau Bridges). “The One That Got Away” lets Charles Bronson (Death Wish) recognize Kimble. “Concrete Evidence” doubles up the character actors with Jack Warden and Harold Gould. Jack Lord isn’t all law and order on “Goodbye My Love.” He wants to frame Kimball in the murder of his wife so he can marry his mistress. “The Judgement” is a two part finale that finally gives us all the answers as to what happened the night Kimball’s wife died. I won’t spoil the ending. A bonus interview with composer Dominic Frontiere lets him say that Quinn Martin considered these episodes a major mistake. Since it ended the series, the show didn’t do that well in syndication. He wouldn’t make Star Trek money. The 15 episodes are on 4 DVDs. Now that The Fugitive is all on DVD, will CBS DVD please give us the last season of The Untouchables?
Night Catches Us is a tough drama about the return of a Black Panther (Anthony Mackie) to his Philly home in 1976. It’s not a warm homecoming since people swear he snitched out his fellow Panthers. His only real support is Kerry Washington. She ought to have a reason to hate his guts. It’s not an over the top film dealing with such an explosive topic. There’s a few faces from The Wire in the production. Wendell Pierce (Treme) gets to be a bit of the law once more. Jamie Hector (Marlo on The Wire) maintains his smoldering intensity in the role of DoRight. This is so much better than a Tyler Perry production.
Monsters is what happens when you combine a good story with the budget of a SyFy channel alien flick. It doesn’t always have to turn out flaky. A NASA space probe crashes in Mexico and unleashes intergalactic lifeforms that take over the northern part of the country and a bit of Texas. A photojournalist (Scoot McNairy) on the southern end of the infected zone gets a gig to bring back the boss’s daughter (Whitney Able). Their dangerous journey keeps getting derailed by greedy travel agents, shoddy equipment and giant spider-like monsters. The film becomes a bit of a romance as the two head North without a guide. This is finally a date film with aliens. It’s Love in the Time of Monsters. Some nerds might be disgusted that it’s not full of lasers and space ships zipping around with a rah-rah message. Not all low budget monster films have to feature Tiffany and Debbie Gibson wrestling in a wedding cake. Monsters should have been up for a Best Pic nom at the Indie Spirit Awards.
Ong Bak 3 gives a third (and supposedly final chapter) to Tony Jaa’s Thai action epic. He’s best known for bringing elephants into the martial arts genre. The film opens with Jaa’s Tien completely messed up by the wicked Lord Rajsena. There’s probably a really great cultural plot, but ultimately what makes this film work is the sadistic grace of Jaa. He knows how to not only dish it out, but take a beating. It’s like Passion of the Christ on his body. He’s not afraid to look like a bloody mess during his struggle. The locations around Thailand look amazing as Jaa unloads the fury. Jaa is pound for pound the best cinematic ass kicker going today. The bonus feature is the HDNet special about the film.
The Guardian: The Final Season wraps up Simon Baker’s first major US series. The premise has him as a partying attorney that gets busted on drug charges. His penalty is to perform 1,500 hours of community service. Since the first season, he’s gotten straightened up even though he has lapses. “Big Coal” has him fighting for a sick guy who is getting stiffed by his insurance company. Henry Gibson (Blues Brothers), Nick Searcy and M. Emmet Walsh (Blade Runner) guest star. “The Father-Daughter Dance” has Nick sue a fertility clinic for a white couple that had a black baby. But there’s a nagging suspicion that the wife might have gone outside the clinic. High School Musical fans will scream with Zac Efron appearing in “Without Consent.” Erik Estrada pops up in “The Bachelor Party.” These are the last 22 episodes of the series. Baker now is the star of The Mentalist so don’t feel too bad that series ended before hitting five seasons.
Have Gun Will Travel, The Fifth Season, Volume 2 wraps up the penultimate season with 19 episodes on 3 DVDs. Paladin (Richard Boone) continues to perform the dirty work necessary around the Old West. He’ll go anywhere and solve anything for a price. “The Exiles” brings him into international intrigue as he’s hired to go after exiled nobles that might have stolen bonds on their way off the throne. Another royalty in exile needs his services in “The Hunt.” However this time the guy wants to chase down Paladin since he’s bored by shooting elk. Harry Dean Stanton is a murdering rapist in “The Waiting Room.” “The Trap” presents more of Frank Sutton (Gomer Pyle‘s Sgt. Carter). William Conrad gets to go cowboy in “Man Who Struck Moonshine.” He’s running a still. “Coming of the Tiger” enters the great James Hong. Where is his Kennedy Center Honor? “Jonah and the Trout” hooks Bill Mumy (Lost In Space). Richard Boone is still cool after all these years as the man in black out to solve problems for a price.
ReBoot: Seasons 1 & 2 contains the revolutionary Saturday morning cartoon. Back in 1994, this became the first computer animated cartoon. The show was a bit like Tron in that it took place inside a Mainframe computer. Bob is the guardian of the area. He gets help with Phong, Dot Matrix, Enzo Matrix and their dog Frisket. They all must help defend their world from Megabyte, Hexadecimal, Mouse, Hack & Slash. They are computer viruses from an era when such evil didn’t come in an email letting us know they love us. Although Megabyte will enter core control chamber disguised as an upgrade. There’s a bit of nostalgia watching these old codes battling it out in the programming. This was a time before social networking became all the rage in the computer world. There’s 23 episodes spread over two DVDs. Youthful geeks will get a buzz out of the Computers 101 action. There’s an audio commentary that explains how they pulled off this CGI action 17 years ago. The kings of Facebook were kids watching this show back in the ’90s. You can order ReBoot: The Definitive Mainframe Edition directly from Shout! Factory’s website if you want all four seasons and bonus features.
BLU-RAY HEAVEN
The Reef was once given the more colorful name of Shark Bait. Hard to tell why they changed it unless parents were reluctant to give their kids a movie that suggests a feeding frenzy. The movie continues the Freddie Prinze Jr. genre of plucky young guy aching to get the girl. In this case he wants to hook up with a fish voiced by Evan Rachel Wood (True Blood). She’s a famous fish model on the coral reef. Freddie’s big rival is a shark that’s a little bit psychotic. He might get eaten. The CGI isn’t overwhelming and doesn’t quite dazzle on the Blu-Ray 1080p. Seems a big part of the budget went to loaded up famous voices including Andy Dick, Donal Logue, John Rhys-Davis, Fran Drescher and future Oscar winner Rob Schneider. The Reef is aimed straight at young kids. The shark action isn’t that angry and intense. The bonus feature is a DVD that you can run on the mini-van’s player to keep the little ones occupied.
Check out my other column, This Week In Trailers, at SlashFilm.com and follow me on TWITTER under the name: Stipp
PAUL – Screening
I could not be more excited to see this film, the final product of a project that nerds who appreciate Simon Pegg and Nick Frost have been hearing about for years. On purpose I’ve been trying to avoid anything and everything about this movie but it’s been hard because it has been everywhere. An alien, Comic-Con, a road trip, Jason Bateman, the laundry list of good things brewing within this movie’s run time is just scrumptious.
So, if you live in the Phoenix area and can make it to a screening on March 15 then send me your name to Christopher_Stipp@yahoo.com and I’ll get you entered to win a pair of passes to see this before everyone else.
SYNOPSIS:
Simon Pegg and Nick Frost (Hot Fuzz, Shaun of the Dead) reunite for the comedy adventure Paul as two sci-fi geeks whose pilgrimage takes them to America’s UFO heartland. While there, they accidentally meet an alien who brings them on an insane road trip that alters their universe forever.
For the past 60 years, an alien named Paul (Seth Rogen) has been hanging out at a top-secret military base. For reasons unknown, the space-traveling smart ass decides to escape the compound and hop on the first vehicle out of town – a rented RV containing Earthlings Graeme Willy (Pegg) and Clive Gollings (Frost).
Chased by federal agents and the fanatical father of a young woman that they accidentally kidnap, Graeme and Clive hatch a fumbling escape plan to return Paul to his mother ship. And as two nerds struggle to help, one little green man might just take his fellow outcasts from misfits to intergalactic heroes.
Paul is directed by Superbad’s Greg Mottola, from a story by Pegg & Frost. Joining the comedy’s cast are Jason Bateman, Kristen Wiig, Bill Hader, Blythe Danner, Joe Lo Truglio, John Carroll Lynch, David Koechner and Sigourney Weaver. www.whatispaul.com
ICE ROAD TRUCKERS: THE COMPLETE SEASON FOUR – Blu-Ray Review
I am a sucker for this show. Flat out, I am a fan of this series.
I don’t know about you but the History channel has been putting out the most consistent reality programming in terms of quality more than any network out there today. You have have your American Idol, your Biggest Loser, I’ll gladly take a series about people needing money like no one’s business. That’s your human drama, that’s where the real thrill comes.
Ice Road Truckers has always satisfied my need for good reality television if for no other reason than this series, like Deadliest Catch, has some seriousness attached to it. Meaning, I know that when the cameras go off these drivers are still living the life of people who are just trying to make ends meet. They’re not housewives, they’re not living an opulent lifestyle of fame, these are the blue collar workers who are doing the things that really are keeping the whole economy moving.
There is real money involved here. There is the difference between someone making rent this month and being sidelined enough to make it difficult for them to keep living their life. It’s like a game show and drama all in one. I have no way of explaining why this series strikes a chord with me so deeply but this series is worth checking out, it’s worth buying and owning. There is just something about watching the trials and tribulations of people who have some real skin in the game and there is no better bet on DVD within the reality genre than this series.
About the Blu-Ray:
THE #1 HISTORY® SERIES IS BACK AND MORE DANGEROUS THAN EVER!
Just when you thought trucking couldn’t get more dangerous…the new season of Ice Road Truckers is back, barreling onto blu-ray and DVD in ICE ROAD TRUCKERS: THE COMPLETE SEASON FOUR! In this top-rated season, reaching over 3.5MM viewers, the drivers return to Alaska, hauling their biggest loads ever across the most dangerous terrain they’ve faced. But this year, trucking critically needed cargo north to the oil fields of Prudhoe Bay is just the beginning”¦
In season four, the drivers will tackle frozen rivers and swamps out beyond the Dalton Highway, hauling supplies to some of the most remote towns of the great white north. Reigning king, Jack Jesse, looks to defend his title, and Lisa Kelly, one of the only woman truckers on the haul road, fights to prove herself in the male-dominated profession. Rookie Ray Veilleux, who recently lost his business in the lower 48, has come north to run the road and keep his struggling family afloat. And in a decades-long rivalry, veteran drivers Hugh Rowland and Alex Debogorski are back racing neck and neck. The stakes are high as the dash for cash continues. Don’t miss out on all the excitement as the white-knuckle new season featuring over 12 hours of thrilling drama, as well as additional footage arrives on DVD and blu-ray this February!
Experience all 16 episodes of this landmark series on 4 Blu-ray Discs.
DISC 1: Breaking Through / The Polar Bear Returns / Facing Down The Blow / Monster Storm Over Atigun
DISC 2: Trapped on Thin Ice / Danger at 55 Below / Avalanche! / Lisa s Monster Megahaul
DISC 3: Blood on the Dalton / The Ace vs. The Ice / A Rookie s Nightmare / The Dalton Strikes Back
DISC 4: Convoy to Hell / A Legend Meets His End / Deadly Melt / New King of the Dalton / Bonus
BIRDEMIC – DVD Review
Yes, it’s silly but, I assure you, it’s worth it.
I haven’t a clue if your local bankrupt Blockbuster, or your precious Netflix has the stones to carry a powerhouse like Birdemic but, if it does, show your DVD player who’s boss and dominate this movie. What ought to be one of the worst movies of 2010 is actually a fun piece of cinema if for only the fact that this film exists as a reminder of what’s possible when you want to make a film that is equal parts schlock and brilliance.
Now, what makes this movie so entertaining is its awfulness. I realize that’s a contradiction in terms but this movie is purposely bad in terms of its technical competencies. The dialogue is stilted, the sets are bare which makes you feel the fact that they were going for a true film school experience, the acting is nonexistent, the effects are a joke but Birdemic is just fun and that’s what’s been missing from film for quite some time. We herald technical filmmakers for their prowess but this is all about having a good time. It’s about getting back to that experience of why people like movies in the first place and the amount of love for the medium is dripping from every scene.
This may a movie about an invasion of birds but William Shatner would be jealous if he knew some fowl is threatening to overtake his spider adventure as my go-to film from now on as my favorite piece of cheese.
About the DVD:
NOT SINCE HITCHCOCK HAVE OUR FINE FEATHERED FRIENDS WREAKED
SUCH HIGH-FLOWN HAVOC AS IN THIS NEW INSTANT CULT CLASSIC
BIRDEMIC: SHOCK AND TERROR
The Soaring Midnight Movie Sensation of 2010 Swoops Down Onto Blu-ray and DVD on February 22, 2011, Carrying a Load of Must-See Bonus Material in Its Talons
“A high-flying cult hit!” ““ The New York Times
“A cult classic ““ the best worst movie of all time!” ““ CBS News
New York, NY ““ It is a tender love story. A graphic horror shocker. An urgent ecological warning. And around the world, it became the must-see midnight movie sensation of the year. From writer/producer/director/visionary James Nguyen ““ The Master of the Romantic Thriller ““ comes BIRDEMIC: SHOCK AND TERROR, perching onto Blu-ray and DVD from Severin Films on February 22, 2011, with an SRP of $29.98 and $24.98, respectively.
An outrageous homage to Alfred Hitchcock’s The Birds, BIRDEMIC: SHOCK AND TERROR caught the attention of such mighty media powers as CBS News and The New York Times when Severin Films released it in more than 50 cities, where it enjoyed sold-out midnight showings. Judged an instant cult classic and hailed for its chutzpah as much as its cinematic ingenuity, the movie is truly a one-of-a-kind experience.
Alan Bagh stars as Rod, a Bay Area software salesman (named in apparent tribute to The Birds star Rod Taylor) who has just made a million-dollar deal. Riding high on his success, Rod snags a date with Nathalie (Whitney Moore), his former high school classmate who has become a knockout lingerie model. They hit if off immediately but awake from their first night together in a quaint seaside town to the horror of eagles and vultures swooping down and attacking the locals, turning this picturesque locale into an avian hell on earth.
Hollywood legend Tippi Hedren of Hitchcock’s 1963 classic makes a special appearance in the global cult movie phenomenon that Videogum says “might end up being the greatest film of all time!”
In addition to equally high praise from The New York Times and CBS, BIRDEMIC: SHOCK AND TERROR was called “our crazy new movie obsession!” by Entertainment Weekly, and Bloody-Disgusting.com described seeing it as “the greatest night of your life.”
The much-anticipated arrival of the movie on DVD and Blu-ray comes as the sequel, Birdemic II: The Resurrection, is being readied for theatrical release in 2011.
Both the Blu-ray and DVD of BIRDEMIC: SHOCK AND TERROR are filled with an abundance of hilarious special features. Additionally, two songs, “This Is Birdemic” and “Hangin’ Out With My Family,” are being released to coincide with the movie’s DVD/Blu-ray release.
BIRDEMIC: SHOCK AND TERROR DVD & BLU-RAY EXTRAS
Audio Commentary With Director James Nguyen
Audio Commentary With Stars Alan Bagh and Whitney Moore
Deleted Scenes
Birdemic Experience Tour Featurette
James Nguyen on “Movie Close Up”
MOVIEHEAD: The James Nguyen Story Teaser
Birdemic Experience 2010 Trailer
THE LAST LOVECRAFT: RELIC OF CTHULHU – DVD Review
This is film is amazing.
Not knowing what this movie was about, only coming into contact with Lovecraft in passing as I grew up in the ranks of reading fiction that was more Steinbeck than Stephen King, I had no idea that I would enjoy this as much as I did.
The long and short of the narrative is that the last known descendant of H.P. Lovecraft is the only person who can prevent a horde of Lovecraft-ian creatures from taking over the world. Naturally. What makes this such a fun film that you ought to seek out and see as soon as possible is its genuine ability to be funny and entertaining. The bar is already set low because it’s an independent feature but that shouldn’t take away from the solid humor that ranges from the pure icky of the monsters that are shown to exist in this reality to the purely idiosyncratic as three rubes fumble towards saving the world without getting themselves killed. It would be easy to simply dismiss the story as a machination of tired tropes we’ve all seen when it comes to invading monsters but it’s the heart that this movie has that makes it head and shoulders a movie that needs to be seen.
The mix of sci-fi, fantasy, and straight up comedy is brilliantly done and is deftly executed. If you would like to see a trailer check it out here but do yourself a favor and get this rented, bought, and enjoy.
About the DVD:
THE LAST LOVECRAFT: RELIC OF CTHULHU
Genre Bending Film Comes to Dark Sky Films DVD on February 15, 2011
“What a great film ““ the laughs keep coming and they never let up.”
““ The Film Reel
“a strong, fun independent movie that Lovecraft fans will really love.”
““ John Allison, RowThree.com
Mankind is threatened with extinction, and it’s up to three geeks and a salty sea captain to prevent disaster in the uproariously frightening THE LAST LOVECRAFT: RELIC OF CTHULHU. The movie, inspired by the writings of horror icon H.P. Lovecraft, will thrill aficionados when it reaches DVD via Dark Sky Films and MPI Media Group on February 15, 2011, with an SRP of $24.98.
Bored office drone Jeff (Kyle Davis, Friday the 13th) is informed by a mysterious elderly professor that he is the last living descendant of H.P. Lovecraft, the revered author of such horror/fantasy classics as The Shadow Over Innsmouth, Re-Animator and the Cthulhu Mythos stories. Jeff is thus the only person who can prevent a race of evil creatures (drawn from Lovecraft’s imagination) from wreaking havoc. The mild-mannered Jeff must protect an ancient relic and prevent it from falling into the clutches of the monsters, which would bring about the release of all-powerful evil known as Cthulhu. Jeff enlists the aid of his co-worker Charlie (screenwriter and producer, Devin McGinn, Bones) and a husky Lovecraft aficionado, Paul (Barak Hardley, Greek), and together they put their slacker lives on hold to embark on an icky and hilarious mission to save the world. Along the way, they get some help from an a sea captain with a fish-boy son ““ and discover that Lovecraft’s horrific monsters, including a T-shirt-wearing reptile man, are far from fictional.
Part road movie, part buddy movie in the vein of Superbad and The Hangover, THE LAST LOVECRAFT: RELIC OF CTHULHU is also a supremely creepy tribute to H.P. Lovecraft. No less an authority than Stephen King called him “the 20th century’s greatest practitioner of the classic horror tale.” Lovecraft’s tales of Cthulhu and other stories have spawned movies, books, toys, games, apparel and collectibles.
An Official Selection of the Toronto After Dark Film Fest and the Slamdance Film Festival, THE LAST LOVECRAFT: RELIC OF CTHULHU has fans and critics alike in its thrall. Todd Brown of TwitchFilm.net called it “a loving ode to both B-grade monster cinema “¦ and the works of H.P. Lovecraft. “¦ so slapdash charming that it’s impossible not to enjoy the ride.” “Funny from start to finish and full of some great creature effects,” said The Film Reel. Director Henry Saine “brings to life some seriously creepy Lovecraftian sea monsters with equal parts blood, slime and slapstick,” wrote Roxxanne Benjamin at Bloody-Disgusting.com. And Toronto Film Scene said, “No one and no thing takes itself seriously in THE LAST LOVECRAFT, and that’s definitely part of its charm “¦ both gory and funny (one of the best combinations!).”
Extras on the DVD include:
Trailer
Cast Commentary
Still Gallery
Deleted Scenes
Animation Tempts
A FILM UNFINISHED
In celebration of A FILM UNFINISHED being released on March 8th through Oscilloscope I am re-running the interview I did with director Yael Hersonski about a movie that is important, is stirring, is emotional, and is altogether powerful. Consider checking it out if you can as it certainly is one of those documentaries that shakes your heart while telling a story that needs telling.
Yael Hersonski- Interview
Just when you thought that everything has been unearthed about what happened to Jews in the holocaust filmmaker Yael Heronski unearths documentary footage, shot by Nazis, about life in a Warsaw ghetto. It was mere months before this very same ghetto would be purged of its residents, the remainder still around shipped off and sent to their certain death.
What Heronski found in the footage that was once thought complete, the movie on display here showing the lengths to which the Nazis wanted to craft their own narrative that stretched the truth about what was happening inside these claustrophobic walls of half a million Jews that were contained within 3 square miles. From retakes that had poor, starving children looking just as forlorn and despondent as they did the first time they were put in front of the camera to the indignities that women had to suffer as their nude bodies were objects to be film and exploited, as if they were cattle to be assessed, are things of nightmares. Yael wanted to make a movie that went beyond outrage, to showcase the pure and unrepentant horror that were these men who took this film, and she did exactly that.
Praised with reviews from the New York Times and the Los Angeles Times this is no ordinary documentary about the atrocities of an army bent on complete ethnic cleansing, this is a singular portrait that embodies the kind of inhumane and cruelty man is capable of. It may very well be presumptuous to say this is the kind of film that belongs in history classes everywhere but it does. It’s a historical document that cuts through the Hollywood glamorization of a time that time would like to forget but never will.
Oscilloscope Laboratories, the production company putting out A Film Unfinished and headed by Beastie Boy Adam Yauch, recently gave the MPAA a piece of its mind when the rating body saddled the film with an R rating. A sad decision that prompted Yauch to respond: “This is too important of a historical document to ban from classrooms. While there’s no doubt that Holocaust atrocities are displayed, if teachers feel their students are ready to understand what happened, it’s essential that young people are given the opportunity to see this film. Why deny them the chance to learn about this critical part of our human history? I understand that the MPAA wants to protect children’s eyes from things that are too overwhelming, but they’ve really gone too far this time. It’s bullshit.”
Yael spoke with me last week and we talked about the film which is now open in New York and Los Angeles and will be opening wide as the weeks roll on.
Check out the movie’s official site for release dates about when it will be coming to a theater near you.
CHRISTOPHER STIPP: Thank you for fitting me into your schedule. You are probably all sorts of busy.
YAEL HERSONSKI: Given that I am leaving on Sunday, I am trying to use every minute here.
CS: I just read what the New York Times had to say about the movie. That must be very uplifting.
HERSONSKI: Yes. I was very fortunate to have this kind of a review.
CS: I would like to just get right into it and talk about, now that the finished product is now out and people are responding to it in a positive way, how did you approach this project and how were you the one to put this together?
HERSONSKI: I think it was after I decided to do a project on the Holocaust not only because of the Holocaust’s inhumanity and inconceivable horror but mainly because it’s marked the beginning of the systematic documentation of the Ghetto. I thought of it also as a case study of the images we’re bombarded with today. I think there is a kind of numbness today and we cannot emotionally digest what we are actually seeing. We are watching, but I don’t think we want to see anymore.
I was thinking, too, of where it all started and I think it all started there, at the point of documentation. Then I decided to approach one of the most prominent film producers in Israel, of documentary films, and he gave me a list of footage I should watch. To just watch and try to understand the most familiar footage they used. And that film was among them. And when I saw it, I was shocked. I literally experienced a kind of anxiety not only because of the images but also because I knew some of them and saw them in so many other films I was never able to understand what I was seeing because it was out of the full context. Have you seen the film?
CS: Yes, I have.
HERONSKI: OK, so the scene in which you see the naked women going into the ritual bath, at the Polish museum they called the footage “Ritual Bath.”. I thought it is hard to believe for me today but when I saw it then I couldn’t realize how anxious and terrorized and terrified these women were because it was titled like an objective documentation of real life inside the ghetto. Being able to see the whole sequence, however, I suddenly saw much more. It was the same image but I couldn’t and didn’t realize that these women were having something very close to an anxiety attack and they had a good reason because they were naked and surrounded by uniformed men who were pointing cameras at them. It was a terrifying experience and I think in learning about how these images were made shifts the place of the horror to its real place.
CS: And that leads into something I was going to talk to you about. I know there are moments in the film where moments are done again, and again, and again, and to my eye I can’t see what they were doing so many takes for. It’s as if they were obsessing over a shot they wanted to get perfect. Did you try and understand the actual filmmaking process of what they were obsessing about?
HERSONSKI: I have no idea. Eventually when we see the children just gazing at the window shop of the meat store that’s all they had to do was just stare. Period. We had something like seven takes of this same action. I don’t know what their problem was. Maybe the lighting was not satisfying. I have no idea. But one thing is clear here. This is one of the most amazing moments I read in the protocols of the Nazis with the camermen. It was written in German so I read it slowly. “It was very difficult for us to shoot this film”¦” And I’m sure, at this point, I’m going to read an emotional confession and the next line is, “because we didn’t have enough lighting equipment.” It was difficult because they didn’t have enough film equipment.
These guys were occupied with the lighting and all the small details on how to make the shot and just not to see ““ the ability to see the ability to watch something – but not do see. Inside the ghetto they were filming but they are not realizing, not able to realize what it is they are perpetrating.
CS: And it strikes me, you talked about it earlier, their preoccupation with something that was completely irrelevant ““ the level of suffering at their own hands ““ that they are meting out. The men who film this are just completely numb to what they’re doing and I think it’s almost that you can just extrapolate it to the larger picture of Nazism in general. I am just astounded that they were able to do this without any sort of moral hesitation ““ for lack of a better word.
HERSONSKI: I think it’s such a different situation that we not only know, but can imagine, that I preferred not to judge the cameraman ““ not to judge what he is saying because the protocols are what they are. I didn’t change one comma, one word, from what he was saying in the very strange phrasing in German that he used. I don’t know and I don’t want to guess what he knew or didn’t know or whether he realized what he was doing while doing that and what he realized just after the war. I just don’t know.
I guess that if it was not conscious that he’s part of something ““ if it was not in his conscious level, maybe a subliminal – because in fact, after the war, he did change his profession and he was driving to the east to the film archive. Somehow he managed to find his own cameraman, take all his reels, and took them home and burned it. This is not a series of actions of someone who feels innocent. I feel that they cannot understand the reality of living inside the ghetto, therefore I won’t bother even to imagine how it feels to film there. But for me what was quite astonishing to think about was the fact that 1942 was one of the last years of the ghetto and was one of the most horrendous. 100,000 people died from hunger and diseases and you could see buildings that were full of families really enduring hell.
The reality is that some of this is documented in film like raw material for their own audience. The action of filming. It was one of the most extreme examples of propaganda filmmaking. I don’t think it’s completely alien from contemporary filmmaking that we practice as it is an art skill. When the war was over people laughed and when people stopped suffering around the world we moved on. Easily, I can tell you we live in such an area. The filmmakers documenting the suffering of the Palestinians for a long time are doing so now and I’m trying to understand what does it mean to go to the occupied territories to document suffering of others and go back to your comfortable life.
What does that mean? Many films actually make their point but it doesn’t change the fact that people are still suffering. So I am just raising questions, I don’t have answers.
CS: Is that frustrating as a documentarian or is this just part of the job to raise the questions and not really answer them?
HERSONSKI: I have a very interesting confession with one of the filmmakers that I appreciate the most in Israel. He’s also a political activist and when we were talking about that we came to the conclusion that making films and being an activist cannot be the same thing. Not being an activist by making films. Making films is a visual way of thinking about the world, and reality, in a very deep manner. It’s probably the most complex medium we have, to make something about our perception of reality but it’s not about making a change.
CS: And that’s interesting because I know there are some documentarians out there who use this form as a platform to push their own theories, theses, as they have an idea of how the world looks and craft that as they see fit. I think this is one of the reasons why this film works is because it doesn’t demonize ““ it literally takes the risk of showing the events as they happened and to let the horror speak for itself. It’s a risk I think some filmmakers have taken and I think you did it as well. That must have just clawed at you, you must have wanted to make some kind of comment about the filmmakers and where they were coming from.
HERSONSKI: Yes. That’s exactly what I was trying to do and not to do; trying not to be on the front page because something which is so much more complex and real speaks for itself that I could have very easily done that. I thought making this film which I thought was first collecting lots of materials and then discovering them and I felt that there was something here that needs to be told but my part here is to be a storyteller and not more than that. It’s a story that shed light on the way we tell stories, let’s put it that way. So I feel I have done my part in collecting the pieces but not more than that.
CS: And if I could ask you just one more question before I let you go, bringing in the survivors of the ghetto to watch the film, one at a time. That was obviously a tough moment for all involved as you probably didn’t know what kind of reaction you would get. How was that build-up when you knew that was going to happen? Did you have anything in mind of how you wanted things to go or was it really just, “Let’s show them the film and just get their reaction”?
HERSONSKI: It was exhausting, difficult, and mysterious. I knew it during filmmaking. It was something that became my nightmares before I did it. Because I knew of the survivors and know how little we know about what they went through. It was extremely difficult for me to ask them to do that.
First of all, I wanted them to know exactly what it was about. They could not imagine it themselves because they didn’t know what the footage was but I explained to them. I didn’t want to intensify the experience of being confronted with these images as much as I could. As well, I knew they wouldn’t have a second chance to see the footage not because they wouldn’t be able to show up again but you wouldn’t want to show this footage to these people again. We have one chance here and if you blow it up it is your business. I really wanted to make sure that they saw these images and commented on them in the best way they could. These people, it was hard for them to see the uniform.
I explained to them, upfront, and those who were hesitating to do it or not I said we prefer they don’t come. The ones who had hesitations had good reasons to hesitate. At the moment I heard them hesitate I said, “OK, I prefer not to do it.” Those who came were the ones who really insisted to do it. Felt great urgency to do it. And felt also that their own personal task to have the final word here over the images because they were the only ones that are alive, that are actually hiding from that film crew, and when we see these images we can’t imagine them several meters away and to have the opportunity to watch these images from a such different perspective. After more than 70 years it is an overwhelming situation. I am speaking here on my own behalf. Of course, I didn’t want to torture them too much, they saw the film, we talked about 30 minutes maybe one hour, there was one woman that was stronger than the others and that’s it. And they wanted to see it again. The finished film, edited. They did come to the screenings and were quite touched by the result.
CS: It’s a film that I think should be required viewing.
HERSONSKI: Thank you so much.
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