Tron: Legacy – The Cinefantastique Podcast 1:44

Garrett Hedlund in TRON: LEGACY

In the latest episode of the THE CINEFANTASTIQUE PODCAST, Steve Biodrowski, Lawrence French, and Dan Persons attempt to build their own consensual reality after a viewing of Disney’s return to the gaming grid, TRON: LEGACY. Has visual artistry overrode engaging narrative in this sequel? In a cyber world portrayed as a thriving urban civilization, how many audience members want to waste time in a virtual dance club? Who should preside over such a world: a young, menacing, but virile Jeff Bridges or an older, wizened, fatherly Jeff Bridges? And how long will it be before Siren action figures become the top-selling item over at Entertainment Earth?
Plus news, theatrical and home video releases, and just general, good chatter.


The Tempest & Amazing Stream-of-Consciousness Episode – CFQ Post-Mortem Podcast 1:43.1

The Tempest - Prospera and her daughter confront Caliban

Having survived the rocky shoals of THE CHRONICLES OF NARNIA: THE VOYAGE OF THE DAWN TREADER, Steve Biodrowski, Lawrence French, and Dan Persons decide to kick it freestyle (as the kids all say — the kids do all say that, don’t they?) in a wide-ranging, nay, recklessly random episode of THE CINEFANTASTIQUE POST-MORTEM PODCAST. Covered in the discussion are Larry’s impressions of Julie Taymor’s daring adaptation of THE TEMPEST, Dan’s reactions to Bill Plympton’s impertinent animated short THE COW WHO WANTED TO BE A HAMBURGER, and Steve’s serene confidence amidst his critical brethren. Plus vag-monsters, John Lasseter, the COMMUNITY Christmas special, competing George C. Scott impressions, and the waning tyranny of THX Certification.


Supernal Dreams: Vincent Price Day – October 25, 2010

Vincent Price in Theatre of Blood
Vincent Price in Theatre of Blood

Seventeen years ago on October 25 1993 at the age of 82, Vincent Price met the end of his adventure on Earth. To commemorate his passing, several Facebook groups are having a “Vincent Price Day” including Rick Squire’s The Vincent Price Exhibit. As is well-known, Mr. Price was a life-long devotee of all the arts and often defended the motion-picture as a great art form before it was fashionable to do so in the fifties and early sixties.   In this homage Price wrote in 1986 for Forrest J. Ackerman,  he offers a splendid tribute not only to “4 E” but also to the many fright films that will forever be associated with the name of Vincent Leonard Price.


A tribute by VINCENT PRICE

March 24, 1986

I’ve done my share of horror films. Some were meant to be, some weren’t. Some actors are so connected (to the genre) in the public’s mind, that they mind the association–I do and I don’t. All of us have done other things, many of which we are more proud of than the horrors, but what the public remembers demands a certain amount of gratitude from all of us. The public can so easily forget.

Now there are people whose role in life is to perpetuate the public’s memory in certain ways, in specific areas of every field of endeavor. Some do it with a heavy hand and some with a touch of genius. Some even combine genius with humor and they are the very special few. To name the one special, unique, all by himself, we must come up with the name of Forry Ackerman. He is a gentle wit, full of fun and funniness. He loves a quip and is not above treating us to some striking punning. He wrote me that, “Twenty-seven years ago I brought forth upon this continent a genre magazine conceived in jeopardy and dead-icated to the proposition (13) that all monsters are cremated evil.” Now you see what I mean. And not even the slightest apology to Lincoln.

Quite seriously, Forry has indeed punned, joked and consciously smiled his way into millions of young hearts. To appear on a cover of his magazine is to become immortal. In a rather ghoulish way. The recipient of the cover honor can be sure of thousands of imitators. He or she takes a place in the make up’s of many Halloweens. They become collector’s items and are framed, hung, adored and almost worshipped throughout Monsterland. Landis, Lucas, King and Spielberg all owe him some of their devoted followers. Single handed he has kept alive many a lessening legend putting them under his list of ghost writers on the heading of his always imaginative stationary. Tod Browing, George Zucco, Jack Pierce, as well as the obvious greats, Karloff, Lorre, etc.

On a personal note he is a great and loyal friend and career supporter. When you’re with Forry or 4 E and his enchanting wife Wendayne at a movie opening or film festival as I was two years ago in Madrid, or at some especially enchanted Hollywood affair you know you’ve in the company of royalty. In his kingdom of the bizarre, weird and wonderful he is supreme ruler, keeper of the keys to monster immortality. He pictures himself crowned with Jack Pierce’s famous top part of Frankenstein’s monster’s head.

Forry has made monsters fun, vampires good company. His address in Hollyweird, Karloffornia has become a Mecca for young monster lovers and serious students of one of the oldest cinema genres. He is a collector extraordinaire as he truly collects extraordinary things and has made the grand gesture of giving it to the city of Los Angeles, which with it’s typical lack of concern for an industry that has made it famous, still doesn’t have a place to house it.

Eventually he and his collection will become monuments to a (but for him) much neglected cinema art form. We all owe him a great debt for keeping alive his favorite genre of movies and best preserving its mementos. We should thank him for his fun, devotion, and generous giving of it to his avid public. His fans are legion.


Click to purchase download
Click to purchase download

Celebrate Halloween this year with the magical voice of Vincent Price:

WITCHCRAFT & MAGIC: An Adventure in Demonology. Capitol Records 1969 SWBB-342 Stereo. Two Record Set. Written and Directed by Terry d’ Oberoff. Producer: Roger Karshner. Electronic score by Douglas Leedy.

The secrets of witchcraft and magic revealed by Vincent Price, distinguished actor and demonologist.

A Note from producer Roger Karshner:

“In this album we have attempted to bring to the listener the essential elements of Witchcraft and Magic, authentically and dramatically. Terry d’Oberoff’s script is historically sound and is beautifully written, with satanic, dramatic brilliance. Mr. Price’s interpretation is indeed masterful. His voice surrounds you, lifts your mind and transport it across the landscape of Hell.”

This is easily one of the best of Vincent Price’s many sound recordings. Here Price’s superb dramatic reading is beautifully enhanced by an inventive use of stereo sound effects that most of Price’s other recordings lack. There is also a very subtle music score and atmospheric readings from three un-credited actresses who play the witches from Shakespeare’s Macbeth.

Wonder Awards 2009: Rationale of a Conflicted Contrarian

As cinema buffs and Hollywood’s elite await the Academy Awards this weekend, Cinefantastique Online has addressed the unfortunate lack of critical appreciation for films of the fantastic through its 2009 Wonder Awards. As in any other subjective human endeavor those of us who voted on the nominations disagreed at times with the selections of others. While that is to be expected, some of us took it a step further and split our votes in certain areas in ways that might seem in conflict. For my own part, I voted for WALL-E as the Best Film, and also selected THE DARK KNIGHT for Best Screenplay (by Jonathan and Christopher Nolan). In what follows I will explain the rationale for my voting process, and also comment on why, in my view, HELLBOY 2 should have won for Best Makeup over BENJAMIN BUTTON.
I must admit that voting for this year’s Wonder Awards was difficult. Films of the fantastic are now both plentiful and produced with great quality, and in a way I was thankful to be placed on the horns of a dilemma as I voted from the list of nominees. When it came to my selection for Best Film I immediately experienced great personal angst, being torn between WALL-E and THE DARK KNIGHT as two exemplary films for the year. I decided early on to skip this part of the voting process and to make my other selections before coming back to my deliberations in this category. This tactic was partially successful in that it delayed the inevitable in the Best Film Category, but as I scrolled through the categories and nominees I faced similar dilemmas and a developing conflict over not only individual films, but the best way in which to acknowledge their contribution to fantastic cinema in differing categories. I wondered, was it necessary to vote holistically for a given film throughout each of the different categories, or if not, what about the possibility of more diversity in voting that recognizes the strengths of both films in differing ways?
The way I resolved my conundrum, as I mentioned at the beginning, was to select WALL-E as Best Film, and THE DARK KNIGHT for Best Screenplay. How then to explain my conflicting choice? In my thinking WALL-E was the best overall cinematic experience of the fantastic for 2009. This film took computer animation to new heights, from the height of its realism and the detail of its opening scenes as it depicted a dystopian vision of a planet decimated by pollution, to the depth of emotion the animators were able to invest in its leading characters, Wall-E and Eve. In addition to its visual beauty, the film also told a very human story through its robotic characters as well as the humans adrift in space and in need of a healthy reconnection with the Earth, their own bodies, and community. Surely the screenplay was a part of this great film, but in my view it is possible to recognize the overall value of this film as Best Picture, and yet to leave room to acknowledge the value of another strong nominee as a great candidate in another category but which fell short of Best Picture.
This brings me to my selection of THE DARK KNIGHT for Best Screenplay. This film took the box office by storm last summer, which is intriguing in that it was inspired by Frank Miller’s depiction of the character in his graphic novel BATMAN: THE DARK KNIGHT RETURNS (1986). As I have commented on my blog, the box office success of THE DARK KNIGHT is somewhat surprising in that it addresses issues related to the Bush Administration’s “war on terror” and, like Frank Miller in the graphic novel, seems to do so in ways that approve of vigilantism on issues like the wiretapping of private citizens and violent means of prisoner interrogation. Through such vigilante actions, the heroes presented in THE DARK KNIGHT, both Batman and Commissioner Gordon, are late modern characters reflecting the ambiguity of our times and a recognition that there isn’t always a clear line between good and evil, no good guys dressed in white and bad guys in black with clear demarcations between them.
This most recent depiction of Batman moves him from the realm of the cardboard comic book characters of the past and places him in a scenario closer to our muddied world where, following Nietzsche’s dictum, the hero has looked into the abyss and the abyss has looked into him. As a result, the hero becomes a little darker, and as Heather Duda notes in The Monster Hunter in Modern Popular Culture (McFarland, 2008), the heroic monster hunter must also be acknowledged as being a little monstrous himself (and now herself with figures like Ripley and Buffy in the ALIEN films and BUFFY THE VAMPIRE SLAYER, respectively).
I grant that many viewers may not have taken such depth of social commentary away from their viewing of THE DARK KNIGHT, but it is there as some have acknowledged. The more complex and ambiguous Batman may be attributed to the screenplay writers who took the various conceptions and expressions of Batman in the past and then updated him in light of Miller’s graphic novel and contemporary cultural considerations so that he could be a hero for our time responding to our fears and foes. For rising to such a difficult challenge through their writing I believe that THE DARK KNIGHT should be the recipient of the Best Screenplay award, even while the film falls short overall in my estimation as Best Film.
Ron Perlman in waist-up makeup for Hellboy 2In the area of Best Makeup the clear winner in my opinion is HELLBOY 2. Yes, the makeup effects of THE CURIOUS CASE OF BENJAMIN BUTTON are impressive as Brad Pitt’s character ages in reverse. They certainly compliment this great fantasy story, but in my view they do not make an overall contribution to the film as HELLBOY 2’s makeup effects do or to the depth at which we see them in the latter’s makeup efforts. In the case of BENJAMIN BUTTON the makeup effects must be believable and are certainly integral to the storytelling as we experience the strange journey of a man who moves forward through time and yet grows biologically younger. But the makeup effects in this case are not as broad or as central as in HELLBOY 2. In Hellboy’s world we shift from a fantasy story within the real world as in the case of BUTTON, to the portrayal of a fantasy world involving elves and fairies who inhabit realms closer to ancient mythologies and fantasy stories like Tolkien’s Middle Earth. The makeup effects created for HELLBOY 2 are thus more broad, rich in expression, and central to the storytelling, and for these reasons HELLBOY 2 is the clear winner over THE CURIOUS CASE OF BENJAMIN BUTTON in my thinking.
Surely we can agree to disagree over these issues. I know that my view many times is in the minority. Personally I didn’t find THE EXORCIST scary, and I have no idea how Bravo could include scenes from WILLIE WONKA & THE CHOCOLATE FACTORY and THE WIZARD OF OZ in their “100 Scariest Movie Moments,” or choose JAWS as the number one film of fright. But heck, they didn’t include me in the talking heads commentary or ask my opinions in the matter. I recognize that at times my views are outside the mainstream, even among fans of the fantastic. But at least with my selections for the 2009 Wonder Awards readers have a glimpse into my conflict as a contrarian.