- Published on
So many movies ... so much to celebrate!!!
On this day in 2014 (in the U.S.), Mega Shark Vs Mecha Shark submerged for its broadcast television premiere! Directed by Emile Edwin Smith from a story by H. Perry Horton and Jose Prendes, the film starred Christopher Judge, Elisabeth Röhm, Debbie Gibson, and others.
According to our friends at IMDB.com, here's the plot summary:
"A new mega shark threatens to destroy humanity. The government creates an exact robotic copy of the shark, either equal to or greater than the original. Now they must fight to the death while people and whole cities get in the way."
Editor's Note:
Because some folks subsist on knowing such consequential fodder, there are presently four films that exist within the wide, wide world of the Mega Shark series from The Asylum. The titles are Mega Shark Vs Giant Octopus (2009), Mega Shark Vs Crocosaurus (2010), Mega Shark Vs Mecha Shark (2014), and Mega Shark Vs Kolossus (2015). So ... be careful out there ... and everybody out of the water!
-- EZ
On this day in 2014 (in the U.S.), Mega Shark Vs Mecha Shark submerged for its broadcast television premiere! Directed by Emile Edwin Smith from a story by H. Perry Horton and Jose Prendes, the film starred Christopher Judge, Elisabeth Röhm, Debbie Gibson, and others.
According to our friends at IMDB.com, here's the plot summary:
"A new mega shark threatens to destroy humanity. The government creates an exact robotic copy of the shark, either equal to or greater than the original. Now they must fight to the death while people and whole cities get in the way."
Editor's Note:
Because some folks subsist on knowing such consequential fodder, there are presently four films that exist within the wide, wide world of the Mega Shark series from The Asylum. The titles are Mega Shark Vs Giant Octopus (2009), Mega Shark Vs Crocosaurus (2010), Mega Shark Vs Mecha Shark (2014), and Mega Shark Vs Kolossus (2015). So ... be careful out there ... and everybody out of the water!
-- EZ
- Published on
As a youth, I largely missed out on the whole phenomenon surrounding Rod Serling’s The Twilight Zone in television syndication.
Oh, it was on – I believe – in two different markets nearby in those days; but the issue for me was that these episodes aired well after bedtime, making them damn near impossible for my consumption. Occasionally, they would turn up in some spot a bit earlier in the evening, but as I had already committed myself to other fare in the realms of the Fantastic I didn’t get as much exposure to them as I would’ve liked. Now, I did finally start to get into them in college and after – especially when the home video explosion made them available for rentals and the like – but by then most folks I knew had already left them behind in pursuit of more contemporary fare. In short, I had no one to share my appreciation of the fanciful ‘what if’ storytelling with, so I’ll still explore them as time permits to this day. What can I say? I appreciate the simpler things in entertainment.
However, I did have the chance to fully experience 1983’s Twilight Zone: The Movie on the silver screen during its inaugural run. The anthology picture came out smack dab in the middle of my high school years, making it exactly the kind of thing me and my partners in crime were looking for at the movie house. And, yes, we partook of its whimsy more than once – such was the way we lived our humble lives in small-town America of those days – and even though my mates liked it much more than I did the flick still passes as respectable entertainment with its modest 80’s charm.
Warner Archive recently re-released the picture on home video, and I wanted to commit my thoughts on it on behalf of SciFiHistory.Net.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Four horror and science fiction segments, directed by four famous directors, each of them being a new version of a classic story from Rod Serling's landmark television series.”
Time Out (Segment 1)
The best stories from the classic era of television are said to be those that tell us something useful about ourselves, and this is why I’ve always had an issue with “Time Out,” the only truly original installment to the Twilight Zone movie. What we learn in this kinda/sorta cautionary tale about Bill Connor (played by the late Vic Morrow) is, basically, that racism is not only bad but it’s so bad that – if not properly tempered – it could be the death of us. He’s angry at being passed over for promotion with the new job going to a man of the Jewish faith, so he’s granted access to the Zone where watchers pretty much know he’s going to be on the receiving end of such vitriolic hate. However, Time Out fails as a story because it never gives its narrator a moment of pure reflection or understanding – one suggesting that he’s learned something from what he endures as a surrogate Jew or black man – nor any opportunity for redemption.
Now, in case those of you reading this are unaware, this weakness has always stemmed from the fact that the actor – along with two children – died during the film’s production in a tragic accident involving a helicopter. (It’s a subject that’s been explored in not one but two books that I know of.) Because this disaster kept writer/director John Landis from completing the tale he intended to spin, what story remains feels curiously incomplete if not damningly hollow. When your lead is essentially only shown engaging in reprehensible racist behavior, reaches no understanding over the error of his ways, and then seemingly shares in the darkest fates imaginable – i.e. a Jew looking for help during World War II, a black man being hung for no reason other than the color of his skin, etc. – then the lesson is unmistakably clear.
But did this seem like the truth, the whole truth, and nothing but the truth? Hardly.
Kick The Can (Segment 2)
Mr. Bloom (Scatman Crothers) is an old man who goes from one old folks home to another, taking with his magical tin can in tow, just waiting for the opportunity to challenge the senior citizen residents to a game of ‘Kick the Can,’ the favored competition of his youth. When these septuagenarians realize that the game somehow mystically makes children of them once more, they very quickly partake of those activities often reserved for the youngest among us. Once they realize that staying in these young bodies means they’ll have to undergo the process of aging a second time, however, most (but not all) opt to return to the old and gray, realizing that they’ve had one chance at greatness and wouldn’t want to miss seeing what remains in store for themselves, friends, and family in the present day.
Stephen Spielberg directs and does a masterful job here with the talent young and old. Jerry Goldsmith’s score is a particularly effective addition to the sequence, tugging at the heartstrings of the audience at every opportunity, and the tracks are obviously a highlight to the whole affair. Unlike the opening chapter, Kick The Can feels very much at home exploring the possibility of a ‘second life’ – one that is in no way without the same risks of the first one – and the actors and actresses involved turn in some exceptional performances despite not having all that much material to work with but a few lines of backstory that only hints at their respective pasts.
If anything, Kick reminds us to reach out and take those opportunities if and when they present themselves because there’s certainly no way to know whether or not such good graces will ever come again. Life is short. Have fun. But make it meaningful, too. That’s something everyone can understand and appreciate.
It’s A Good Life (Segment 3)
Anthony (Jeremy Licht) is a young boy who harbors the secret ability to shape and reshape reality to the point of, quite literally, having anything he desires. When wayward school teacher Helen Foley (Kathleen Quinlan) stumbles into his off-the-beaten-path existence, she feels compelled to give the kid a ride home after accidentally backing her car over the front wheel of his bicycle. Once inside his house, she realizes that the child’s dark imagination has given way to an absolute nightmare for nearly anyone he comes into contact with, so she opts to give Anthony the one thing he’s never experienced before: the unconditional love of an adult guardian.
As pleasant as this Life is, it’s still largely little more than an empty affair built entirely on the child’s magic. Without a guiding hand to nurture his development, Anthony has given in to some of the usual destructive impulses young boys – i.e. eating junk food, selfishness, mild to severe torture – and all of this is on display throughout though Helen doesn’t see it until it’s all so patently obvious. The fact that she somehow sees there’s a hidden goodness in Anthony, however, is a weakness to the Joe Dante-directed tale. Why, it’s almost as if – like the boy can pluck anything out of thin air – so can she deduce some measure of unseen humility from the ether. The silliness of the ending – with the two driving off into the sunset while colorful flowers spring in their wake – is also only the stuff of – ahem – bad movies.
Still, what works here is the fact that when Anthony is a ‘bad seed,’ he’s definitely the cat’s meow of bad children. Kudos to the young Licht for giving evil such an impressionable face.
Nightmare At 20,000 Feet (Segment 4)
Like a great many people, John Valentine (John Lithgow) is fearful of flying. Never mind the fact that in this installment the man finds himself in the midst of a horrific storm at 20,000 feet because just boarding the plane itself had him reduced to emotional tatters. But in looking out the port to his window seat, he sees something no one else can: there’s a man-sized gremlin perched on the wing of the airliner, and it’s tearing about the engines piece by fragile piece!
Undoubtedly, the storytellers behind Twilight Zone: The Movie likely always knew that their picture needed to go out on a bang, so passing off the closing chapter to the creator of the Mad Max saga – writer/director George Miller – was the inspiration needed to elevate this anthology to the status of being memorable. While some might argue that it’s a story too simply set, there’s no denying the way Miller and friends ratchet up the tension with each development to the point wherein perhaps – unlike the TV episode that starred a young William Shatner – maybe this plane wasn’t going to reach the ground after all! Lithgow delivers a balance of frailty and menace as the know-it-all genius who can’t quite believe his eyes but does as his sanity drips away like beads of sweat off the end of his perspiring nose.
Sadly, nothing else in the Zone movie really matches this one’s sheer promise beat for beat – Goldsmith’s score is also deserving of praise as it defines what heart-pounding accompaniment should be for big screen thrillers. But if you need to go out big and bold and fresh, then the parting chapter is well worth the wait … as is the closing moment with Dan Aykroyd as a demonic entity that harkens back to the film’s set-up in wonderful measure. In that respect, yes, it’s always wonderful to see something really scary!
Twilight Zone: The Movie (1983) was produced by Amblin Entertainment (per IMDB.com, though they’re cited nowhere that I’m aware in the film) and Warner Bros. DVD distribution (for this particular release) has been coordinated by the fine folks at Warner Archive. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the provided sights and sounds are pretty exceptional. Lastly, if you’re looking for special features? Well – sigh – you’ll have to make do with little more than an included theatrical trailer as this re-issue is as ‘bare bones’ as they come.
Alas … only Mildly Recommended.
There are times when its important to remind folks that while a film can be technically accomplished the resulting story – or ‘stories’ as is the case with 1983’s Twilight Zone: The Movie – are rather obviously less so. Because the results here are so widely varied – between meh, better, best, and just plain awful – the completed picture earns accolades chiefly for saving the best for last. Still, the talent involved behind-the-scenes and on-camera arguably suggested that this was going to be a superior outing; yet this is one time where I’ll likely go to my grave insisting audiences deserved far better than what they got with this little jaunt into Rod Serling-like country.
In the interests of fairness, I’m pleased to disclose that the fine folks at Warner Archive (via Allied Vaughn) provided me with a complimentary Blu-ray of Twilight Zone: The Movie (1983) by request for the expressed purpose of completing this review. Their contribution in no way, shape, or form influenced my opinion of it.
-- EZ
Oh, it was on – I believe – in two different markets nearby in those days; but the issue for me was that these episodes aired well after bedtime, making them damn near impossible for my consumption. Occasionally, they would turn up in some spot a bit earlier in the evening, but as I had already committed myself to other fare in the realms of the Fantastic I didn’t get as much exposure to them as I would’ve liked. Now, I did finally start to get into them in college and after – especially when the home video explosion made them available for rentals and the like – but by then most folks I knew had already left them behind in pursuit of more contemporary fare. In short, I had no one to share my appreciation of the fanciful ‘what if’ storytelling with, so I’ll still explore them as time permits to this day. What can I say? I appreciate the simpler things in entertainment.
However, I did have the chance to fully experience 1983’s Twilight Zone: The Movie on the silver screen during its inaugural run. The anthology picture came out smack dab in the middle of my high school years, making it exactly the kind of thing me and my partners in crime were looking for at the movie house. And, yes, we partook of its whimsy more than once – such was the way we lived our humble lives in small-town America of those days – and even though my mates liked it much more than I did the flick still passes as respectable entertainment with its modest 80’s charm.
Warner Archive recently re-released the picture on home video, and I wanted to commit my thoughts on it on behalf of SciFiHistory.Net.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Four horror and science fiction segments, directed by four famous directors, each of them being a new version of a classic story from Rod Serling's landmark television series.”
Time Out (Segment 1)
The best stories from the classic era of television are said to be those that tell us something useful about ourselves, and this is why I’ve always had an issue with “Time Out,” the only truly original installment to the Twilight Zone movie. What we learn in this kinda/sorta cautionary tale about Bill Connor (played by the late Vic Morrow) is, basically, that racism is not only bad but it’s so bad that – if not properly tempered – it could be the death of us. He’s angry at being passed over for promotion with the new job going to a man of the Jewish faith, so he’s granted access to the Zone where watchers pretty much know he’s going to be on the receiving end of such vitriolic hate. However, Time Out fails as a story because it never gives its narrator a moment of pure reflection or understanding – one suggesting that he’s learned something from what he endures as a surrogate Jew or black man – nor any opportunity for redemption.
Now, in case those of you reading this are unaware, this weakness has always stemmed from the fact that the actor – along with two children – died during the film’s production in a tragic accident involving a helicopter. (It’s a subject that’s been explored in not one but two books that I know of.) Because this disaster kept writer/director John Landis from completing the tale he intended to spin, what story remains feels curiously incomplete if not damningly hollow. When your lead is essentially only shown engaging in reprehensible racist behavior, reaches no understanding over the error of his ways, and then seemingly shares in the darkest fates imaginable – i.e. a Jew looking for help during World War II, a black man being hung for no reason other than the color of his skin, etc. – then the lesson is unmistakably clear.
But did this seem like the truth, the whole truth, and nothing but the truth? Hardly.
Kick The Can (Segment 2)
Mr. Bloom (Scatman Crothers) is an old man who goes from one old folks home to another, taking with his magical tin can in tow, just waiting for the opportunity to challenge the senior citizen residents to a game of ‘Kick the Can,’ the favored competition of his youth. When these septuagenarians realize that the game somehow mystically makes children of them once more, they very quickly partake of those activities often reserved for the youngest among us. Once they realize that staying in these young bodies means they’ll have to undergo the process of aging a second time, however, most (but not all) opt to return to the old and gray, realizing that they’ve had one chance at greatness and wouldn’t want to miss seeing what remains in store for themselves, friends, and family in the present day.
Stephen Spielberg directs and does a masterful job here with the talent young and old. Jerry Goldsmith’s score is a particularly effective addition to the sequence, tugging at the heartstrings of the audience at every opportunity, and the tracks are obviously a highlight to the whole affair. Unlike the opening chapter, Kick The Can feels very much at home exploring the possibility of a ‘second life’ – one that is in no way without the same risks of the first one – and the actors and actresses involved turn in some exceptional performances despite not having all that much material to work with but a few lines of backstory that only hints at their respective pasts.
If anything, Kick reminds us to reach out and take those opportunities if and when they present themselves because there’s certainly no way to know whether or not such good graces will ever come again. Life is short. Have fun. But make it meaningful, too. That’s something everyone can understand and appreciate.
It’s A Good Life (Segment 3)
Anthony (Jeremy Licht) is a young boy who harbors the secret ability to shape and reshape reality to the point of, quite literally, having anything he desires. When wayward school teacher Helen Foley (Kathleen Quinlan) stumbles into his off-the-beaten-path existence, she feels compelled to give the kid a ride home after accidentally backing her car over the front wheel of his bicycle. Once inside his house, she realizes that the child’s dark imagination has given way to an absolute nightmare for nearly anyone he comes into contact with, so she opts to give Anthony the one thing he’s never experienced before: the unconditional love of an adult guardian.
As pleasant as this Life is, it’s still largely little more than an empty affair built entirely on the child’s magic. Without a guiding hand to nurture his development, Anthony has given in to some of the usual destructive impulses young boys – i.e. eating junk food, selfishness, mild to severe torture – and all of this is on display throughout though Helen doesn’t see it until it’s all so patently obvious. The fact that she somehow sees there’s a hidden goodness in Anthony, however, is a weakness to the Joe Dante-directed tale. Why, it’s almost as if – like the boy can pluck anything out of thin air – so can she deduce some measure of unseen humility from the ether. The silliness of the ending – with the two driving off into the sunset while colorful flowers spring in their wake – is also only the stuff of – ahem – bad movies.
Still, what works here is the fact that when Anthony is a ‘bad seed,’ he’s definitely the cat’s meow of bad children. Kudos to the young Licht for giving evil such an impressionable face.
Nightmare At 20,000 Feet (Segment 4)
Like a great many people, John Valentine (John Lithgow) is fearful of flying. Never mind the fact that in this installment the man finds himself in the midst of a horrific storm at 20,000 feet because just boarding the plane itself had him reduced to emotional tatters. But in looking out the port to his window seat, he sees something no one else can: there’s a man-sized gremlin perched on the wing of the airliner, and it’s tearing about the engines piece by fragile piece!
Undoubtedly, the storytellers behind Twilight Zone: The Movie likely always knew that their picture needed to go out on a bang, so passing off the closing chapter to the creator of the Mad Max saga – writer/director George Miller – was the inspiration needed to elevate this anthology to the status of being memorable. While some might argue that it’s a story too simply set, there’s no denying the way Miller and friends ratchet up the tension with each development to the point wherein perhaps – unlike the TV episode that starred a young William Shatner – maybe this plane wasn’t going to reach the ground after all! Lithgow delivers a balance of frailty and menace as the know-it-all genius who can’t quite believe his eyes but does as his sanity drips away like beads of sweat off the end of his perspiring nose.
Sadly, nothing else in the Zone movie really matches this one’s sheer promise beat for beat – Goldsmith’s score is also deserving of praise as it defines what heart-pounding accompaniment should be for big screen thrillers. But if you need to go out big and bold and fresh, then the parting chapter is well worth the wait … as is the closing moment with Dan Aykroyd as a demonic entity that harkens back to the film’s set-up in wonderful measure. In that respect, yes, it’s always wonderful to see something really scary!
Twilight Zone: The Movie (1983) was produced by Amblin Entertainment (per IMDB.com, though they’re cited nowhere that I’m aware in the film) and Warner Bros. DVD distribution (for this particular release) has been coordinated by the fine folks at Warner Archive. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the provided sights and sounds are pretty exceptional. Lastly, if you’re looking for special features? Well – sigh – you’ll have to make do with little more than an included theatrical trailer as this re-issue is as ‘bare bones’ as they come.
Alas … only Mildly Recommended.
There are times when its important to remind folks that while a film can be technically accomplished the resulting story – or ‘stories’ as is the case with 1983’s Twilight Zone: The Movie – are rather obviously less so. Because the results here are so widely varied – between meh, better, best, and just plain awful – the completed picture earns accolades chiefly for saving the best for last. Still, the talent involved behind-the-scenes and on-camera arguably suggested that this was going to be a superior outing; yet this is one time where I’ll likely go to my grave insisting audiences deserved far better than what they got with this little jaunt into Rod Serling-like country.
In the interests of fairness, I’m pleased to disclose that the fine folks at Warner Archive (via Allied Vaughn) provided me with a complimentary Blu-ray of Twilight Zone: The Movie (1983) by request for the expressed purpose of completing this review. Their contribution in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 2022 (in the U.S.), Saturnalia: Cave-Girl From Outer Space enjoyed its time in the theatrical spotlight. Written and directed by Joshua Kennedy, the film starred Kennedy alongside Dani Thompson, Stefanie Jo Saenz, Jonathan Tamez, and others.
According to our friends at IMDB.com, here's the plot summary:
"A cave-girl from outer space wreaks havoc after she is brought to life by a top secret super-weapon that transforms drawings into real people."
-- EZ
On this day in 2022 (in the U.S.), Saturnalia: Cave-Girl From Outer Space enjoyed its time in the theatrical spotlight. Written and directed by Joshua Kennedy, the film starred Kennedy alongside Dani Thompson, Stefanie Jo Saenz, Jonathan Tamez, and others.
According to our friends at IMDB.com, here's the plot summary:
"A cave-girl from outer space wreaks havoc after she is brought to life by a top secret super-weapon that transforms drawings into real people."
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 2019 (in the U.S.), Girls Just Wanna Have Blood (aka Teenage Bloodsuckin' Bimbos) enjoyed its first screening ever when it played exclusively for audiences of the New Jersey Film Festival. Written and directed by Anthony Cantanese, the film starred Amanda Renee, Destyne Marshai, Gigi Gustin, and others.
According to our friends at IMDB.com, here's the plot summary:
"When Jessica's accepted by a trio of fun loving vampires, she finds herself thrust into a lifestyle full of long nights, sex-crazed bikers, and blood suckin'."
-- EZ
On this day in 2019 (in the U.S.), Girls Just Wanna Have Blood (aka Teenage Bloodsuckin' Bimbos) enjoyed its first screening ever when it played exclusively for audiences of the New Jersey Film Festival. Written and directed by Anthony Cantanese, the film starred Amanda Renee, Destyne Marshai, Gigi Gustin, and others.
According to our friends at IMDB.com, here's the plot summary:
"When Jessica's accepted by a trio of fun loving vampires, she finds herself thrust into a lifestyle full of long nights, sex-crazed bikers, and blood suckin'."
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 2008 (in Sweden), audiences in attendance of the Göteborg Film Festival were treated to the exclusive theatrical premiere of Let The Right One In. Directed by Tomas Alfredson from a story by John Ajvide Lindqvist, the film starred Kåre Hedebrant, Lina Leandersson, Per Ragnar, and others.
According to our friends at IMDB.com, here's the plot summary:
"A bullied boy forms a unique friendship with his new neighbor, a peculiar girl with a dark secret."
For the record:
-- EZ
On this day in 2008 (in Sweden), audiences in attendance of the Göteborg Film Festival were treated to the exclusive theatrical premiere of Let The Right One In. Directed by Tomas Alfredson from a story by John Ajvide Lindqvist, the film starred Kåre Hedebrant, Lina Leandersson, Per Ragnar, and others.
According to our friends at IMDB.com, here's the plot summary:
"A bullied boy forms a unique friendship with his new neighbor, a peculiar girl with a dark secret."
For the record:
- At the 2009 Saturn Awards, Let The Right One In took home top honors in the category of 'Best International Film' while having to settle for the honor of nominations alone in the categories of 'Best Writing' and 'Best Performance By A Younger Actor.'
- At the 2009 Fangoria Chainsaw Awards, Let The Right One In was a bit of a sensation, taking home big wins in the categories of 'Best Score,' 'Best Screenplay,' 'Best Actress,' and 'Best Limited-Release / Direct-To-Video Film.'
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 1973 (in West Germany), Mark Of The Devil Part II brought the battle with demonic possession front and center. Written (in part) and directed by Adrian Hoven, the film starred Erika Blanc, Anton Diffring, Percy Hoven, and others.
According to our friends at IMDB.com, here's the plot summary:
"A tribunal interrogates, tortures and murders "witches" and "heretics" during the Inquisition."
-- EZ
On this day in 1973 (in West Germany), Mark Of The Devil Part II brought the battle with demonic possession front and center. Written (in part) and directed by Adrian Hoven, the film starred Erika Blanc, Anton Diffring, Percy Hoven, and others.
According to our friends at IMDB.com, here's the plot summary:
"A tribunal interrogates, tortures and murders "witches" and "heretics" during the Inquisition."
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 2019 (in the U.S.), audiences in attendance of the Reels Of The Dead Film Festival were treated to the exclusive theatrical premiere of Theresa + Allison. Directed by Jeremiah Kipp from a story by Charles D. Lincoln, the film starred Arielle Hope, Sarah Schoofs, Alyson Danielczuk, and others.
According to our friends at IMDB.com, here's the plot summary:
"After a one night stand turns disastrous, Theresa finds herself drawn into a world of inhuman savagery, all the while tempted by the beautiful and immortal Allison."
For the record:
To the film's credit, Theresa + Allison earned a wee bit of extra attention from a screening on the film festival circuit.
-- EZ
On this day in 2019 (in the U.S.), audiences in attendance of the Reels Of The Dead Film Festival were treated to the exclusive theatrical premiere of Theresa + Allison. Directed by Jeremiah Kipp from a story by Charles D. Lincoln, the film starred Arielle Hope, Sarah Schoofs, Alyson Danielczuk, and others.
According to our friends at IMDB.com, here's the plot summary:
"After a one night stand turns disastrous, Theresa finds herself drawn into a world of inhuman savagery, all the while tempted by the beautiful and immortal Allison."
For the record:
To the film's credit, Theresa + Allison earned a wee bit of extra attention from a screening on the film festival circuit.
-- EZ
- Published on
site update
So many movies ... so little time ...
On October 24th in 1990 (in West Germany), Megaville enjoyed its first theatrical exhibition ever when it was screened for audiences of the Internationale Hofer Filmtage. Written (in part) and directed by Peter Lehner, the film starred Billy Zane, J.C. Quinn, Grace Zabriskie, and others.
According to our friends at IMDB.com, here's the plot summary:
"A sci-fi fantasy about a world where it is illegal to enjoy any kind of media except in a place called Megaville. After catching a brutal killer named Jenson, the media police send an agent, Palinov, to infiltrate Jenson's circle of criminals in Megaville because Palinov bears a striking resemblance to Jenson. Palinov, however, begins to suffer intense headaches and has visions of the killings. His mission becomes even more confusing when the president of Megaville is assassinated and the media police seem more interested in doing business with the criminals than catching them."
For the record:
To the film's credit, Megaville earned a wee bit of extra attention from a screening on the film festival circuit.
Editor's Note:
Technically, the original theatrical premiere date is presently lost to history. What I can confirmed is that -- according to IMDB.com -- the film's first engagement was at the aforementioned Internationale Hofer Filmtage which -- according to Google.com -- was held from October 24th through October 28th in 1990. Therefore, I am using the festival opening date as a temporary placeholder for Megaville so that the feature isn't fully lost to history.
-- EZ
On October 24th in 1990 (in West Germany), Megaville enjoyed its first theatrical exhibition ever when it was screened for audiences of the Internationale Hofer Filmtage. Written (in part) and directed by Peter Lehner, the film starred Billy Zane, J.C. Quinn, Grace Zabriskie, and others.
According to our friends at IMDB.com, here's the plot summary:
"A sci-fi fantasy about a world where it is illegal to enjoy any kind of media except in a place called Megaville. After catching a brutal killer named Jenson, the media police send an agent, Palinov, to infiltrate Jenson's circle of criminals in Megaville because Palinov bears a striking resemblance to Jenson. Palinov, however, begins to suffer intense headaches and has visions of the killings. His mission becomes even more confusing when the president of Megaville is assassinated and the media police seem more interested in doing business with the criminals than catching them."
For the record:
To the film's credit, Megaville earned a wee bit of extra attention from a screening on the film festival circuit.
Editor's Note:
Technically, the original theatrical premiere date is presently lost to history. What I can confirmed is that -- according to IMDB.com -- the film's first engagement was at the aforementioned Internationale Hofer Filmtage which -- according to Google.com -- was held from October 24th through October 28th in 1990. Therefore, I am using the festival opening date as a temporary placeholder for Megaville so that the feature isn't fully lost to history.
-- EZ
- Published on
press release
EUPHORIA'S CHLOE CHERRY STARS
IN 80s-STYLE CAMP-HORROR-COMEDY
Written & Directed by: Gabriel Bernini
Written by: Alexandra Jade
Starring: Chloe Cherry, Lena Redford, Bambina,
Sam Lanier, Felipe Di Poi, Pierce Campion, and Simon Paris
Genre: Horror, Comedy, Camp
RT: 76 min | Not Yet Rated
Language: English | U.S.
Written & Directed by: Gabriel Bernini
Written by: Alexandra Jade
Starring: Chloe Cherry, Lena Redford, Bambina,
Sam Lanier, Felipe Di Poi, Pierce Campion, and Simon Paris
Genre: Horror, Comedy, Camp
RT: 76 min | Not Yet Rated
Language: English | U.S.
Set during the summer of 1985, Blood Barn follows Josie, a camp counselor who reunites her closest friends for one last weekend together at her family’s secluded barn before they head off to college. What begins as a nostalgic getaway quickly feels off when the group realizes the property has been neglected for years - carrying with it a history Josie would rather forget.
As the weekend unfolds, restless energy, bad decisions, and curiosity about the barn’s past begin to stir something unnatural. Strange and violent events erupt without warning, turning the peaceful escape into chaos when a malevolent force awakens and begins to tear the group apart.
As the night spirals out of control, Josie is forced to confront the legacy surrounding the barn before it consumes everyone inside. A high-energy, 80s-inspired horror-comedy, Blood Barn leans into camp, practical effects, and gleeful excess, delivering a throwback genre ride built for big reactions, dark laughs, and shared chaos.
As the weekend unfolds, restless energy, bad decisions, and curiosity about the barn’s past begin to stir something unnatural. Strange and violent events erupt without warning, turning the peaceful escape into chaos when a malevolent force awakens and begins to tear the group apart.
As the night spirals out of control, Josie is forced to confront the legacy surrounding the barn before it consumes everyone inside. A high-energy, 80s-inspired horror-comedy, Blood Barn leans into camp, practical effects, and gleeful excess, delivering a throwback genre ride built for big reactions, dark laughs, and shared chaos.
BLOOD BARN is directed by Gabriel Bernini. Written by Alexandra Jade and Bernini. Produced by Andrew Gibson. Executive produced by David Bernstein and Juliet Bernini. Edited by Gabriel Bernini. Composed by Jonathan Rado. Makeup and Special Effects by Caroline Mills. A Gold Standard and Sun Screens production.
About Cineverse:
Cineverse (NASDAQ: CNVS) is a next-generation streaming technology and entertainment company that manages one of the largest portfolios of owned/operated streaming channels. It specializes in digital content distribution (over 71,000 films/series/podcasts), AI-driven content discovery, and FAST/AVOD channels like Bloody Disgusting, RetroCrush, and Midnight Pulp.
About Bloody Disgusting:
Bloody Disgusting is a premier American horror multimedia company and news website, founded in 2001 by Brad Miska and Tom Owen, which serves as a top entertainment destination for horror fans. It covers movies, games, comics, and music, and has expanded into podcasting, merchandising, and film production, including the popular V/H/S franchise.
About Screambox:
Screambox is a U.S.-based, subscription-based streaming service dedicated exclusively to horror, featuring a curated, deep-genre collection of cult classics, indie hits, and extreme cinema. Managed by Cineverse and Bloody Disgusting, it is popular for its "uncut" content, including Terrifier 2 and various originals. The service offers an on-demand library and a 24/7 live channel across major devices.
Cineverse (NASDAQ: CNVS) is a next-generation streaming technology and entertainment company that manages one of the largest portfolios of owned/operated streaming channels. It specializes in digital content distribution (over 71,000 films/series/podcasts), AI-driven content discovery, and FAST/AVOD channels like Bloody Disgusting, RetroCrush, and Midnight Pulp.
About Bloody Disgusting:
Bloody Disgusting is a premier American horror multimedia company and news website, founded in 2001 by Brad Miska and Tom Owen, which serves as a top entertainment destination for horror fans. It covers movies, games, comics, and music, and has expanded into podcasting, merchandising, and film production, including the popular V/H/S franchise.
About Screambox:
Screambox is a U.S.-based, subscription-based streaming service dedicated exclusively to horror, featuring a curated, deep-genre collection of cult classics, indie hits, and extreme cinema. Managed by Cineverse and Bloody Disgusting, it is popular for its "uncut" content, including Terrifier 2 and various originals. The service offers an on-demand library and a 24/7 live channel across major devices.
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So many movies ... so much to celebrate!!!
On this day in 2016 (in the U.S.), Let's Be Evil enjoyed its unveiling when it was first screened for audiences of the Slamdance Film Festival. Written (in part) and directed by Martin Owen, the film starred Sophie Willis, Jules Brown, Elizabeth Morris, and others.
According to our friends at IMDB.com, here's the plot summary:
"Three chaperones are hired to supervise an advanced learning program for gifted children, who wear Augmented Reality Glasses to assist in their education. Contained within a secure, underground facility, events quickly spiral out of control."
-- EZ
From Google.com:
Let's Be Evil is a 2016 British science fiction-horror film about three chaperones in an underground facility who are hunted by gifted children using augmented reality technology.
Plot Summary
The film follows Jenny, a young woman who takes a job at a secretive, high-security underground facility called the "Posterity Project" to earn money for her sick parent's medical bills. Along with two other new employees, Tiggs and Darby, she is tasked with supervising a group of genius children who are immersed in an advanced, augmented reality learning program.
The characters wear AR glasses through which they see most of their surroundings, including a guiding AI hologram named ARIAL. Events begin to spiral out of control as Jenny experiences glitches in the system and the children, who are largely silent and emotionless, turn hostile, trapping and hunting the adults within the facility. The film explores themes of technology and education, culminating in a twist ending that suggests the entire experience might be part of a simulation or game created by the children.
Cast and Crew
The film was directed by Martin Owen and co-written by Owen, Elizabeth Morris, and Jonathan Willis.
Reception
Let's Be Evil received largely mixed to negative reviews from critics and audiences.
On this day in 2016 (in the U.S.), Let's Be Evil enjoyed its unveiling when it was first screened for audiences of the Slamdance Film Festival. Written (in part) and directed by Martin Owen, the film starred Sophie Willis, Jules Brown, Elizabeth Morris, and others.
According to our friends at IMDB.com, here's the plot summary:
"Three chaperones are hired to supervise an advanced learning program for gifted children, who wear Augmented Reality Glasses to assist in their education. Contained within a secure, underground facility, events quickly spiral out of control."
-- EZ
From Google.com:
Let's Be Evil is a 2016 British science fiction-horror film about three chaperones in an underground facility who are hunted by gifted children using augmented reality technology.
Plot Summary
The film follows Jenny, a young woman who takes a job at a secretive, high-security underground facility called the "Posterity Project" to earn money for her sick parent's medical bills. Along with two other new employees, Tiggs and Darby, she is tasked with supervising a group of genius children who are immersed in an advanced, augmented reality learning program.
The characters wear AR glasses through which they see most of their surroundings, including a guiding AI hologram named ARIAL. Events begin to spiral out of control as Jenny experiences glitches in the system and the children, who are largely silent and emotionless, turn hostile, trapping and hunting the adults within the facility. The film explores themes of technology and education, culminating in a twist ending that suggests the entire experience might be part of a simulation or game created by the children.
Cast and Crew
The film was directed by Martin Owen and co-written by Owen, Elizabeth Morris, and Jonathan Willis.
- Elizabeth Morris as Jenny
- Kara Tointon as Antigone 'Tiggs' Mack
- Elliot James Langridge as Darby Williams
- Isabelle Allen as Cassandra
- Jamie Bernadette as the voice/body of ARIAL
Reception
Let's Be Evil received largely mixed to negative reviews from critics and audiences.
- Praise: Reviewers found the film's visual style, which heavily utilizes the first-person perspective through the AR glasses, to be a creative and interesting conceit given the low budget. The initial setup and atmosphere were also noted as promising.
- Criticism: Common complaints included a muddled and predictable plot, poor character development (leading to a lack of emotional connection with the characters), unconvincing acting in some cases, and a confusing ending that failed to provide satisfying explanations. Many found the movie to be boring, repetitive, and ultimately a missed opportunity to explore its timely themes in a substantial way.