schlocky

Under the Radar: Genre Movies You May Have Missed — The Frighteners.

In which Peter Jackson wasn’t always a high-fantasy kind of director and dabbled with schlocky horror early in his career; Michael J. Fox is the most charming and sad-eyed of paranormal con artists; you can never trust a Busey (those teeth and eyes don’t lie, man); and genre favourite Jeffrey Combs is delightfully unhinged as the Hitler-haired FBI Agent Dammers.

Plus: Gomez Addams as a ghost, Dee Wallace gets her crazy on, and everything is just generally atmospheric, wacky, and winning. A modern classic that everyone should see.

Videos You Didn't Know About: Dan & Phil #1

You think you’ve seen all danisnotonfire and amazingphil videos? That might not be true! I’m going to keep sharing Dan & Phil videos that not many people have seen and/or know about.

ApartmentRED: ApartmentRED was a collaberative channel of a bunch of YouTubers including Dan & Phil. The last video was from over 3 years ago so I don’t know what happened to it but here is a list of all the ApartmentRED videos that Dan and/or Phil were in. If I missed any please tell me so I can add them to the list.

Apartment… Phil

Stephen & Phil In Manchester

Random Emo Broternity

If I Had My Own Big Time TV Show

Random Cute Emos

AmazingPhil vs Team Edward

AmazingPhil’s Biggest Fears

Miranda Sings Does Dublin

Headless Halloween Featuring 3sixty5days

'Schlocky' TV

RED Guide to Dublin

Fanboy Friends

Would you belieb?

Snake Oil

Red Road Trip

WHY???

Dan’s Christmas Dreams

MattG’s Nerd Attraction (feat. danisnotonfire)

Random TV Now Nomination

Random Jedward Double Date

Random Ruling The Internet

Random Milk Massage

Random Fan Girls Everywhere

HELLO KIDS

Hope I showed you some Phil & Dan videos you didn’t know about here. And as always;

~ stay epic! ^-^

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Not really appropriate for Easter, unless Easter involves a lot of 50s B movies: the next installment of Kettle Scenes: A Study in Genre - ‘Sci-fi’

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Los Angeles the City in Cinema

Blade Runner’s future noir, proto-cyberpunk vision of a Los Angeles both post-industrial and re-industrial, both first-world and third-world, has remained in the more than 30 years since its unsuccessful first run the definitive image of the city’s future. Using a combination of studio backlots, scale models, matte paintings, and actual Los Angeles architectural landmarks, the film imagines a retrofitted, Japanified Babel of a megalopolis that, through the name of the film, still stands for a thoroughly realized dystopia - and, increasingly, a tantalizing one.

The video essays of “Los Angeles, the City in Cinema” examine the variety of Los Angeleses revealed in the films set there, both those new and old, mainstream and obscure, respectable and schlocky, appealing and unappealing - just like the city itself.

Screenshot from this great tokusatsu documentary I’m watching on YouTube right now. One of these photographs is of an actual location, and the other is a recreation of said location done with miniature work. Look at this shit. I bet most people wouldn’t even be able to identify which one is the miniature set.

Anyone that says Japanese monster movies are all cheap, schlocky bullshit is a goddamn fool. Fuck, dude. Look at all this effort here. Somebody made that with his motherfucking hands. I will forever have respect for this sort of thing. Damn do I love it.

whenever i get assigned readings by hemingway for class i feel like the heroine of a really schlocky horror movie from the 80s…. i have my back against the wall and i am screaming NOO!! NOOOOOO!! at greater and shriller volumes as his prose slowly approaches me with a sledgehammer engraved with the words “I HATE WOMEN AND I’M INSECURE ABOUT MY GENITALS”. the sledgehammer descends upon my head over and over as i shout “i dONT CARE ABOUT YOUR PATHETIC SEX LIFE AND YOUR RAGING ANTISEMITISM LEAVE ME ALONE”. the only way to escape with my life is to set the fucking pages on fire

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Youuuuu guuuuuuys it’s happening again. nuthinbutniall sent me into a Niall Springsteen spiral and said something about lying on the floor in the dark listening to Nebraska and IT WAS TOO UNCANNY. So like I do, I’m posting a bit of that goddamn never-ending Narry AU that’s collecting dust in my hard-drive because this is all too real.

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The Phantom, the daring duel wielding do-gooder and classic spandex superhero icon of the 1930’s, now given his own equally magnificent little pixel version.

His first appearance was back in 1937, and he’s still as kickass as he was back then. There was even a (rather awesomely schlocky) movie based on him released in 1995 ! You might kill his various incarnations, but the purple spandex apparently never dies.

attherendezvous asked:

1 & 12

1. the meaning behind my url

It’s actually a Magic School Bus reference.  In the episode where they learn about spiders, they’re watching a schlocky 50s monster movie called Stand By Your Mantis.

12. ideas of a perfect date

I’m really a stay at home kind of girl, but one time my husband and I went to a casino and a nice restaurant and then later we went and got pancakes and that was awesome because I got to wear a pretty dress.  I love wearing pretty dresses.

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I hastily put together a little teaser video for ‘A Darker, Deeper Alley II’, the sister album to 'ADDA I'. The clips are taken from various schlocky action movies like Urban Warriors, Hell Squad, War Bus and Bronx Executioner. 

Those of you who enjoy my more guitar driven stuff now have something to look forward to. 

New Post has been published on http://classicfilmfreak.com/2015/01/08/three-violent-people-1956-charlton-heston-anne-baxter/

Three Violent People (1956) with Charlton Heston and Anne Baxter

Three Violent People seems like an intriguing film at its surface- and the collateral promotional material supports this thinking. On viewing, however, you get the sense that it is really a ‘B’ picture with an ‘A’ cast. True, or no?

By the standards of the day, the film is definitely not the strongest when compared against its contemporaries. For a film with violence in the title, there is remarkably little of it until the finale frames. But Charlton Heston in his mid-1950s prime wasn’t in any schlocky films, was he?

And that is where Three Violent People comes in. Made as the last obligation for Heston’s contract with Paramount, it predates his rampant popularity that came with The Ten Commandments.   Avid readers, however, will realize that The Ten Commandments came out prior to Three Violent People. So what gives?

A few things, the first of which is that they were not released that far apart. More importantly is the fact that in the 1950s there was no social media and there were no 20-screen multiplexes dotting suburbia. It took time back in the day for most films to reach a critical mass. As good as the studios were at promotion even in that, the end of the studio era, they are no match for the overnight juggernauts that even the weakest film of today merits.

Three Violent People is perhaps the last film that Heston made before he exploded and had the right of cast approval. Here he is Colt Saunders, a Confederate veteran returning to his beloved Barrel S ranch after four (or five- depending on who is doing the talking) years away at war.   On his way home he evidently has his eyes peeled for a suitable wife.

And of course he finds one in Anne Baxter, and quickly they are wed in town before heading out to his ranch. Getting home after such a long absence, he finds the house disheveled and dusty, but livable. A quick morning discussion with his caretaker Innocencio (Gilbert Roland) reveals the worst. Carpetbaggers are afoot and most of his cattle have been rustled away by marauding Yankees!

Another surprise awaits Colt in the return of his one-armed brother Beauregard (who thankfully goes by ‘Cinch’ and played by Tom Tyron). Cinch is looking to sell his presumed share of the ranch back to Colt, but there is obviously something more in the relationship between the two men.

Heading to a neighbor for advice, Colt soon learns of the exorbitant tax bill owed, and after meeting with other ranchers decides to fight with the provisional government to keep his land. Cinch, always the realist, prefers to drive a previously hidden horse herd to market and recoup the proceeds, leaving the ranch forever.

Upping the ante, the Deputy Commissioner comes to the Barrel S to collect the taxes and inquire about this herd of horses, of which he has just learned of. During the conversation it is revealed that Mrs. Saunders was basically a call-girl in St. Louis. Colt would through her out, but learns at the last moment that she is also now pregnant with his child.

Unhappy over their disagreement, Cinch sets out to betray Colt and throws in with the Commissioner and his ilk. As the finale approaches, the two brothers stand across from each other with hand on hips, each wondering if the other will draw. As a very innovative timer, Cinch uses an upended whiskey decanter, stating simply that when the whiskey is gone, one of them will need to die. Ironically, as the air bubbles up into the whiskey and it slowly leaves the decanter, there is no sign of the whiskey on either the table or the floor beneath it.

The final shootout (actually the only real action in the film) is extremely well done and happens very quickly, as perhaps most really did. There is little if any strategy involved and in the course of thirty seconds or so it is all over. Rather than drawing it out with long expository shots of gunfighters shimmying along the ground a la The Gunfight at the OK Corral, director Rudolph Mate limits his efforts to purely the action at hand.

Sounds like a simple storyline, and it probably is. What does manage to turn Three Violent People around is the depth and reality of the film. The characters are well defined and the story makes sense from each character’s perspective. Unlike films of today, there is more to this film than a string of action sequences strung together by a threadbare plot. Here the plot manages to build tension throughout until the final climax, when there finally is some on-screen action!

Charlton Heston seems to fit his character like a glove. As Colt’s primary trait is intransigence, Heston’s traditionally stilted and rather leaden delivery is an ideal match. His only match here seems to be his leading lady. Both Heston and Baxter seem to do fairly well when apart, but when on-screen together they behave as if they are in on an inside joke, with both hamming it up more than the situation allows.  In typical fashion for pictures of the time, Baxter seems overwhelmed by extravagant gown after gown.

Of special interest, though most viewers will miss it, are the actors who play Gilbert Roland’s on-screen sons. Of the five, two of them are played by Jamie Farr and Robert Blake. Not to be overlooked is Tom Tryon’s portrayal of Cinch, Heston’s brother. Though usually denigrated, here he plays the tough rather well and comes off perhaps better than the two leads. He plays most of the film as a bitter and secretive man but turns flirtatious and witty with Baxter- but managing not to incorporate the disconcerting persona Heston does when sharing the screen with her.

As good as the acting is, the cast is obviously constrained somewhat by what is a seriously set-bound shoot. Though photographed very well, most of the picture was obviously filmed either on soundstages or the Paramount back lot. But it doesn’t detract that much from the proceedings and the overall relatively high production values, though there is one rather painful rear projection sequence during a stampede which could have been done without.

Three Violent People isn’t the best Western ever made, but it is far from the worst. The highlights are by far the dynamic characters and gritty and realistic storyline, which grip and enthrall. The greatest question of all when the film wraps is just who are these three violent people?

The first surely is Colt (Heston), with Cinch (Tryon) close behind. But it is the third which perplexes. Neither Roland’s (gritty and tough) or Baxter’s (manipulative) characters fit the bill as violent.

vimeo

Los Angeles, the City in Cinema: Her (Spike Jonze, 2013) from Colin Marshall on Vimeo.

Ridley Scott’s “Blade Runner” crossed Los Angeles with a grittier, less orderly Tokyo. Just over thirty years later, Spike Jonze’s “Her” crosses Los Angeles with a sanitized Shanghai, creating a utopian urban setting for surely the mildest cyberpunk story ever told. Instead of menacing android replicants and detective Rick Deckard who hunts them, we have a sentient operating system and the mustachioed, ukulele playing milquetoast Theodore Twombly who, as he lives his lonely life in this future Los Angeles’ skyscrapers and on its high-speed trains (but never in a car), falls in love with it.

The video essays of “Los Angeles, the City in Cinema” examine the variety of Los Angeleses revealed in the films set there, both those new and old, mainstream and obscure, respectable and schlocky, appealing and unappealing — just like the city itself.

For more on “The City in Cinema”, “Notebook on Cities and Culture”, and “A Los Angeles Primer”, visit colinmarshall.org

to Get Real, the only speculation i’m remotely hype about is the possibility of a customizable lord + dancer love interest if it meant playing as a woman protag who could still pursue that romance (at least to the same extent a male could) just because its 2015 and awful schlocky dragon maiden love stories should be equal opportunity. but i’m not holding my breath.

failing that, just less creepy dragons would be nice, so i can finally take them on a nice beach outing with a clear conscience.