invading mars


The fantastic cinema of the 1950s

It Came from Outer Space (1953)
Invaders from Mars (1953)
The Beast from 20,000 Fathoms (1953)
Creature from the Black Lagoon (1954)
Them! (1954)
Tarantula! (1955)
Forbidden Planet (1956)
Earth vs. the Flying Saucers (1956)
20 Million Miles to Earth (1957)
The Black Scorpion (1957)


Influential horror filmmaker Tobe Hooper passed away yesterday at the age of 74. The cause of death is currently unknown.

He is best known for crafting one of the most effective genre films of all time with 1974’s The Texas Chainsaw Massacre. He’s also credited as the director of Poltergeist, although there is debate as to how involved Steven Spielberg was with the production.

Hooper’s other films include The Texas Chainsaw Massacre 2, Salem’s Lot, Lifeforce, The Funhouse, Toolbox Murders, The Mangler, Invaders from Mars, Eaten Alive, and a segment in Body Bags, among others.

A fun fact you may not have known about Hooper: he directed the music video for Billy Idol’s “Dancing With Myself” music video.

Rest in piece to another master of horror.

In 1938 a radio broadcast of H.G. Wells’ ‘War of the Worlds’ caused public hysteria, as some believed we were really under attack by aliens from another world.

Almost 80 years later, we again succomb to irrational fears and hysteria over alien invaders, only this time the microphone is in the hands of our own president. The ‘invaders’ are people who are simply seeking the same American Dream that many generations of immigrants have also sought and fought for.

Strangely, the public seems to largely ignore the actual efforts by a foreign government to create chaos and unrest and to usurp democracy in the free world. The real invasion of our American values and security is called a fake threat by the very leaders who are sworn to protect this nation.

—  “War on the Free World.” litglob © 2017

I don’t need to explain the plot to you. Teenagers get lost on the road, but find the chain saw that was in their hearts all along. What I do need to explain is what director Tobe Hooper did a decade later. After making Chain Saw, an alligator vs. hillbillies movie called Eaten Alive, a Stephen King adaptation, and (possibly) Poltergeist, he got hooked up with an insane little film production company called Cannon. Now, Cannon didn’t really have a strategy, unless you can call “More ninjas and robots and Chuck Norris!” a business model. But regardless of all of this, they were successful. Esque.

Tobe Hooper made three films with Cannon: Lifeforce, which is about a naked alien vampire woman, Invaders From Mars, which is about the non-naked type of alien, and The Texas Chainsaw Massacre 2, which is apparently the movie that Tobe Hooper had wanted to make to begin with. For years, he’d lamented the fact that people had ignored all of the jokes in the original Chain Saw, and for once, I’m on the side of the people. Kind of hard to find the punchline in a scene of a woman on a meat hook watching the love of her life get butchered in front of her. But maybe that’s just me.

To rectify this, Hooper filled Chainsaw 2 with black comedy. The movie starts with a yuppie half decapitation set to “No One Lives Forever” by Oingo Boingo, which I’m convinced is the greatest opening 10 minutes in horror history. And on the other side of the film, Dennis Hopper, whose five food groups in the 80s were all cocaine, has a chainsaw duel with Leatherface. And in between that is one long, echoing shout into the void of insanity. And the fact that Tobe Hooper made this because he saw his original, where a crippled boy gets sawed to death for no reason, and thought “WHY IS NO ONE LAUGHING?” makes it a beautiful piece of cinema.

Hot Take Alert: 5 Horror Classics Worse Than Their Sequel

Gunnar Hansen-the TEXAS CHAINSAW MASSACRE (1974)

RIP Tobe Hooper

Though most famous for his 1974 horror classic-he also directed-among others-



.SALEM’S LOT (1979)

.the FUNHOUSE (1981)







.the MANGLER (1995)


.MORTUARY (2005)

.DJINN (2013)

Sign of the times

Acho que está tocando aquela música dos “The Lumineers”, o que é perfeito, sinto tua mão na minha cintura, nós estamos dançando, tudo parece realmente perfeito. Não importa se estamos fora de ritmo, sinto que a noite decidiu ser só nossa. As falhas me fazem rir. Você me faz rir, então tento desviar o olhar e quando volto me perco nos teus olhos que me encaram. E misturamos sorrisos, olhares e toques. Tudo é tão suave. É como se tivéssemos construído uma atmosfera só nossa. Então saímos antes da festa acabar. Então nos perdemos nas ruas. A lua decora e enfeita com tons tão bonitos. Então nos perdemos na praia, sentimos a imensidão do mar. Nos perdemos em nós. Nos achamos ainda inteiros. Tudo é tão azul. Então nos beijamos, não consigo descrever a energia que cobre meu corpo, o arrepio. Quero fechar os olhos e permanecer assim. Tuas mãos nas minhas bochechas, na nuca, nos meus ombros. As mãos quase trêmulas. Paramos por um instante. A profundidade do oceano é gota perto dos teus olhos. E assim como a chuva que invade o mar até ser um só, nos abraçamos, encaixo no teu peito. Às vezes penso que nossas almas já se fundiram há tantos séculos, nos tão distraídos só coincidimos agora.


Nina Benavídez

Joe GIllis turns up dead at the beginning of Sunset Boulevard (1950), photographed by John F Seitz.  John was born in Chicago and had 163 cinematography credits.  He was nominated seven times for an Oscar but never won.  His career began with a 1916 short and ended in 1960. with his penultimate film in 1959, the poverty row production Island of Lost Women.  His other films among the best 1.001 are Captain January with Shirley Temple, This Gun for Hire, Double Indemnity, The Lost Weekend, Detective Story, and Invaders From Mars.