list http://www.spout.com/ Recent community activity around The Rocky Horror Picture Show on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/The_Rocky_Horror_Picture_Show/29309/default.aspx Title: The Rocky Horror Picture Show
Year: 1975
Director: Jim Sharman
Plot: This low-budget freak show/cult classic/cultural institution concerns the misadventures of Brad Majors (Barry Bostwick) and Janet Weiss (Susan Sarandon) inside a strange mansion that they come across on a rainy night. After the wholesome pair profess their love through an opening song, their car breaks down in the woods, and they seek refuge in a towering castle nearby. Greeting them at the door is a ghoulish butler named Riff Raff (Richard O'Brien), who introduces them to a bacchanalian collection of partygoers dressed in outfits from some sort of interplanetary thrift shop. The host of this gathering is a transvestite clad in lingerie, Dr. Frank N. Furter (Tim Curry), a mad scientist who claims to be from another planet. With assistants Columbia (Nell Campbell) and Magenta (Patricia Quinn) looking on, Frank unveils his latest creation -- a figure wrapped in gauze and submerged in a tank full of liquid. With the addition of colored dyes and some assistance from the weather, Frank brings to life a blonde young beefcake wearing nothing but skimpy shorts, who launches into song in his first minute of life. Just when Brad and Janet think things couldn't get any stranger, a biker (Meat Loaf) bursts onto the scene to reclaim Columbia, his ex-girlfriend. When Frank kills the biker, it's clear that Brad and Janet will be guests for the night, and that they may be next on Frank's list -- whether for murder or carnal delights is uncertain. And just what is that mystery meat they're eating for dinner, anyway? In addition to playing Riff Raff, O'Brien wrote the catchy songs, with John Barry and Richard Hartley composing the score. ~ Derek Armstrong, All Movie Guide
Times Tagged: 72
Number of Lists: 62
Number of blog posts: 9
Number of discussion threads: 4
SpoutRating: 3
]]>Mon, 24 Aug 2009 17:08:48 GMTThe Rocky Horror Picture Show1975Jim SharmanThis low-budget freak show/cult classic/cultural institution concerns the misadventures of Brad Majors (<a href="/players/P_____7552/default.aspx" style='text-decoration:underline'>Barry Bostwick</a>) and Janet Weiss (<a href="/players/P____63158/default.aspx" style='text-decoration:underline'>Susan Sarandon</a>) inside a strange mansion that they come across on a rainy night. After the wholesome pair profess their love through an opening song, their car breaks down in the woods, and they seek refuge in a towering castle nearby. Greeting them at the door is a ghoulish butler named Riff Raff (<a href="/players/P____53293/default.aspx" style='text-decoration:underline'>Richard O'Brien</a>), who introduces them to a bacchanalian collection of partygoers dressed in outfits from some sort of interplanetary thrift shop. The host of this gathering is a transvestite clad in lingerie, Dr. Frank N. Furter (<a href="/players/P____16268/default.aspx" style='text-decoration:underline'>Tim Curry</a>), a mad scientist who claims to be from another planet. With assistants Columbia (Nell Campbell) and Magenta (<a href="/players/P____58298/default.aspx" style='text-decoration:underline'>Patricia Quinn</a>) looking on, Frank unveils his latest creation -- a figure wrapped in gauze and submerged in a tank full of liquid. With the addition of colored dyes and some assistance from the weather, Frank brings to life a blonde young beefcake wearing nothing but skimpy shorts, who launches into song in his first minute of life. Just when Brad and Janet think things couldn't get any stranger, a biker (<a href="/players/P____48154/default.aspx" style='text-decoration:underline'>Meat Loaf</a>) bursts onto the scene to reclaim Columbia, his ex-girlfriend. When Frank kills the biker, it's clear that Brad and Janet will be guests for the night, and that they may be next on Frank's list -- whether for murder or carnal delights is uncertain. And just what is that mystery meat they're eating for dinner, anyway? In addition to playing Riff Raff, O'Brien wrote the catchy songs, with <a href="/players/P____80828/default.aspx" style='text-decoration:underline'>John Barry</a> and Richard Hartley composing the score. ~ Derek Armstrong, All Movie Guide72Tag Target (>10)62943http://www.spout.com/ProductImages/t24936j7h6g.jpghttp://www.spout.com/films/The_Rocky_Horror_Picture_Show/29309/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2009/2/27/40713.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 2/27/2009 6:02:03 PM
Body: Who knew that the 1985 board game adaptation Clue had so many fans? These people certainly weren’t around 24 years ago when the movie opened 6th at the box office, behind even the terrible Santa Claus: The Movie in its third week (I’ll admit, though, Santa Claus is one of my dear guilty pleasures). But suddenly, via the internet, loyalists are everywhere, up in arms over news that a new Clue adaptation is moving forward as if the original were as popular a film as the 1985 box office champ Back to the Future (which grossed as much as 14 times more than Clue). Well, I am with the devoted to an extent. I have loved Clue since seeing it in the theater, and am embarrassed to admit it was probably the film that introduced me to the comic talents of Tim Curry, Madeline Kahn and Michael McKean (what can I say except that I was 8 and hadn’t yet seen Rocky Horror, Blazing Saddles or Spinal Tap?). But I’m not joining the protest, because I know we’ll always have the original movie. Plus, I recognize that it was anything but an original idea (never mind that it was based on a board game; hasn’t anyone see Murder By Death?). And besides, the new version, to be directed by Pirates of the Caribbean’s Gore Verbinski, hardly sounds anything like either the game or the first film. “Global thriller and transmedia event”? I don’t know what that is, but it isn’t the Clue I played. After the jump, the internerds weigh in on their love for Clue or (gasp!) their excitement for Verbinski’s effort: Cinematical’s Monika Bartyzel apparently loves Clue enough to compare it to some of the most beloved classics and cult favorites: “Nothing is sacred. Get ready, because I’m sure Gin, The Movie is on its way, as well as remakes of Gone with the Wind and Citizen Kane, plus someone with enough cojones to try and replicate Bruce Campbell’s Ash.” Adam B. Vary at PopWatch relays Entertainment Weekly editor Nicholas Fonseca’s opinion that the news is “blasphemy” and offers his own praise of the first film: You could scarcely ask for a better script — Professor Plum: “What are you afraid of, a fate worse than death?” Mrs. Peacock: “No, just death, isn’t that enough?” — or a more talented cast. But even if you (inexplicably) think this film of dubious quality, or have absolutely no idea what I’m even talking about, I think we can all agree on this: There is absolutely no need for another movie based on the Hasbro board game Clue. Josh Taylor at Cinema Blend has similar praise: “The original, hilarious, 1985 take on the mystery solving board game sported an incredible ensemble cast led by the likes of Tim Curry, and it’s brilliance defies duplication.” Vulture claims that “everyone loves the campy original,” hence the “humorless-sounding” description of this new version. Nicole at Collider looks forward to the new movie: “Verbinski’s ‘Clue’ already has a leg up on its predecessor, however.  It has a director who knows how to take a crassly commercial concept (there’s nothing more crassly commercial than a ride at Disneyland) and turn it into something sublime.” Snarkarati’s Kirsten Anderson clearly hasn’t noticed the unhappy masses and therefore agrees with Nicole: “There was a previous film version of Clue made in 1985, but it was apparently dreadful, so Verbinski has nowhere to go but up.” “maestro610″ agrees in his comment on Cinematical: “If he wants to do this I’ve got to imagine that he’s interested in putting together something that could fit next to the original. We are talking about a movie based on a board game… remember all the explanation necessary is that its a new game. Don’t disacknowledge the original just step away from it.” Megorious seems fine with Verbinski directing, but not necessarily because of his surprising success with Pirates: “Hopefully Verbinski’s version of Clue will be more like his Mousehunt and less like most everything else he’s ever made.” Commenting on PopWatch, “jd” offers up another idea for the new film: “The movie they should make- in the 70’s, National Lampoon magazine did a ghetto parody, called ‘CLOO’. The character names were a bit more urban, and the weapons were straight razors and blackjacks. Very funny, in those non-PC times!” And at Screengrab, Scott Von Doviak sees the potential for a better film with the right casting: “I may be imagining things here, but I seem to recall a notorious bomb from the ‘80s adapted from Clue. And yet … Let the Johnny Depp as Colonel Mustard rumors start now.” Meanwhile, people are commenting all over the web with ideas for who to cast in the new version, but my favorite is this old chestnut, suggested by “Furzee” at Aint It Cool News: “Kate Moss as the candlestick…” And now I present my favorite 25 seconds of the film (boy, do I miss Madeline Kahn): Originally posted on:SpoutBlog
]]>Fri, 27 Feb 2009 23:02:03 GMTSpoutBlogSpoutBlog on spout.com2/27/2009 6:02:03 PMWho knew that the 1985 board game adaptation Clue had so many fans? These people certainly weren’t around 24 years ago when the movie opened 6th at the box office, behind even the terrible Santa Claus: The Movie in its third week (I’ll admit, though, Santa Claus is one of my dear guilty pleasures). But suddenly, via the internet, loyalists are everywhere, up in arms over news that a new Clue adaptation is moving forward as if the original were as popular a film as the 1985 box office champ Back to the Future (which grossed as much as 14 times more than Clue). Well, I am with the devoted to an extent. I have loved Clue since seeing it in the theater, and am embarrassed to admit it was probably the film that introduced me to the comic talents of Tim Curry, Madeline Kahn and Michael McKean (what can I say except that I was 8 and hadn’t yet seen Rocky Horror, Blazing Saddles or Spinal Tap?). But I’m not joining the protest, because I know we’ll always have the original movie. Plus, I recognize that it was anything but an original idea (never mind that it was based on a board game; hasn’t anyone see Murder By Death?). And besides, the new version, to be directed by Pirates of the Caribbean’s Gore Verbinski, hardly sounds anything like either the game or the first film. “Global thriller and transmedia event”? I don’t know what that is, but it isn’t the Clue I played. After the jump, the internerds weigh in on their love for Clue or (gasp!) their excitement for Verbinski’s effort: Cinematical’s Monika Bartyzel apparently loves Clue enough to compare it to some of the most beloved classics and cult favorites: “Nothing is sacred. Get ready, because I’m sure Gin, The Movie is on its way, as well as remakes of Gone with the Wind and Citizen Kane, plus someone with enough cojones to try and replicate Bruce Campbell’s Ash.” Adam B. Vary at PopWatch relays Entertainment Weekly editor Nicholas Fonseca’s opinion that the news is “blasphemy” and offers his own praise of the first film: You could scarcely ask for a better script — Professor Plum: “What are you afraid of, a fate worse than death?” Mrs. Peacock: “No, just death, isn’t that enough?” — or a more talented cast. But even if you (inexplicably) think this film of dubious quality, or have absolutely no idea what I’m even talking about, I think we can all agree on this: There is absolutely no need for another movie based on the Hasbro board game Clue. Josh Taylor at Cinema Blend has similar praise: “The original, hilarious, 1985 take on the mystery solving board game sported an incredible ensemble cast led by the likes of Tim Curry, and it’s brilliance defies duplication.” Vulture claims that “everyone loves the campy original,” hence the “humorless-sounding” description of this new version. Nicole at Collider looks forward to the new movie: “Verbinski’s ‘Clue’ already has a leg up on its predecessor, however.  It has a director who knows how to take a crassly commercial concept (there’s nothing more crassly commercial than a ride at Disneyland) and turn it into something sublime.” Snarkarati’s Kirsten Anderson clearly hasn’t noticed the unhappy masses and therefore agrees with Nicole: “There was a previous film version of Clue made in 1985, but it was apparently dreadful, so Verbinski has nowhere to go but up.” “maestro610″ agrees in his comment on Cinematical: “If he wants to do this I’ve got to imagine that he’s interested in putting together something that could fit next to the original. We are talking about a movie based on a board game… remember all the explanation necessary is that its a new game. Don’t disacknowledge the original just step away from it.” Megorious seems fine with Verbinski directing, but not necessarily because of his surprising success with Pirates: “Hopefully Verbinski’s version of Clue will be more like his Mousehunt and less like most everything else he’s ever made.” Commenting on PopWatch, “jd” offers up another idea for the new film: “The movie they should make- in the 70’s, National Lampoon magazine did a ghetto parody, called ‘CLOO’. The character names were a bit more urban, and the weapons were straight razors and blackjacks. Very funny, in those non-PC times!” And at Screengrab, Scott Von Doviak sees the potential for a better film with the right casting: “I may be imagining things here, but I seem to recall a notorious bomb from the ‘80s adapted from Clue. And yet … Let the Johnny Depp as Colonel Mustard rumors start now.” Meanwhile, people are commenting all over the web with ideas for who to cast in the new version, but my favorite is this old chestnut, suggested by “Furzee” at Aint It Cool News: “Kate Moss as the candlestick…” And now I present my favorite 25 seconds of the film (boy, do I miss Madeline Kahn): Originally posted on:SpoutBlog http://www.spout.com/groups/Weekly_Theme/Weekly_Theme_for_October_13_Just_One_Day/625/36267/1/ShowPost.aspx Post By: mercurial
Post To: Weekly Theme
Post Date: 10/13/2008 4:15:26 PM
Body: With the last two films I've seen taking place over the course of a single day, I decided to make this week's theme all about those films that aren't hindered by the passing of many months, years or even centuries, but that take place over the course of twenty four hours. Nick and Norah's Infinite Playlist was a cute little film that had it's characters running around trying to find a secret concert during the wee hours of the night. The passing of Paul Newman and what an incredible actor he was became all that more clear to me after recently watching Cat on a Hot Tin Roof which has a whole slew of emotions bursting out of everyone during the family patriarchs birthday. Both 200 Cigarettes and Four Rooms take place on New Year's Eve and are full of all sorts of hilarious drunken debauchery. Groove, Trick and London are about the bringing together and falling apart of couples over a single day. The Rocky Horror Picture Show is all sorts of crazy packed into one night. And one of my favorites, Who's Afraid of Virginia Woolf? with a bats**t crazy Elizabeth Taylor and her verbally abused husband Richard Burton spewing brandy laden zingers at one another during a laborious night of drinking. So time's running out . . . . . . lets get to talking about those films that take place over 24 hours!
]]>Mon, 13 Oct 2008 20:15:26 GMTmercurialWeekly Theme10/13/2008 4:15:26 PMWith the last two films I've seen taking place over the course of a single day, I decided to make this week's theme all about those films that aren't hindered by the passing of many months, years or even centuries, but that take place over the course of twenty four hours. Nick and Norah's Infinite Playlist was a cute little film that had it's characters running around trying to find a secret concert during the wee hours of the night. The passing of Paul Newman and what an incredible actor he was became all that more clear to me after recently watching Cat on a Hot Tin Roof which has a whole slew of emotions bursting out of everyone during the family patriarchs birthday. Both 200 Cigarettes and Four Rooms take place on New Year's Eve and are full of all sorts of hilarious drunken debauchery. Groove, Trick and London are about the bringing together and falling apart of couples over a single day. The Rocky Horror Picture Show is all sorts of crazy packed into one night. And one of my favorites, Who's Afraid of Virginia Woolf? with a bats**t crazy Elizabeth Taylor and her verbally abused husband Richard Burton spewing brandy laden zingers at one another during a laborious night of drinking. So time's running out . . . . . . lets get to talking about those films that take place over 24 hours! http://www.spout.com/blogs/spoutblog/archive/2008/9/20/35340.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/20/2008 2:00:49 PM
Body: There’s no denying that Repo! The Genetic Opera has plenty of imagination, but right now it’s still spinning around in my brain and I’m trying to decide if I like it or not. The first time I saw The Rocky Horror Picture Show, I thought it was one of the worst movies I’d ever seen, despite Tim Curry’s stellar performance. Is Repo! destined for the same cult status? The only answer I can come up with is… maybe. Based on a 10 minute opera called “The Necro-Merchant’s Debt” by Darren Smith and Terrance Zdunich (who plays the Graverobber in the movie), Repo! later become a stageplay, and then they brought Saw sequel director Darren Lynn Bousman on board, and now a movie. It’s an epic opera set in the future, where a corporation called GeneCo has mastered the art of creating synthetic body organs. However, they come at a steep price, and if you don’t pay up, the company will send Repo Men after you to reclaim their property. Which of course usually results in the death of the implantee. This serves as the backdrop for the opera portion of the movie, in which Rotti Largo, owener of GeneCo, struggles with his three nasty children: violent Luigi, face-transplant Pavi, and surgery-obsessed Amber Sweet, played by Paris Hilton. Yes, that Paris Hilton. On the flipside of the Repo!-verse are Shilo Wallace, 17 year old girl in a bubble who kept locked up at home by her father, Doctor Nathan Wallace. He’s paranoid that her blood disease will kill her, and tries to keep his daughter hermetically sealed at all times. As often happens in operas, it turns out that Nathan’s dead wife Marni did once love Rotti, but she left him for Nathan. Rotti couldn’t take the rejection, and he poisoned Marni and made it look like it was Nathan’s fault. He kept Nathan out of jail, but forced him to become one of his Repo Men. So, he’s a doctor by day and a Repo Man by night. He’s become very good at his job and takes macabre pleasure in it as well. Rotti discovers he’s dying of a terminal disease that even genetics can’t fix, and he sets about the machinations to bring Nathan’s world crumbling to the ground, while simultaneously denying the inheritance of GeneCo to any of his own kids Thrown into the mix are Blind Mag, a singer with digital GeneCo eyes who serves as the voice of the company who is locked into a perpetual contract with them, and the Graverobber, a man who extracts Zydrate (a glowing blue drug) from corpses around town to feed those who are addicted to the knife, like Amber. Some of the acting is just truly painful and there are moments of laugh-out-loud bad dialogue, like the phone call Shilo gets out of the blue from Rotti, “Meet me in your mother’s tomb!” Gee, okay, no problem. Paul Sorvino chews up every scene he’s in as the villanous Rotti, and the actor who plays Luigi just can’t act in this role at all, other than to snarl at everyone. However, there are some standouts, like Anthony Head who is better known as Giles from TV’s Buffy The Vampire Slayer. Alexa Vega, who played Carmen in the Spy Kids trilogy of films has really grown up, and shines as Shilo, and Paris Hilton actually isn’t bad, although I’m not sure if that’s because she’s playing a limelight obsessed starlet-figure who is consumed with looking perfect. There’s a scene where her new face falls off in the middle of a song, and we’re shown a literally faceless Paris Hilton. Those scenes alone make a better movie than the fluff piece Paris, Not France did. Oddly enough, the real star of this film turns out to be singer Sarah Brightman who plays Blind Mag. She has some of the best songs in the movie, including “Chase The Morning” with Alexa Vegas, and her digital corneas make her look both creepy and cool at the same time. Calling it now: goth girls will love this look for Halloween. Especially if they can buy those contact lenses somewhere. She has the most tragic storyline in the movie, and her look seems directly inspired by the Living Dead Dolls line of collectibles. Hell, if they actually make a Blind Mag doll, I’d probably buy it. Especially if it has “Holographic Projector Eye Action,” batteries not included. What’s ironic about the film is that I kept thinking that it would be great if it wasn’t the musical. Many of the numbers just don’t work, either because of the lyrics or the peformances, but I love the sci-fi setting of the story and the arcs of the characters. It’s like a post-Blade Runner steampunk Victoriana world where synthetic organs have replaced Replicants, and the Repo Men are the bladerunners. They wear cool dark surgeon-esque outfits, complete with full facemask helmets with glowing eyes, and you could imagine the terror they’d strike in your gut when they came calling for that very same organ. Director Bousman said that the studios said the same thing, “Why don’t you do this as a non-musical?,” which he and Zdunich flatly refused to do. So, we’re left with a intriguing story stuck behind an awkward musical in which half of it works, and the other have flails around like a patient without a heart. Goths will love it, mainstream moviegoers will hate it, and horror fans will likely be confused by it. Especially when the other organ repo movie Repossession Mambo hits screens next year. Repo! will have a limited theatrical release in November, and will hit DVD in January 2009. Originally posted on:SpoutBlog
]]>Sat, 20 Sep 2008 18:00:49 GMTSpoutBlogSpoutBlog on spout.com9/20/2008 2:00:49 PM There’s no denying that Repo! The Genetic Opera has plenty of imagination, but right now it’s still spinning around in my brain and I’m trying to decide if I like it or not. The first time I saw The Rocky Horror Picture Show, I thought it was one of the worst movies I’d ever seen, despite Tim Curry’s stellar performance. Is Repo! destined for the same cult status? The only answer I can come up with is… maybe. Based on a 10 minute opera called “The Necro-Merchant’s Debt” by Darren Smith and Terrance Zdunich (who plays the Graverobber in the movie), Repo! later become a stageplay, and then they brought Saw sequel director Darren Lynn Bousman on board, and now a movie. It’s an epic opera set in the future, where a corporation called GeneCo has mastered the art of creating synthetic body organs. However, they come at a steep price, and if you don’t pay up, the company will send Repo Men after you to reclaim their property. Which of course usually results in the death of the implantee. This serves as the backdrop for the opera portion of the movie, in which Rotti Largo, owener of GeneCo, struggles with his three nasty children: violent Luigi, face-transplant Pavi, and surgery-obsessed Amber Sweet, played by Paris Hilton. Yes, that Paris Hilton. On the flipside of the Repo!-verse are Shilo Wallace, 17 year old girl in a bubble who kept locked up at home by her father, Doctor Nathan Wallace. He’s paranoid that her blood disease will kill her, and tries to keep his daughter hermetically sealed at all times. As often happens in operas, it turns out that Nathan’s dead wife Marni did once love Rotti, but she left him for Nathan. Rotti couldn’t take the rejection, and he poisoned Marni and made it look like it was Nathan’s fault. He kept Nathan out of jail, but forced him to become one of his Repo Men. So, he’s a doctor by day and a Repo Man by night. He’s become very good at his job and takes macabre pleasure in it as well. Rotti discovers he’s dying of a terminal disease that even genetics can’t fix, and he sets about the machinations to bring Nathan’s world crumbling to the ground, while simultaneously denying the inheritance of GeneCo to any of his own kids Thrown into the mix are Blind Mag, a singer with digital GeneCo eyes who serves as the voice of the company who is locked into a perpetual contract with them, and the Graverobber, a man who extracts Zydrate (a glowing blue drug) from corpses around town to feed those who are addicted to the knife, like Amber. Some of the acting is just truly painful and there are moments of laugh-out-loud bad dialogue, like the phone call Shilo gets out of the blue from Rotti, “Meet me in your mother’s tomb!” Gee, okay, no problem. Paul Sorvino chews up every scene he’s in as the villanous Rotti, and the actor who plays Luigi just can’t act in this role at all, other than to snarl at everyone. However, there are some standouts, like Anthony Head who is better known as Giles from TV’s Buffy The Vampire Slayer. Alexa Vega, who played Carmen in the Spy Kids trilogy of films has really grown up, and shines as Shilo, and Paris Hilton actually isn’t bad, although I’m not sure if that’s because she’s playing a limelight obsessed starlet-figure who is consumed with looking perfect. There’s a scene where her new face falls off in the middle of a song, and we’re shown a literally faceless Paris Hilton. Those scenes alone make a better movie than the fluff piece Paris, Not France did. Oddly enough, the real star of this film turns out to be singer Sarah Brightman who plays Blind Mag. She has some of the best songs in the movie, including “Chase The Morning” with Alexa Vegas, and her digital corneas make her look both creepy and cool at the same time. Calling it now: goth girls will love this look for Halloween. Especially if they can buy those contact lenses somewhere. She has the most tragic storyline in the movie, and her look seems directly inspired by the Living Dead Dolls line of collectibles. Hell, if they actually make a Blind Mag doll, I’d probably buy it. Especially if it has “Holographic Projector Eye Action,” batteries not included. What’s ironic about the film is that I kept thinking that it would be great if it wasn’t the musical. Many of the numbers just don’t work, either because of the lyrics or the peformances, but I love the sci-fi setting of the story and the arcs of the characters. It’s like a post-Blade Runner steampunk Victoriana world where synthetic organs have replaced Replicants, and the Repo Men are the bladerunners. They wear cool dark surgeon-esque outfits, complete with full facemask helmets with glowing eyes, and you could imagine the terror they’d strike in your gut when they came calling for that very same organ. Director Bousman said that the studios said the same thing, “Why don’t you do this as a non-musical?,” which he and Zdunich flatly refused to do. So, we’re left with a intriguing story stuck behind an awkward musical in which half of it works, and the other have flails around like a patient without a heart. Goths will love it, mainstream moviegoers will hate it, and horror fans will likely be confused by it. Especially when the other organ repo movie Repossession Mambo hits screens next year. Repo! will have a limited theatrical release in November, and will hit DVD in January 2009. Originally posted on:SpoutBlog http://www.spout.com/blogs/minerwerks/archive/2008/9/4/34734.aspx Post By: minerwerks
Post To: minerwerks Blog
Post Date: 9/4/2008 10:55:54 AM
Body: I am not a child of the 70s. I say this because it seems to be one of the main reasons I do not share the same reverence for the odd spectacle productions of that decade like 'Tommy' or 'The Man Who Fell to Earth.' I was going to throw 'Heavy Metal' in there, which is certainly a product of the 70s, even though it came out in 1981. Which is also the year that this sort-of sequel to 'The Rocky Horror Picture Show' came out. Now, as much as I thoroughly enjoy 'Rocky Horrror' (with and without the crowd participation), I can buy into many of the criticisms of that film. They pitched the tone a bit too seriously, the pacing is erratic, and the movie never really communicates the same idea that the stage show originally did. But 'Shock Treatment' is something completely different, and it struggles to be taken on its own terms. The All Movie guide says it is "hesitantly embraced" by 'Rocky Horror' fans, but that rings as a prespective of someone on the outside observing the freaks. There are 'Rocky Horror' fans who have tried to put the same audience participation template on 'Shock Treatment,' and while those results are mixed and lack a certain spontaneity, they do not represent or spoil the merits of the film. 'Shock Treatment' follows married Brad and Janet Majors as they reulctantly become pawns in the mechanizations of a fast food magnate named Farley Flavors who lords over his world of DTV - Denton Television. The film immediately contextualizes small town America in a television studio where dramas play out on various television series. I suppose this device would cause many people to tune out immediately, but if you accept the surreal setting the film has many odd charms and fun moments. This is why I bring up films like 'Tommy' (and hell, let's also take 'The Wall' even though it came out a year after this film). I suppose the pedigree of being based on "important" rock music can carry a disconnected, overly pretentious, bizarre barrage of images and help it to be considered a classic. Why can't something just as surreal but with a more DIY bent be considered entertaining or worthy as well? 'Shock Treatment' is not deep, but it presages America's obsession with reality television, advertising overload and (particularly) the media's ability to lead people into making judgements on our fellow citizens based on rumor and conjecture. But this is a musical, and judged soley on that basis, the songs are bright, clever and catchy. Richard O'Brien and Richard Hartley outdid themselves and created songs that work even better than the ones in 'The Rocky Horror Picture Show.' The songs cut a wide swath through the music of the time, encompassing classic show tune styles, brassy soul, disco (just a little) and even punk. But somehow, the score is coherent, and less of a rambling pastiche of styles than its predecessor. Cliff de Young and Jessica Harper easily outshine Barry Bostwick and Susan Sarandon (the Brad and Janet of 'Rocky Horror'), not because of overall talent, but because they are appropriate for this film's incarnation of the roles (not to mention De Young and Harper sing their asses off). We don't get a lot of fancy musical choreography, but a couple of sequences are interestingly staged, cognizant of the camera and the conventions of editing. Which brings up another point. 'Rocky Horror' worked hard but couldn't quite shake the feeling of being adapted from a stage play. On the other hand, 'Shock Treatment' was a film from the beginning and even though the settings are limited inside a giant television studio, the film makes the most of space and time (and fantasy), never feeling tied to one or two locations. If you are ever in a forgiving mood and want to challenge your thoughts on this film, I encourage you to check it out again fresh. I'll be surprised if you don't find yourself singing,"Ooooh, shock treatment!" afterwards.
]]>Thu, 04 Sep 2008 14:55:54 GMTminerwerksminerwerks Blog9/4/2008 10:55:54 AMI am not a child of the 70s. I say this because it seems to be one of the main reasons I do not share the same reverence for the odd spectacle productions of that decade like 'Tommy' or 'The Man Who Fell to Earth.' I was going to throw 'Heavy Metal' in there, which is certainly a product of the 70s, even though it came out in 1981. Which is also the year that this sort-of sequel to 'The Rocky Horror Picture Show' came out. Now, as much as I thoroughly enjoy 'Rocky Horrror' (with and without the crowd participation), I can buy into many of the criticisms of that film. They pitched the tone a bit too seriously, the pacing is erratic, and the movie never really communicates the same idea that the stage show originally did. But 'Shock Treatment' is something completely different, and it struggles to be taken on its own terms. The All Movie guide says it is "hesitantly embraced" by 'Rocky Horror' fans, but that rings as a prespective of someone on the outside observing the freaks. There are 'Rocky Horror' fans who have tried to put the same audience participation template on 'Shock Treatment,' and while those results are mixed and lack a certain spontaneity, they do not represent or spoil the merits of the film. 'Shock Treatment' follows married Brad and Janet Majors as they reulctantly become pawns in the mechanizations of a fast food magnate named Farley Flavors who lords over his world of DTV - Denton Television. The film immediately contextualizes small town America in a television studio where dramas play out on various television series. I suppose this device would cause many people to tune out immediately, but if you accept the surreal setting the film has many odd charms and fun moments. This is why I bring up films like 'Tommy' (and hell, let's also take 'The Wall' even though it came out a year after this film). I suppose the pedigree of being based on "important" rock music can carry a disconnected, overly pretentious, bizarre barrage of images and help it to be considered a classic. Why can't something just as surreal but with a more DIY bent be considered entertaining or worthy as well? 'Shock Treatment' is not deep, but it presages America's obsession with reality television, advertising overload and (particularly) the media's ability to lead people into making judgements on our fellow citizens based on rumor and conjecture. But this is a musical, and judged soley on that basis, the songs are bright, clever and catchy. Richard O'Brien and Richard Hartley outdid themselves and created songs that work even better than the ones in 'The Rocky Horror Picture Show.' The songs cut a wide swath through the music of the time, encompassing classic show tune styles, brassy soul, disco (just a little) and even punk. But somehow, the score is coherent, and less of a rambling pastiche of styles than its predecessor. Cliff de Young and Jessica Harper easily outshine Barry Bostwick and Susan Sarandon (the Brad and Janet of 'Rocky Horror'), not because of overall talent, but because they are appropriate for this film's incarnation of the roles (not to mention De Young and Harper sing their asses off). We don't get a lot of fancy musical choreography, but a couple of sequences are interestingly staged, cognizant of the camera and the conventions of editing. Which brings up another point. 'Rocky Horror' worked hard but couldn't quite shake the feeling of being adapted from a stage play. On the other hand, 'Shock Treatment' was a film from the beginning and even though the settings are limited inside a giant television studio, the film makes the most of space and time (and fantasy), never feeling tied to one or two locations. If you are ever in a forgiving mood and want to challenge your thoughts on this film, I encourage you to check it out again fresh. I'll be surprised if you don't find yourself singing,"Ooooh, shock treatment!" afterwards. http://www.spout.com/blogs/spoutblog/archive/2008/8/21/34239.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/21/2008 4:01:18 PM
Body: This week, thanks to The Rocker, we can add another fictional band to the long list of music groups created solely for the movies. They’re called Vesuvius, and they’re an ‘80s hair band with a hit song titled “Promised Land.” As part of the film’s marketing, the track was offered as a free download for play on Rock Band (see the clip above). But if you ask me, the wrong tune was used in the promotion. Another song from the soundtrack, also credited to Vesuvius, is called “Pompeii Nights,” and it’s definitely the better of the two. I’m not surprised, though. While most people favor the songs of Spinal Tap, a once-fictional band that has become popular enough to evolve into a “semi-fictional” performing act, I’ve preferred such gems as “The Whites of Their Eyes” by PEZ® People, from The Big Picture. Also co-written by This is Spinal Tap’s Christopher Guest and Michael McKean, and sung by McKean, this song is apparently so underrated that I can’t even find an audio sample, let along a YouTube clip of the fake band’s music video, which was directed by fictional filmmaker Lydia Johnson (Jennifer Jason Leigh). Fortunately, for the benefit of this list, the rest of these under-appreciated tracks have a few fellow fans. “Howard the Duck” by Cherry Bomb, from Howard the Duck I’m still certain that I was this movie’s biggest fan. While growing up, I owned a VHS copy, the comic book adaptation and the novelization, and I still watched the edited version whenever it showed up on commercial television. Unfortunately, though, I never owned the soundtrack, which is, unsurprisingly, out of print (though available on eBay). It’s okay, because the catchy theme song has forever been lodged in my head. Performed diegetically by a fictional Runaways-inspired band, the Razzie-nominated “Howard the Duck” features vocals by actress Lea Thompson and funk legend George Clinton, plus Joe Walsh on guitar and Thomas Dolby, who co-wrote and produced all of Cherry Bomb’s songs, on synthesizer (off screen the song is credited to “Dolby Cube”). Cherry Bomb had four songs in the movie’s soundtrack, and some were definitely better than others. “Hunger City” is also kinda catchy, but that’s possibly only because it sounds reminiscent of Hall & Oats’ “Family Man.” Meanwhile, I absolutely love the slower “Don’t Turn Away,” which, unlike the title number, lacks Clinton’s vocals and Walsh’s guitar playing; yet it makes up for it with a little harmonica part performed by none other than Stevie Wonder. Perhaps its just my being a fan of ‘80s girl groups like The Go-Gos (check out Thompson doing a duet with Belinda Carlisle here) and The Bangles, but I could really have gone for a full album, and maybe a tour, a la Spinal Tap, from Cherry Bomb. “BBC” by Ming Tea, from Austin Powers: International Man of Mystery As far as fictional ‘60s bands go, Ming Tea is by far my favorite over such groups as The Oneders, aka The Wonders (from That Thing You Do!) and The Rutles (from All You Need is Cash), the latter of which is only as good as the Beatles tunes they spoof. Of course, I do like to think only of this poppy number from the first film, as well as the “psychedelic scene breaks” from the first and second films and ignore the relatively ‘90s-sounding “Daddy Wasn’t There” from Austin Powers in Goldmember, which seems like a reject from one of Matthew Sweet’s later albums (Sweet is a member of and co-songwriter for the fictional Ming Tea). Again, part of my love for Ming Tea could be due to my love for The Bangles, whose Susanna Hoffs was a member of the fake group (she is also the wife of Jay Roach, who directed all three Austin Powers movies). Someday I’d like to see another Nuggets box set featuring only fictional garage rock bands like Ming Tea, The Archies, etc. “Riverbottom Nightmare Band” by The Riverbottom Nightmare Band (or simply The Nightmare), from Emmet Otter’s Jug-Band Christmas Speaking of The Archies, if a fictional rock band from a cartoon can have a hit song continually played on oldies radio, why can’t this fictional rock band from a Muppet TV special get the same treatment? Is it because the vocals are actually pretty terrible? Is it because they’re the villains of the story? Maybe The Archies’ “Sugar Sugar” was the #1 pop song of 1969, but this eponymous tune was written by Oscar-winner Paul Williams, who also gave us such memorable songs as “(Just an) Old Fashioned Love Song,” “The Rainbow Connection” and The Carpenters’ “Rainy Days and Mondays” and “We’ve Only Just Begun.” Plus, if it’s any consolation, RNB’s keyboardist, a bear named Chuck, could totally kick Archie’s ass. Also worthy of radio play, though it’s probably not quite as underrated: “Can You Picture That” by Dr. Teeth and the Electric Mayhem, from The Muppet Movie (and also co-written by Williams). “Goodbye, Eddie, Goodbye” by The Juicy Fruits, from Phantom of the Paradise I’m not always a big fan of this doo-wop revival kind of glam rock, but I really like this track from Brian DePalma’s musical, favoring it over such “real” tunes as Gary Glitter’s cover of Dion’s “The Wanderer” and “made-up” songs as those in The Rocky Horror Picture Show. Maybe it’s because this song is also penned by Paul Williams? Technically, because the movie bombed and is still hardly celebrated (at least compared to TRHPS), the whole soundtrack should be on this list. “Two-Way Romeo” by The Bang Bang, from Brothers of the Head I don’t think anyone else even saw this faux rock documentary (it’s not funny enough to be considered a mockumentary), let alone paid attention to its better-than-necessary soundtrack. Basically the song is by British pop-punk band Crackout (or members of the band, anyway), but it’s pretty authentic sounding for the film’s ‘70s setting. “Never Did No Wanderin’” by The Folksmen, from A Mighty Wind Part of my disappointment with this movie was that the songs are actually pretty good — and not necessarily funny. Silly, yes. Witty, yes. But not exactly over the top, laugh-out-loud funny, the way I prefer Christopher Guest movies to be. Yet I would actually go see The Folksmen before I would go see Spinal Tap, which features the same three actors (Guest, Michael McKean and Harry Shearer, who in fact opened for themselves by having The Folkmen and Spinal Tap tour together in 2001). If they didn’t perform their cover of The Rolling Stones’ “Start Me Up,” though, I would be very dissatisfied. Much of the non-Folksmen songs on the soundtrack are actually pretty lame, including the Oscar-nominated “A Kiss at the End of the Rainbow.” I believe that had it all been more upbeat, a la The Folksmen’s “Old Joe’s Place” (which, along with “Blood on the Coal,” was actually introduced on Saturday Night Live way back in 1984), “Corn Wine” and “Never Did No Wanderin’” it could have been as successful an album as the O Brother, Where Art Thou? CDs. “Sweat of My Balls” by CB4, from CB4 The more memorable song from this near-mockumentary might be “Straight Outta Locash,” yet like the songs by The Rutles, it’s too clear a redo of a preexisting song (N.W.A.’s “Straight Outta Compton”). I guess I’m not that knowledgeable about rap music, but I had always thought “Sweat of My Balls” was actually original. Turns out, it’s actually a parody of Kool G. Rap’s “Talk Like Sex.” Well, since that song is also underrated (enough that I’d never heard of it), I stand by my inclusion of the less familiar-sounding CB4 track. “My Peanuts” by N.W.H., from Fear of a Black Hat I am at least aware that this song, which comes from a film similar to — though much less successful than — CB4, is a redo of Run-DMC’s “My Addidas.” But it’s so damn ridiculous that I wasn’t able to make the connection between the songs until many years after first seeing the movie. Just imagine how popular peanuts would be if the National Peanut Board used this rap in advertisements. “(Just Around the Corner to the) Light of Day” by The Barbusters, from Light of Day It’s not uncommon for a song written for a movie to become a real-world hit. And when it’s written by Bruce Springsteen, as this one was, you almost expect it to be a success. Yet despite the fact that both Springsteen and Joan Jett, who stars in the film as a member of the fictional Barbusters, have made the tune a staple of their respective live concert sets, it still doesn’t get the kind of general attention paid to, say, “On the Dark Side” from that other ‘80s bar band movie, Eddie and the Cruisers. Why isn’t this played heavily on classic rock radio? And by “this” I of course mean the version featuring Michael J. Fox and, yes, Michael McKean (man, he loves the fictional bands). “It Don’t Worry Me” by Albuquerque, from Nashville This is just a solo singer (played by Barbara Harris) rather than a whole group, but she’s still fictional and the song was still written for the film. And it’s sung during what may be the best film ending of all time (hence its appropriate position at the end of the list). Somehow Keith Carradine won an Oscar for writing the most boring tune in this Robert Altman classic (“I’m Easy”), while this song, also written by Carradine, is clearly more enjoyable. Originally posted on:SpoutBlog
]]>Thu, 21 Aug 2008 20:01:18 GMTSpoutBlogSpoutBlog on spout.com8/21/2008 4:01:18 PM This week, thanks to The Rocker, we can add another fictional band to the long list of music groups created solely for the movies. They’re called Vesuvius, and they’re an ‘80s hair band with a hit song titled “Promised Land.” As part of the film’s marketing, the track was offered as a free download for play on Rock Band (see the clip above). But if you ask me, the wrong tune was used in the promotion. Another song from the soundtrack, also credited to Vesuvius, is called “Pompeii Nights,” and it’s definitely the better of the two. I’m not surprised, though. While most people favor the songs of Spinal Tap, a once-fictional band that has become popular enough to evolve into a “semi-fictional” performing act, I’ve preferred such gems as “The Whites of Their Eyes” by PEZ® People, from The Big Picture. Also co-written by This is Spinal Tap’s Christopher Guest and Michael McKean, and sung by McKean, this song is apparently so underrated that I can’t even find an audio sample, let along a YouTube clip of the fake band’s music video, which was directed by fictional filmmaker Lydia Johnson (Jennifer Jason Leigh). Fortunately, for the benefit of this list, the rest of these under-appreciated tracks have a few fellow fans. “Howard the Duck” by Cherry Bomb, from Howard the Duck I’m still certain that I was this movie’s biggest fan. While growing up, I owned a VHS copy, the comic book adaptation and the novelization, and I still watched the edited version whenever it showed up on commercial television. Unfortunately, though, I never owned the soundtrack, which is, unsurprisingly, out of print (though available on eBay). It’s okay, because the catchy theme song has forever been lodged in my head. Performed diegetically by a fictional Runaways-inspired band, the Razzie-nominated “Howard the Duck” features vocals by actress Lea Thompson and funk legend George Clinton, plus Joe Walsh on guitar and Thomas Dolby, who co-wrote and produced all of Cherry Bomb’s songs, on synthesizer (off screen the song is credited to “Dolby Cube”). Cherry Bomb had four songs in the movie’s soundtrack, and some were definitely better than others. “Hunger City” is also kinda catchy, but that’s possibly only because it sounds reminiscent of Hall & Oats’ “Family Man.” Meanwhile, I absolutely love the slower “Don’t Turn Away,” which, unlike the title number, lacks Clinton’s vocals and Walsh’s guitar playing; yet it makes up for it with a little harmonica part performed by none other than Stevie Wonder. Perhaps its just my being a fan of ‘80s girl groups like The Go-Gos (check out Thompson doing a duet with Belinda Carlisle here) and The Bangles, but I could really have gone for a full album, and maybe a tour, a la Spinal Tap, from Cherry Bomb. “BBC” by Ming Tea, from Austin Powers: International Man of Mystery As far as fictional ‘60s bands go, Ming Tea is by far my favorite over such groups as The Oneders, aka The Wonders (from That Thing You Do!) and The Rutles (from All You Need is Cash), the latter of which is only as good as the Beatles tunes they spoof. Of course, I do like to think only of this poppy number from the first film, as well as the “psychedelic scene breaks” from the first and second films and ignore the relatively ‘90s-sounding “Daddy Wasn’t There” from Austin Powers in Goldmember, which seems like a reject from one of Matthew Sweet’s later albums (Sweet is a member of and co-songwriter for the fictional Ming Tea). Again, part of my love for Ming Tea could be due to my love for The Bangles, whose Susanna Hoffs was a member of the fake group (she is also the wife of Jay Roach, who directed all three Austin Powers movies). Someday I’d like to see another Nuggets box set featuring only fictional garage rock bands like Ming Tea, The Archies, etc. “Riverbottom Nightmare Band” by The Riverbottom Nightmare Band (or simply The Nightmare), from Emmet Otter’s Jug-Band Christmas Speaking of The Archies, if a fictional rock band from a cartoon can have a hit song continually played on oldies radio, why can’t this fictional rock band from a Muppet TV special get the same treatment? Is it because the vocals are actually pretty terrible? Is it because they’re the villains of the story? Maybe The Archies’ “Sugar Sugar” was the #1 pop song of 1969, but this eponymous tune was written by Oscar-winner Paul Williams, who also gave us such memorable songs as “(Just an) Old Fashioned Love Song,” “The Rainbow Connection” and The Carpenters’ “Rainy Days and Mondays” and “We’ve Only Just Begun.” Plus, if it’s any consolation, RNB’s keyboardist, a bear named Chuck, could totally kick Archie’s ass. Also worthy of radio play, though it’s probably not quite as underrated: “Can You Picture That” by Dr. Teeth and the Electric Mayhem, from The Muppet Movie (and also co-written by Williams). “Goodbye, Eddie, Goodbye” by The Juicy Fruits, from Phantom of the Paradise I’m not always a big fan of this doo-wop revival kind of glam rock, but I really like this track from Brian DePalma’s musical, favoring it over such “real” tunes as Gary Glitter’s cover of Dion’s “The Wanderer” and “made-up” songs as those in The Rocky Horror Picture Show. Maybe it’s because this song is also penned by Paul Williams? Technically, because the movie bombed and is still hardly celebrated (at least compared to TRHPS), the whole soundtrack should be on this list. “Two-Way Romeo” by The Bang Bang, from Brothers of the Head I don’t think anyone else even saw this faux rock documentary (it’s not funny enough to be considered a mockumentary), let alone paid attention to its better-than-necessary soundtrack. Basically the song is by British pop-punk band Crackout (or members of the band, anyway), but it’s pretty authentic sounding for the film’s ‘70s setting. “Never Did No Wanderin’” by The Folksmen, from A Mighty Wind Part of my disappointment with this movie was that the songs are actually pretty good — and not necessarily funny. Silly, yes. Witty, yes. But not exactly over the top, laugh-out-loud funny, the way I prefer Christopher Guest movies to be. Yet I would actually go see The Folksmen before I would go see Spinal Tap, which features the same three actors (Guest, Michael McKean and Harry Shearer, who in fact opened for themselves by having The Folkmen and Spinal Tap tour together in 2001). If they didn’t perform their cover of The Rolling Stones’ “Start Me Up,” though, I would be very dissatisfied. Much of the non-Folksmen songs on the soundtrack are actually pretty lame, including the Oscar-nominated “A Kiss at the End of the Rainbow.” I believe that had it all been more upbeat, a la The Folksmen’s “Old Joe’s Place” (which, along with “Blood on the Coal,” was actually introduced on Saturday Night Live way back in 1984), “Corn Wine” and “Never Did No Wanderin’” it could have been as successful an album as the O Brother, Where Art Thou? CDs. “Sweat of My Balls” by CB4, from CB4 The more memorable song from this near-mockumentary might be “Straight Outta Locash,” yet like the songs by The Rutles, it’s too clear a redo of a preexisting song (N.W.A.’s “Straight Outta Compton”). I guess I’m not that knowledgeable about rap music, but I had always thought “Sweat of My Balls” was actually original. Turns out, it’s actually a parody of Kool G. Rap’s “Talk Like Sex.” Well, since that song is also underrated (enough that I’d never heard of it), I stand by my inclusion of the less familiar-sounding CB4 track. “My Peanuts” by N.W.H., from Fear of a Black Hat I am at least aware that this song, which comes from a film similar to — though much less successful than — CB4, is a redo of Run-DMC’s “My Addidas.” But it’s so damn ridiculous that I wasn’t able to make the connection between the songs until many years after first seeing the movie. Just imagine how popular peanuts would be if the National Peanut Board used this rap in advertisements. “(Just Around the Corner to the) Light of Day” by The Barbusters, from Light of Day It’s not uncommon for a song written for a movie to become a real-world hit. And when it’s written by Bruce Springsteen, as this one was, you almost expect it to be a success. Yet despite the fact that both Springsteen and Joan Jett, who stars in the film as a member of the fictional Barbusters, have made the tune a staple of their respective live concert sets, it still doesn’t get the kind of general attention paid to, say, “On the Dark Side” from that other ‘80s bar band movie, Eddie and the Cruisers. Why isn’t this played heavily on classic rock radio? And by “this” I of course mean the version featuring Michael J. Fox and, yes, Michael McKean (man, he loves the fictional bands). “It Don’t Worry Me” by Albuquerque, from Nashville This is just a solo singer (played by Barbara Harris) rather than a whole group, but she’s still fictional and the song was still written for the film. And it’s sung during what may be the best film ending of all time (hence its appropriate position at the end of the list). Somehow Keith Carradine won an Oscar for writing the most boring tune in this Robert Altman classic (“I’m Easy”), while this song, also written by Carradine, is clearly more enjoyable. Originally posted on:SpoutBlog http://www.spout.com/groups/B_Movies/Re_No_sir_I_don_t_like_it/588/29180/1/ShowPost.aspx Post By: Macabre_FilmNut
Post To: B Movies
Post Date: 5/14/2008 4:46:57 PM
Body: [quote user="SkyPilot"] You know the horse from Ren and Stimpy? MISTER HORSE: Hmmm... (rubs chin with hoof, wags tail) No sir, I don't like it. That's what I'm like when I wonder if I liked Eraserhead. I recently saw it for the third time. It was showing in an independent movie theatre, and there was a guy in the lobby trying to decide if he should see it. He asked me, "Is it good?" "Not really, but you'll never forget it." "That's what everyone's saying!" he said. Have you guys had movie experiences like this? Do you have a name for them? And why do I keep watching Eraserhead if I can't even say I like it? Circle of Iron is a little like this for me too, though I have more fun watching that movie than Eraserhead. I struggle for the metaphors to describe what it's like for me to watch Circle of Iron... It's like drinking celery-flavored pop, then burping a little bit of warm soda back into my mouth, and then laughing. [/quote] The Rocky Horror Picture Show (1975) is like that for me. I remeber the first time I saw it in theater, with a bunch of punks. There was this bar in L.A. and it was alot like CBGBS. Nasty little type of place. Not a place you want to take your mother or even your girlfriend. Anyways down the block there was this independent theater that use to do Midnight movies and every other Friday they would show The Rocky Horror Picture Show(1975) It was the craziest time, becasue of all the theatrics. It was like sitting in one of those theaters, 42nd street Pete would describe. It was insane and I kept going back a half dozen times, even if I am not even sure if I even like The Rocky Horror Picture Show (1975). It was total toss up, I think I was there more for the amusement and other peoples faces!
]]>Wed, 14 May 2008 20:46:57 GMTMacabre_FilmNutB Movies5/14/2008 4:46:57 PM[quote user="SkyPilot"] You know the horse from Ren and Stimpy? MISTER HORSE: Hmmm... (rubs chin with hoof, wags tail) No sir, I don't like it. That's what I'm like when I wonder if I liked Eraserhead. I recently saw it for the third time. It was showing in an independent movie theatre, and there was a guy in the lobby trying to decide if he should see it. He asked me, "Is it good?" "Not really, but you'll never forget it." "That's what everyone's saying!" he said. Have you guys had movie experiences like this? Do you have a name for them? And why do I keep watching Eraserhead if I can't even say I like it? Circle of Iron is a little like this for me too, though I have more fun watching that movie than Eraserhead. I struggle for the metaphors to describe what it's like for me to watch Circle of Iron... It's like drinking celery-flavored pop, then burping a little bit of warm soda back into my mouth, and then laughing. [/quote] The Rocky Horror Picture Show (1975) is like that for me. I remeber the first time I saw it in theater, with a bunch of punks. There was this bar in L.A. and it was alot like CBGBS. Nasty little type of place. Not a place you want to take your mother or even your girlfriend. Anyways down the block there was this independent theater that use to do Midnight movies and every other Friday they would show The Rocky Horror Picture Show(1975) It was the craziest time, becasue of all the theatrics. It was like sitting in one of those theaters, 42nd street Pete would describe. It was insane and I kept going back a half dozen times, even if I am not even sure if I even like The Rocky Horror Picture Show (1975). It was total toss up, I think I was there more for the amusement and other peoples faces! http://www.spout.com/blogs/karina/archive/2008/5/13/28928.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 5/13/2008 10:01:09 AM
Body: It’s always hard to hold back the expletives when reading Cindy Adams, but this time, I just can’t hold back anymore: what the fuck is she talking about? An excerpt from today’s offending column: You’ve maybe heard about W., Oliver Stone’s tough feature film about Bush…First-ever movie about a sitting president, shooting in Shreveport, La., is so hush-hush secret that all scripts are embargoed… So do not ask - do not - how one is now in my own sticky fingers. She acknowledges that we’ve “maybe heard” about this movie, but neglects to mention that the reason why we’ve heard about it is because she’s like the tenth person to get her “sticky fingers” on some version of the script. That “hush-hush” line is completely laughable. Is there *any* film in recent memory that has been reported on so extensively by the mainstream news, gossip and entertainment media before it even starts shooting? And all without a single spoiler alert! Anyway. Most of the “hush-hush” details that Adams passes along are familiar from other W script stories: the fights between George Bush Sr and Jr; W’s bumbling efforts to fly a plane; the marginalization of Colin Powell; the crack about Wolfowitz’s hairy ears. At this point, by the time the movie’s actually in theaters (just five months away!), we’ll all be able to shout the biggest zingers back to the screen. Hell, maybe that’s the point––maybe Oliver Stone is making the Rocky Horror Picture Show of political satire. Carry on then! Originally posted on:SpoutBlog » Karina Longworth
]]>Tue, 13 May 2008 14:01:09 GMTKarinaKarina on SpoutBlog5/13/2008 10:01:09 AMIt’s always hard to hold back the expletives when reading Cindy Adams, but this time, I just can’t hold back anymore: what the fuck is she talking about? An excerpt from today’s offending column: You’ve maybe heard about W., Oliver Stone’s tough feature film about Bush…First-ever movie about a sitting president, shooting in Shreveport, La., is so hush-hush secret that all scripts are embargoed… So do not ask - do not - how one is now in my own sticky fingers. She acknowledges that we’ve “maybe heard” about this movie, but neglects to mention that the reason why we’ve heard about it is because she’s like the tenth person to get her “sticky fingers” on some version of the script. That “hush-hush” line is completely laughable. Is there *any* film in recent memory that has been reported on so extensively by the mainstream news, gossip and entertainment media before it even starts shooting? And all without a single spoiler alert! Anyway. Most of the “hush-hush” details that Adams passes along are familiar from other W script stories: the fights between George Bush Sr and Jr; W’s bumbling efforts to fly a plane; the marginalization of Colin Powell; the crack about Wolfowitz’s hairy ears. At this point, by the time the movie’s actually in theaters (just five months away!), we’ll all be able to shout the biggest zingers back to the screen. Hell, maybe that’s the point––maybe Oliver Stone is making the Rocky Horror Picture Show of political satire. Carry on then! Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/5/13/28926.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 5/13/2008 10:00:57 AM
Body: It’s always hard to hold back the expletives when reading Cindy Adams, but this time, I just can’t hold back anymore: what the fuck is she talking about? An excerpt from today’s offending column: You’ve maybe heard about W., Oliver Stone’s tough feature film about Bush…First-ever movie about a sitting president, shooting in Shreveport, La., is so hush-hush secret that all scripts are embargoed… So do not ask - do not - how one is now in my own sticky fingers. She acknowledges that we’ve “maybe heard” about this movie, but neglects to mention that the reason why we’ve heard about it is because she’s like the tenth person to get her “sticky fingers” on some version of the script. That “hush-hush” line is completely laughable. Is there *any* film in recent memory that has been reported on so extensively by the mainstream news, gossip and entertainment media before it even starts shooting? And all without a single spoiler alert! Anyway. Most of the “hush-hush” details that Adams passes along are familiar from other W script stories: the fights between George Bush Sr and Jr; W’s bumbling efforts to fly a plane; the marginalization of Colin Powell; the crack about Wolfowitz’s hairy ears. At this point, by the time the movie’s actually in theaters (just five months away!), we’ll all be able to shout the biggest zingers back to the screen. Hell, maybe that’s the point––maybe Oliver Stone is making the Rocky Horror Picture Show of political satire. Carry on then! Originally posted on:SpoutBlog
]]>Tue, 13 May 2008 14:00:57 GMTSpoutBlogSpoutBlog on spout.com5/13/2008 10:00:57 AMIt’s always hard to hold back the expletives when reading Cindy Adams, but this time, I just can’t hold back anymore: what the fuck is she talking about? An excerpt from today’s offending column: You’ve maybe heard about W., Oliver Stone’s tough feature film about Bush…First-ever movie about a sitting president, shooting in Shreveport, La., is so hush-hush secret that all scripts are embargoed… So do not ask - do not - how one is now in my own sticky fingers. She acknowledges that we’ve “maybe heard” about this movie, but neglects to mention that the reason why we’ve heard about it is because she’s like the tenth person to get her “sticky fingers” on some version of the script. That “hush-hush” line is completely laughable. Is there *any* film in recent memory that has been reported on so extensively by the mainstream news, gossip and entertainment media before it even starts shooting? And all without a single spoiler alert! Anyway. Most of the “hush-hush” details that Adams passes along are familiar from other W script stories: the fights between George Bush Sr and Jr; W’s bumbling efforts to fly a plane; the marginalization of Colin Powell; the crack about Wolfowitz’s hairy ears. At this point, by the time the movie’s actually in theaters (just five months away!), we’ll all be able to shout the biggest zingers back to the screen. Hell, maybe that’s the point––maybe Oliver Stone is making the Rocky Horror Picture Show of political satire. Carry on then! Originally posted on:SpoutBlog http://www.spout.com/groups/Zombie_Obsession/George_Romero_s_Fear_net_Interview/329/25504/1/ShowPost.aspx Post By: divinemsjunebug
Post To: Zombie Obsession
Post Date: 2/23/2008 11:43:31 AM
Body: Horror master and godfather of the modern zombie movie, George Romero, took some time to talk to us about the future of his Dead series. He also spoke about Diamond Dead (his long-awaited zombie musical), his involvement in The Crazies remake, and the upcoming Diary of the Dead DVD! Do you see Diary of the Dead as the first film in a new zombie trilogy for you? [Laughs.] You know what, I see it as, if there’s another zombie movie for me—and right now it looks like there’s going to be—I would certainly make it a sequel to this film rather than keep going along the other track. The first four films, the phenomenon had sort of gone on, and for the first time I indicated, in Land of the Dead, that it had been going on for three years. So I sort of put a time frame on it. I sort of found myself in a place where I thought, 'Where else can I go? How much bigger can you get than that?' I felt that I lost track of the roots, and I just wanted to go back and be simple again. There’s a collection of short stories called Book of the Dead, and in fact there was a Book of the Dead 2, and it was all horror and science fiction writers that wrote stories that were based on Night of the Living Dead, but all of the stories were what happened to other people on the same night. I said, 'You know what? I can do the same thing with a new cast of characters and start over.' I also had this idea... I mean, all of my films grew out of what’s happening in the world. I don’t wake up and say, 'I just want to make another zombie movie for the hell of it.' All of them were more than ten years apart and were all about perceptions I had about what was happening out in the world. I had this idea to do something about all this new emerging media that’s replacing mainstream media very quickly. That’s why I had to do it quickly, so it was the first time I did a zombie film within three years of the last zombie film. But I had the idea and the urge to go back and do something smaller that I could control and that would have a low enough budget that I could get all of the creative control on it. It was just sort of everything falling into place, and good timing! There’s been some speculation about another zombie film that you may or may not be involved with--a zombie musical called Diamond Dead. I love it, I love it, I’ve always loved it. It’s a project that’s being promoted by an Australian producer named Andrew Gaty. People from Rocky Horror are involved in it. Richard Hartley wrote the score. It’s ready to roll. We tried everything we could do to get that movie made--nobody got it. We even got Ridley Scott and Scott Free (his production company) behind it and pitched it everywhere, and everyone said, 'We don’t get this.' This has gone on for the past three years. This is also the problem with the internet because anything that I discuss with anybody ends up on the internet as my next project. Diamond Dead happens to be one that I really love. I spent two years working on a script, pitching it. Ridley Scott came on and really wanted to do it, but everyone basically said no. But then just before I was ready to come on this tour I get a call from that Australian guy, who says the project is back up and there’s new interest in it, and he’ll send me the script. Apparently there’s a new script and I haven’t even gotten it yet. It is alive again but only to that extent. I haven’t seen the script, maybe I won’t like it. But that’s a project I would really love to do. I can point you to five or six other projects that, according to the internet, I’m just about getting ready to get up and shoot. None of it is true and none of it is real. It’s not real until it’s real. When it is real I’ll be up there saying, 'Hey guys, it’s real.' Each of your Dead films has a strong social commentary, could you already see what issues you might be tackling in a follow-up to Diary? No. [Laughs.] Diary is already a very successful film, just even based on pre-sales its already made money for everybody. There’s a lot of talk automatically about doing a sequel quickly. If I had to do it quickly I’m going to take the three surviving characters and continue the story. There’s a lot I’d like to say about American media and how we’re all being captivated by it but I don’t have a script yet. Maybe it will happen, maybe it won't. If I have to do one very quickly that’s what it would be about. Otherwise I would wait. Until some sort of an idea, or until something happened in the world that would be dramatic enough. Another project your name has been attached to is the remake of The Crazies... I have absolutely nothing to do with that. I don’t have anything to do with the remakes of any of my films. Paramount had The Crazies for three years and never made the movie. I understand now that someone else just bought it, and now there’s some big flap about, 'Ookay we’re going to shoot it.' I have nothing to do with it. I know nothing about it. Because of my original film I have the title of executive producer, which means nobody even needs to call me up and tell me what’s going on. I’m blown away that all these movies are being remade, when no one wants to see them in the first place. [Laughs.] It kills me. With Diary, could you say if there are any scenes that you may have left out that we’ll see on DVD? I wish that I could tell you that the DVD is going to be all full of new scenes. We shot the movie in 23 days. There is nothing that we shot that we left out. There is a little bit of footage--all you could do is sort of extend scenes, but no there is nothing there. However, what I will tell you is the guy who made the 'Making of', is a wonderful filmmaker in his own right and I think it will be a fabulous thing to just watch us making the movie. I’ve never seen a better 'Making of' film than the one that this guy made. He also did the UK 'Making of Creepshow'. It’s a beautiful film on its own. I can’t honestly say there’s all this stuff we shot that isn’t in the movie, and now you’re going to be able to see it. The movie is what it is. It’s the 'Making of' with Nicotero and the cast and extra stuff that will be tacked on. There’s also going to be a contest that Weinstein is running for young filmmakers who are making horror films. I’m going to judge it myself and pick one, and that will be on the DVD. All the extras are really going to be extras, and it’s not going to be extended because we really don’t have any footage.
]]>Sat, 23 Feb 2008 16:43:31 GMTdivinemsjunebugZombie Obsession2/23/2008 11:43:31 AMHorror master and godfather of the modern zombie movie, George Romero, took some time to talk to us about the future of his Dead series. He also spoke about Diamond Dead (his long-awaited zombie musical), his involvement in The Crazies remake, and the upcoming Diary of the Dead DVD! Do you see Diary of the Dead as the first film in a new zombie trilogy for you? [Laughs.] You know what, I see it as, if there&rsquo;s another zombie movie for me&mdash;and right now it looks like there&rsquo;s going to be&mdash;I would certainly make it a sequel to this film rather than keep going along the other track. The first four films, the phenomenon had sort of gone on, and for the first time I indicated, in Land of the Dead, that it had been going on for three years. So I sort of put a time frame on it. I sort of found myself in a place where I thought, &#39;Where else can I go? How much bigger can you get than that?&#39; I felt that I lost track of the roots, and I just wanted to go back and be simple again. There&rsquo;s a collection of short stories called Book of the Dead, and in fact there was a Book of the Dead 2, and it was all horror and science fiction writers that wrote stories that were based on Night of the Living Dead, but all of the stories were what happened to other people on the same night. I said, &#39;You know what? I can do the same thing with a new cast of characters and start over.&#39; I also had this idea... I mean, all of my films grew out of what&rsquo;s happening in the world. I don&rsquo;t wake up and say, &#39;I just want to make another zombie movie for the hell of it.&#39; All of them were more than ten years apart and were all about perceptions I had about what was happening out in the world. I had this idea to do something about all this new emerging media that&rsquo;s replacing mainstream media very quickly. That&rsquo;s why I had to do it quickly, so it was the first time I did a zombie film within three years of the last zombie film. But I had the idea and the urge to go back and do something smaller that I could control and that would have a low enough budget that I could get all of the creative control on it. It was just sort of everything falling into place, and good timing! There&rsquo;s been some speculation about another zombie film that you may or may not be involved with--a zombie musical called Diamond Dead. I love it, I love it, I&rsquo;ve always loved it. It&rsquo;s a project that&rsquo;s being promoted by an Australian producer named Andrew Gaty. People from Rocky Horror are involved in it. Richard Hartley wrote the score. It&rsquo;s ready to roll. We tried everything we could do to get that movie made--nobody got it. We even got Ridley Scott and Scott Free (his production company) behind it and pitched it everywhere, and everyone said, &#39;We don&rsquo;t get this.&#39; This has gone on for the past three years. This is also the problem with the internet because anything that I discuss with anybody ends up on the internet as my next project. Diamond Dead happens to be one that I really love. I spent two years working on a script, pitching it. Ridley Scott came on and really wanted to do it, but everyone basically said no. But then just before I was ready to come on this tour I get a call from that Australian guy, who says the project is back up and there&rsquo;s new interest in it, and he&rsquo;ll send me the script. Apparently there&rsquo;s a new script and I haven&rsquo;t even gotten it yet. It is alive again but only to that extent. I haven&rsquo;t seen the script, maybe I won&rsquo;t like it. But that&rsquo;s a project I would really love to do. I can point you to five or six other projects that, according to the internet, I&rsquo;m just about getting ready to get up and shoot. None of it is true and none of it is real. It&rsquo;s not real until it&rsquo;s real. When it is real I&rsquo;ll be up there saying, &#39;Hey guys, it&rsquo;s real.&#39; Each of your Dead films has a strong social commentary, could you already see what issues you might be tackling in a follow-up to Diary? No. [Laughs.] Diary is already a very successful film, just even based on pre-sales its already made money for everybody. There&rsquo;s a lot of talk automatically about doing a sequel quickly. If I had to do it quickly I&rsquo;m going to take the three surviving characters and continue the story. There&rsquo;s a lot I&rsquo;d like to say about American media and how we&rsquo;re all being captivated by it but I don&rsquo;t have a script yet. Maybe it will happen, maybe it won&#39;t. If I have to do one very quickly that&rsquo;s what it would be about. Otherwise I would wait. Until some sort of an idea, or until something happened in the world that would be dramatic enough. Another project your name has been attached to is the remake of The Crazies... I have absolutely nothing to do with that. I don&rsquo;t have anything to do with the remakes of any of my films. Paramount had The Crazies for three years and never made the movie. I understand now that someone else just bought it, and now there&rsquo;s some big flap about, &#39;Ookay we&rsquo;re going to shoot it.&#39; I have nothing to do with it. I know nothing about it. Because of my original film I have the title of executive producer, which means nobody even needs to call me up and tell me what&rsquo;s going on. I&rsquo;m blown away that all these movies are being remade, when no one wants to see them in the first place. [Laughs.] It kills me. With Diary, could you say if there are any scenes that you may have left out that we&rsquo;ll see on DVD? I wish that I could tell you that the DVD is going to be all full of new scenes. We shot the movie in 23 days. There is nothing that we shot that we left out. There is a little bit of footage--all you could do is sort of extend scenes, but no there is nothing there. However, what I will tell you is the guy who made the &#39;Making of&#39;, is a wonderful filmmaker in his own right and I think it will be a fabulous thing to just watch us making the movie. I&rsquo;ve never seen a better &#39;Making of&#39; film than the one that this guy made. He also did the UK &#39;Making of Creepshow&#39;. It&rsquo;s a beautiful film on its own. I can&rsquo;t honestly say there&rsquo;s all this stuff we shot that isn&rsquo;t in the movie, and now you&rsquo;re going to be able to see it. The movie is what it is. It&rsquo;s the &#39;Making of&#39; with Nicotero and the cast and extra stuff that will be tacked on. There&rsquo;s also going to be a contest that Weinstein is running for young filmmakers who are making horror films. I&rsquo;m going to judge it myself and pick one, and that will be on the DVD. All the extras are really going to be extras, and it&rsquo;s not going to be extended because we really don&rsquo;t have any footage. http://www.spout.com/blogs/el_aaron/archive/2007/7/8/13411.aspx Post By: El_Aaron
Post To: El_Aaron Blog
Post Date: 7/8/2007 6:32:14 AM
Body: This was the best musical ever!
]]>Sun, 08 Jul 2007 10:32:14 GMTEl_AaronEl_Aaron Blog7/8/2007 6:32:14 AMThis was the best musical ever! http://www.spout.com/members/0/tags/Classic/MemberTagFilms.aspxClassic
Number of films tagged: 816

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]]>Sat, 19 Dec 2009 23:30:46 GMT8163131454Tag http://www.spout.com/members/0/tags/Loved-It/MemberTagFilms.aspxLoved-It
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]]>Tue, 03 Nov 2009 17:56:35 GMT509179921Tag http://www.spout.com/members/0/tags/music/MemberTagFilms.aspxmusic
Number of films tagged: 4341

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Number of times used: 481

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]]>Wed, 04 Nov 2009 20:03:25 GMT174109356Tag http://www.spout.com/members/0/tags/overrated/MemberTagFilms.aspxoverrated
Number of films tagged: 152

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]]>Fri, 20 Mar 2009 23:37:37 GMT152106240Tag http://www.spout.com/members/0/tags/cult/MemberTagFilms.aspxcult
Number of films tagged: 449

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Number of films tagged: 85

Number of people who tagged: 62

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]]>Sat, 15 Aug 2009 02:22:58 GMT8562127Tag http://www.spout.com/members/0/tags/aliens/MemberTagFilms.aspxaliens
Number of films tagged: 74

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]]>Mon, 16 Nov 2009 09:12:57 GMT7451111Tag http://www.spout.com/members/0/tags/interesting/MemberTagFilms.aspxinteresting
Number of films tagged: 57

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]]>Sun, 28 Jun 2009 19:17:04 GMT574667Tag http://www.spout.com/members/0/tags/scientist/MemberTagFilms.aspxscientist
Number of films tagged: 1408

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]]>Tue, 15 Sep 2009 19:47:27 GMT14083177Tag http://www.spout.com/members/0/tags/seduction/MemberTagFilms.aspxseduction
Number of films tagged: 1268

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]]>Thu, 12 Nov 2009 22:21:12 GMT12682343Tag http://www.spout.com/members/0/tags/experiment/MemberTagFilms.aspxexperiment
Number of films tagged: 728

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]]>Sun, 18 Jan 2009 02:51:39 GMT1611719Tag http://www.spout.com/members/0/tags/cult-classic/MemberTagFilms.aspxcult-classic
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