Five Films to Check Out on Horror Channel This Week – 151121

horror 151121

Here are our picks for what to watch on Horror Channel this week….

Tuesday November 16th, 10.50pm – Maggie (2015)

This brilliant post-apocalyptic horror drama stars Arnold Schwarzenegger as a distraught father looking after his daughter (Abigail Breslin) who has contracted a zombie virus. This is a remarkably sensitive role for Arnie and a very involving movie.

Thursday November 18th, 9pm – The Resident (2011)

A modern entry from the reborn Hammer Films, this stars a pre-Negan Jeffrey Dean Morgan as a landlord with sinister intentions against his new tenant (Hilary Swank). The legendary Christopher Lee appears very briefly but makes his mark.

Friday November 19th, 9pm Bloodthirsty (2020)

The UK TV premiere of this FrightFest favourite in which a singer (Lauren Beatty) goes to a renowned recording studio run by Greg Bryk. Unfortunately, she has lycanthropic tendencies.

Saturday November 20th, 6.45pm – Silent Running (1972)

This unmissable sci-fi classic was way ahead of its time with its theme of conservation. Bruce Dern is the plant-loving astronaut tending to the last remaining geo-domes in space. He’s aided by the memorable drones Huey, Dewey, and Louie.

Sunday November 21st, 9pm – Saturn 3 (1980)

An all-star cast head this overlooked eighties cult favourite. Kirk Douglas and Farrah Fawcett become stranded on a space station headed by Harvey Keitel (with his voice dubbed!).

Tune into Horror Channel on Sky 317, Virgin 149, Freeview 68, Freesat 138.

[ENDED] Win DON’T BREATHE 2 on Blu-ray

win don't breathe 2

Prepare to be terrified when DON’T BREATHE 2, the thrilling sequel to the breakout hit Don’t Breathe, comes to 4K Ultra HD™, Blu-ray™ and DVD on November 15th!  And we have a copy of the Blu-ray to give away to 3 lucky winners!

Stephen Lang reprises his role as Norman Nordstrom, who has been hiding out for several years in an isolated cabin. He lives with a young girl and has recreated the family stolen from him by a drunk driver. Their quiet life together is shattered when a group of unseemly criminals kidnaps her and forces Norman to tap into even darker and more creative instincts in an effort to save her.

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DON’T BREATHE 2 is also available to Download and Keep and To Rent on Digital now.

A FACE ONLY A MOTHERBOARD COULD LOVE

The CGI feline faces of the upcoming big screen adaptation of the hit stage musical CATS are currently stalking our dreams, so we take this occasion to look at other films boasting the uncanny valley effect and decide whether they’re good, bad, or just damn bizarre…

 

As technological advancements are made, so too are attempts at recreating humanity artificially. Science fiction and horror genres have cautioned against such developments for decades, but whether in children’s dolls, creepy sexbots (admittedly less creepy than some of their owners) or attempts at AI robots (seriously, scientists don’t watch films, do they?), it has been a constantly developing story, and some efforts to replicate the human image are getting nearer the mark. But no matter how close they get, the uncanny valley effect still plays a part. To cut a long story short, uncanny valley is when objects imperfectly resemble real human beings and provoke an uncomfortable or strange feeling in the onlooker. Even now, some animatronic ‘people’ encourage chills over thrills and in the world of post-millennium cinema, this has been a persistent problem too, especially for ambitious projects wielding groundbreaking (at least at that point) CGI technology.

Famed culprits like box office disaster Final Fantasy: The Spirits Within and Spielberg’s vastly underrated The Adventures of Tintin: The Secret of the Unicorn are often cited, but frankly these two are pretty bad examples. The former was a flawed but still impressive spectacle that dared tread early into such territory (and has aged better than other later examples actually, despite some sketchy faces), while the latter had enough cartoonish edge to feel closer to Hérge’s source than ultra-realism. And the tech has only kept on being upped with films like Rogue One: A Star Wars Story and Alita: Battle Angel making a go of creating and resurrecting life with computers, while other successes like the Terminator franchise’s recent youthful CGI Arnie T-800s, Blade Runner 2049’s CGI Rachael or the wowing de-ageing technology of Captain Marvel have shown things can go right. But my god, can they go wrong…

Enter Cats! Based on Andrew Lloyd Webber’s unusual (we could make a joke here but we’re better than that) stage phenomenon, itself based on T.S. Eliot’s work, Tom Hooper’s upcoming musical has been like catnip to the Internet and done what few other things could in 2019 – united the world… albeit in bewilderment. An all-star cast is facially mapped onto feline humanoid bodies and the results have a meow factor for all the wrong reasons. Disturbing, illogical, hilarious, and apparently sexy (if you are what furries call a ‘yiff’… please don’t ask), some have compared it to a horror trailer. And whether it’s Jason Derulo’s grimace, strange pillow fights, James Corden spitting god only knows what at fellow cast members, Judi Dench’s fur-wearing lady kitty (riddle me this, a cat wearing fur?), Taylor Swift’s glittery catnip, or a furry Rebel Wilson falling over (CGI doesn’t change all things, it would seem), Cats is already being primed as a must-see cat-astrophe. Hardly the cat’s whiskers then, but is this really the pinnacle of uncanny valley? We’ll see, but in the meantime, let’s purrrruse some of the other uncanny valley cases that got people’s backs up. So, stroll with us, as we look at a few flicks that tried and failed to ‘face’ the music and entrance…

THE SCORPION KING

(The Mummy Returns, 2001)

Before Dwayne ‘The Rock’ Johnson claimed Hollywood and made jabronis out of fellow box office competition, it all started with a bit part in the fun, if highly silly, The Mummy Returns, where the great one played the Scorpion King. That was fine; what was less fine was the grand finale where an accursed half-man/half-arachnid Scorpion King rose to battle villain Imhotep and hero Rick. What probably looked great on paper has aged about as well as milk on a sun-bleached patio. Even at the time, it stung audiences with a wonky CGI Dwayne Johnson face that had all the expressiveness of a coat hanger and all the realism of a political promise. Luckily for Dwayne, the character got his own prequel solo movie.

 

RENESMEE

(Twilight: Breaking Dawn Part 1, 2011)

…or not. This is the lesser of two blanket-wrapped evils. Babies have always struggled to translate to CG and while The Twilight Saga’s Renesmee is not the worst of all time, it is still a bothersome emotionless slab of effects. Although, the practical route in this case was not the way to go either. In fact, if you fancy a laugh, Google ‘Chuckesmee’ and see what the animatronic baby in the film – which freaked the cast out so much they had to ditch it – originally looked like. Chucky ain’t got nothing on that! Those eyes… those eyes!!!

 

THE INFECTED

(I Am Legend, 2007)

Francis Lawrence’s adaptation of Richard Matheson’s novel was an alright post-apocalyptic tale aided by Will Smith’s game performance. Sadly, things went downhill with the reveal of the shadow-dwelling ‘infected’. Initially intended to be portrayed by actors in prosthetics, early into filming troubles arose and they opted for the CG approach. The results were disappointingly bland; inhuman-looking stretch-jawed creatures that served only to distract further from a story that was experiencing difficulties in its latter stages already. To make matters worse, images later surfaced online showing the frightening and far superior original practical designs. Sometimes a computer is no match for a talented set of hands…

 

KILLMONGER/T’CHALLA FIGHT

(Black Panther, 2017)

Black Panther was an entry in the MCU that broke ground for race representation in the genre and is one of the most acclaimed superhero movies ever. But as good as the film is, the final showdown between Killmonger and T’Challa is vastly inferior to the mid-film clash for the throne in every way. CG-heavy and fast paced, what should be a grand finale is rendered to PlayStation cutscene level that jars hugely with many of the other effects in the movie and fails to resemble anything close to human. People virtually ignored this in favour of attacking the climax of Wonder Woman, but that was far more convincing than this confounding visual misstep in an otherwise excellent film.

 

ZEMECKIS’ WORK

(Polar Express, 2004 / Beowulf, 2007 / A Christmas Carol, 2009)

The jury is still out on many of director Robert Zemeckis’ forays into motion capture CG, which have dominated the last two decades of his career, especially his more festive mo-cap-a-thons. His Polar Express hasn’t matured well, with some of the child characters looking particularly vacant and rather fearsomely forcibly happy but, like the director’s equally debated take on Dickens’ A Christmas Carol, this film remains cherished by some as a Christmas classic and is still popular around the most wonderful time of the year. Likewise, his visually high-reaching fantasy Beowulf divides. Struggling to measure up to creations like The Lord of the Rings’ Gollum, people were arguably more impressed by the creatures than the humans in the enjoyable but again dated adaptation as the dead eye effect was one monster that could not be slayed.

 

CLU

(Tron Legacy, 2010)

Credit where its due, Tron: Legacy is an impressively scaled visual showcase, with Daft Punk’s riveting score and the still awesome neon-lit cinematography. Unfortunately, the film couldn’t quite get its age-altering software for its villain Clu (a ‘youthful’ Jeff Bridges) to that same level. This distracting effect really intensifies in scenes further into the film and the Clu becomes more like a video game character. If you want to see a better example of de-ageing a beloved actor, check out Kurt Russell’s practical-heavy transformation in the opening of Guardians of the Galaxy Vol. 2. The tech has rapidly evolved in a short time and Legacy’s uncanny valley setback is probably down to getting overshadowed by such breakthroughs not long after. The script, however…

 

BILLY

(Tin Toy, 1988)

Pixar’s academy award-winning animated short was pioneering and the first toe-dip into fully realised human CGI characters in animated films. Its story of Tinny, a small scared toy, trying to stay out of the way of destructive baby Billy was a simple but brilliant sign of a studio powerhouse and their future standing in the field. In spite of the praise though, poor little Billy drew criticism for his nightmarish appearance. From the contorted features to the character’s beaked gob, some cite this as the birth of the uncanny valley concept’s application to movies and Pixar was apparently startled at how some audiences reacted to him. Though they clearly saw the funny side, as they have toyed (ahem) with the scary chaotic toddler/creepy child in numerous features since. Come to think of it, we’d love to see a sequel where Billy is shattered by this scorn and, in Joker style, goes on to become Saw’s Billy the Puppet. Let the games begin!

 

MILO

(Mars Need Moms, 2011)

Despite a sweet message of appreciating mums and not taking for granted all that they do, the notorious box office bomb Mars Needs Moms has to be included in any uncanny valley conversation. Not only did Simon Wells’ film (backed by one Robert Zemeckis) fail on a staggeringly huge financial level (it lost the most money ever for a Disney-branded picture) but the mo-cap effects resulted in a visual mixed bag, with some colourful highs making strange bedfellows with garish alien designs and Seth Green-faced child lead Milo (bit odd). Production company ImageMovers never really recovered from this one.

 

HULK

(Hulk, 2003)

Ang Lee’s polarising Hulk has its plus points, but the less than jolly green giant occasionally looks quite gormless onscreen and the then-fine special effects have grown increasingly unimpressive in the last decade and a half, especially in light of the MCU’s sterling incarnation of the smash-happy hero. Hulk sad.

THE DREAM

(Junior, 1994)

Congratulations, Mr. Schwarzenegger… it’s a nightmare! We hear some viewers are still receiving counselling over the baby with a CGI Arnie face in Ivan Reitman’s otherwise enjoyably silly male pregnancy comedy (ah… the ‘90s, what a time to be alive). Admittedly, it was the point to create a dream sequence freak-out but this imagery would give David Lynch the willies.

 

GREEN LANTERN

(Green Lantern, 2011)

To bring the world of DC’s Green Lantern to life, you arguably need a lot of special effects. Capturing its alien scale and the extent of the powers requires them but seriously, why not design an actual suit? Green Lantern was plagued by production trouble and ballooning budgets and the finished product ‘enjoys’ a reputation as one of the worst modern superhero films. Ryan Reynolds’ outing as Hal Jordan was rendered so poorly that his CGI suit and mask (rightly mocked in Deadpool) just makes him look goofy beyond belief. From the eye colour to the iffy facial intricacies, he looks plastic and no matter how much else is thrown at you, you feel as if you are watching a screensaver.

 

ALVEY

(Son of the Mask, 2005)

Perhaps it’s down to people wishing to forget the film existed but how Son of the Mask gets away with its CG sins is miraculous. Managing to fall well below the first film visually and featuring Alvey, one of the worst CGI babies in movies, it’s a mess. Whether dancing about the house, peering awkwardly at you or fighting the dog, Alvey is way more disturbing than fun.

 

SONIC

(Sonic the Hedgehog, 2020)

Despite having the manic energy of a resurgent Jim Carrey as its baddie, Sonic the Hedgehog has hit rough waters before even running into cinemas. They could’ve easily stuck to his simple but cool look in the games, but bafflingly that was rejected in favour of toothy grins and human-like features, with early posters gazing at his athlete-like muscular hairy legs (shudder). This one caused such a scared stir from onlookers that the film has been pushed back to early next year so animators can fix the design. Maybe the new (and improved?) Sonic will receive a more (gold) ring-ing endorsement.

 [This article was originally published in issue 467, December 2019.]

Anthony Hickox | SUNDOWN: THE VAMPIRE IN RETREAT

hickox sundown

As eighties cult classic Sundown: The Vampire in Retreat is being released on Blu-ray as part of the Vestron Collector’s Series, we took the opportunity to chat to director Anthony Hickox about the movie as well as Hellraiser III and the Waxwork films.

 STARBURST: Thanks for taking the time for speaking to us, Anthony.

Anthony Hickox: No problem, I love your magazine. I’ve been on the cover for Hellraiser 3, me and Terry Farrell. I’ve got that framed on my wall in L.A.

Was the western genre a favourite of yours growing up as we note that you dedicated the film to your father, the director Douglas Hickox?

Yeah, cos Dad was a huge John Ford fan. He did the only John Wayne movie that was shot out of the US and so I love the genre. I’m more of a Spaghetti Western fan, but when you look back at the Ford westerns, they were amazing. I tried to copy that look with Sundown. I grew up watching Hammer movies from my staircase as my dad would watch them on ITV!

Sundown seems to have a real mashup of genres in there, did you struggle at any point to try and keep a clear vision when making the film?

Well, I co-wrote it and the original script was less western and more hillbillies living in a town and I added the cowboys. I love doing that, I did it in Full Eclipse, which was werewolves and cops. I like to mix up genres. And yes, I wanted to make a western, like with Hellraiser 3, I wanted to make a war movie.

The songs on the soundtrack seem a strange fit for a vampire western. What was the reasoning behind those song choices?

I was heavily involved in those choices. The producer was Dan Ireland, who became a director and sadly died of AIDS, who was obsessed by songs – he put It’s My Party at the end of Waxwork, which I thought was great – and was involved and I loved his choices.

To me, Earth Angel was about the female vampire being buried and coming back to life as an Earth Angel. The composer Richard Stone also did the soundtrack for Animaniacs so we had fun with it. He is also the orchestrator for John Williams. It was a bit over the top, but why not?

Wooden bullets, Bruce Campbell as Van Helsing, sunblock that helps vampires survive, so many pieces are crazy, how fun was it to make the film?

It was just a crazy idea and I was amazed they let me make it. Only Dan Ireland would’ve done it and it’s a shame it didn’t get released. There’s a funny story about that; we went to the premiere of Earth Girls Are Easy and the company [Vestron Video] were in deep shit at that point and he said “Your movie is going to come out as our next release as long as this movie is a hit” And I sat in the premiere going “oh, my god. This movie is never coming out!” Vestron collapsed after Earth Girls and that’s why it got a really shit release, even on video. It just got thrown out there by the people that bankrupted the company.

Were you given the green light for Sundown on the back of Waxwork?

Yes. They sent me the original script and I just loved it. It wasn’t as funny, but it was a great idea. It was the strength of Waxwork and Dan Ireland that started my career. But going back to the vampire stuff, it was great and I really wanted David Carradine to be suddenly forgiven by God, which, to me, was the clincher of the vampire lore, when Dracula gets forgiven.

What would you have done differently, looking back?

Yes, the production design was just not where I saw it. I don’t want to insult him, but it was very funny because one day we turned up and the two exteriors looked like paper-mâché fronts, which they are, and the end had blown them both down. So, yeah, the production design is the only thing I’d like to do again. I would make it much more steampunk, with those Victorian outfits that Carradine wears; that’s my only little regret, but I love the movie. We had so much fun making it – having a black Jamaican sheriff was brilliant, it’s just very funny to me, with my dumb sense of humour.

Can you give us a behind the scenes tale that you haven’t told before?

Yes! We were shooting the bridge scene where both armies come together on the bridge. So we shoot David Carradine’s side and then turn to the other side – as it’s night, you have to shoot one side and then light the other side – and all the horsemen charge in and I look at one of the extras – they have real guns that they bought from their homes as they were real cowboys, by the way, – and I recognise one of them. It was Carradine. He had gone around, changed into a bad guy costume, got a horse and came charging in. He was literally playing both sides with a bottle of whiskey in his pocket. I said “What the fuck are you doing?” and he said, “I was bored”. Absolutely true story and he was such a nice man. I used him in a pilot for Martial Law and in Waxwork II: Lost in Time.

And Bruce Campbell is a great guy. I remember we sat on a rock in Utah at night – it was summer, which was terrible for night-time hours – and it was a full moon and we smoked a joint together. That’s my memory of Bruce Campbell and every time I see him he asks where the $5 I owe him is!

Sundown was the second release in a cracking run of form between Waxwork all the way to Full Eclipse. All horror films seem to want to inject a bit of fun into the genre. Why haven’t we seen more from you in horror?

The problem was after Full Eclipse, which was an action movie, people started to offer me these $10m action movies, which was a lot of money and I just drifted into that low budget Steven Seagal world, which I wish I hadn’t. I’m back in horror now with a movie I just made in China called Infamous 6 and I’m doing a horror film next called Zombie Bride, which is Weekend at Bernie’s with a zombie, so I’m getting back into it. The problem was, in those days the agents were saying that doing these action movies was going to make me a lot of money, and it did. They were guiding me away, they didn’t want me to be the horror guy. It’s the story of my career which, looking back, was a mistake because I could have carried on doing horror because I love the genre as you can see by Waxwork.

Waxwork is a staff favourite at the magazine.

Well, then you’re going to be VERY happy. Waxwork 3 is happening! It’s not a remake, but thirty years later. It’s a very funny script. It took me decades to get the rights. And just for you, you’ll love this, Jean-Claude Van Damme is playing Jack the Ripper! It’s going to be full of B-movie stars.

We understand you’re currently in Bucharest – what are you working on?

I had to find a place to lockdown with COVID, and I married a Romanian. I didn’t know it would be for two years! One thing about Bucharest is that it never closed. You had to wear a mask inside but you could always sit outside and eat and it seemed like the best bet as LA was a mess, nothing was open. It’s my European base and thank god I can write!

I’m also doing a Federico Fellini bio with Danny Huston playing Fellini, so it’s been good for me to have fewer distractions. It’s a true story about four years of Fellini’s life told by his assistant, it’s very interesting. It’s called The Beautiful Confusion. We should be shooting it now in Rome, but COVID has stopped that. Unless you’re Tim Burton, who’s here doing Wednesday, and you can afford to shut down for ten days, it’s so difficult to survive on a $10m budget. They’ve just shot the Django TV series here, so the big stuff is still shooting.

Sundown: The Vampire in Retreat is released on Blu-ray as part of the Vestron Collector’s Series on November 15th. 

 

THE TELEPHEMERA YEARS: 1987 – PART 4

1987 telephemera mighty mouse

Ah, telephemera… those shows whose stay with us was tantalisingly brief, snatched away before their time, and sometimes with good cause. They hit the schedules alongside established shows, hoping for a long run, but it’s not always to be, and for every Knight Rider there’s two Street Hawks. But here at STARBURST we celebrate their existence and mourn their departure, drilling down into the new season’s entertainment with equal opportunities square eyes… these are The Telephemera Years!

1987-88

The late 1980s were dominated by sitcoms, style, and sitcoms with style, with the rump of Dallas, Dynasty, Moonlighting, and Miami Vice butting up against Who’s the Boss?, Cheers, The Cosby Show, and Family Ties. For the genre fans there was such diverse fare as MacGyver, Max Headroom, ALF, and Highway to Heaven, and the new Fox network was making waves with 21 Jump Street, It’s Garry Shandling’s Show, Married… with Children, and The Tracey Ullman Show, which featured a certain dysfunctional family taking their nascent steps.

The new season brought us The Wonder Years, thirtysomething, and a monster called Full House, while the weird romantic monster story of Beauty and the Beast began its four-year run, descending further and further into fantasy lore. But what new glories were to be found in the Saturday morning kidzone? This is the story of 1987’s technicolour cereal accompaniment…

Little Wizards (ABC): On the surface of it, a show with a monster named Winkle would seem very much not aimed at children, but you should wash your filthy mind out and enjoy the, erm, magic of Marvel Productions’ Little Wizards like all nice boys and girls.

1987 telephemera little wizards

Little Wizards was the brainchild of Len Janson and Chuck Menville, two former Disney animators who had strode out on their own and pitched the concept of a deposed prince learning to become a magician to regain his crown from an evil sorcerer. Taught by the good wizard Phineas, Dexter is joined by Lulu the dragon, and three tame monsters named Boo, Gump, and Winkle, with industry veteran Frank Welker doing sterling work as the non-humans in the show.

Little Wizards appeared on September 26th 1987, in the 10am slot dominated by Pee Wee’s Playhouse and also up against Fraggle Rock: The Animated Series (also produced by Marvel), and while the initial order of thirteen episodes finished its run, it wasn’t considered for a second season and re-runs were shifted to earlier and earlier time slots.

Little Wizards was never released on home video and has all but disappeared from the internet, one of a handful of Marvel Productions shows never to gain any kind of foothold in popular memory. Janson and Menville went back to the more popular The Real Ghostbusters and led on 1990’s Tiny Toon Adventures, their partnership ending with Menville’s death in 1992.

Mighty Mouse: The New Adventures (CBS): The simplest of elevator pitches (“what if Superman was a mouse?”), Mighty Mouse first appeared in a TerryToons short in 1942, and later transferred to television for a twelve-year run in 1995, where the theatrical shorts were repurposed with just three new episodes. Another outing on TV in 1979 kept the property in the zeitgeist and by 1987 it was time to try again, this time with ace animator Ralph Bakshi at the helm.

Bakshi had made his name with the original Spider-Man cartoon of the late-1960s, before going on to have very adult hits with Fritz the Cat and Heavy Traffic. After entering semi-retirement in the mid-1980s, Bakshi formed a new studio that included future Ren and Stimpy creator John Kricfalusi, was tempted back for a run at a childhood favourite, despite not owning the rights to the character when he pitched the show to CBS.

1987 telephemera mighty mouse

Bakshi gave the titular hero a secret identity – Mike Mouse – for the first time, but his Mighty Mouse did not follow the usual formula of such shows, and injected craziness and parody into the traditional superhero fare. He brought back other TerryToons characters, albeit with a modern spin that acknowledged the very different era they now lived in, and occasionally ran into controversy, never more than with the episode “The Littlest Tramp,” where the hero took a long sniff from a line of crushed flowers, and some critics cried, “cocaine!”

Kricfalusi didn’t return for the second season, and it missed his skewed approach, fizzling into a shadow of its former self and ending after just six more episodes had been produced. Still, for a while, American kids got a taste of what was to come in the anarchic world of children’s animation in the 1990s, and you can relive your wild youth on DVD, with a range of assorted features putting things into context.

ALF: The Animated Series (NBC): A prequel to the popular primetime sitcom about a stranded alien who ate cats and talked like an old Jewish man, ALF: The Animated Series spat onto Saturday morning TV screens in September 1987, concurrent with the second season of its live-action parent.1987 telephemera alf

ALF’s creator, Paul Fusco, split his time between the two shows, the only member of the regular cast to do so, and the show featured the adventures of Gordon Shumway (ALF stood for Alien Life Form) on his home planet, where he is a normal – for Melmac – teenager surrounded by friends and family.

The show was renewed for a second season in 1988 and was joined by ALF Tales, which featured characters from the animated series playing various roles in twisted versions of Earth fairy tales, and the two shows were often combined for the ALF & ALF Tales Hour. ALF Tales continued through to December 1989, outlasting its animated sibling by almost a year, but ALF fever was beginning to wane, and the parent show quietly went off into the night in March 1990 (although a TV movie later tied up the loose ends).

The series was released on DVD in 2006 and can still be found from second-hand vendors but you’re probably better off – as with many of these cartoon shows – watching the Found Footage Festival’s Shaturday Morning Cartoons episode on the thing.

Popeye and Son (CBS): The mystifying eternal popularity of a gurning sailor addicted to vitamin supplements reached its apogee in 1987 with this tale of Popeye and his issue, finally having sealed the deal with Olive Oyl after years of being cuckolded by that brute Brutus. Oh, but here’s the twist: Popeye’s son – called, simply, Junior – hates the taste of spinach!

It’s a thin concept but Hanna-Barbera was running on fumes by this point and although it featured some decent animation and a solid voice cast (which included a pre-The Simpsons  Nancy Cartwright but not Jack Mercer, the original voice of Popeye who had died in 1984), modern audiences just weren’t thrilled by Popeye’s antics in the way they had when he was first created almost sixty years earlier.

1987 telephemera popeye and son

Thirteen episodes were produced but no second season was forthcoming, and a planned release of the full set on DVD has been delayed and delayed into perpetuity. It’s probably for the best; anything that needed to be said about Popeye the sailor man was done by the Fleischers in the 1930s and whether you can get on board with the wacky concept or not, those brothers produced some beautiful cartoons…

Little Clowns of Happytown (ABC): A year after Stephen King had given clowns their true form in his 1986 novel It, and a year before their sinister origins would be revealed in Killer Klowns from Outer Space, Marvel Productions brought Little Clowns of Happytown to screens, an attempt from Big Clown to clean up the reputation of those serial child murderers.

1987 telephemera little clowns happytown

The show was developed by Chuck Lorre – who would later go on to create Dharma & Greg, Two and a Half Men, and The Big Bang Theory – and told the story of six young clowns on a mission to spread happiness throughout the world, aided by their pet Clownimals (who only the speech-limited Badum-Bump can understand) and facing the threat of the depressive Awful B Bad and his redheaded assistant, Geek.

Having The Care Bears as a lead-in can’t have hurt the show’s saccharine potential and eighteen episodes were aired between September 1987 and July 1988, later released on VHS, with the whole series being given the DVD treatment in 2014. However, as with Little Wizards, there was no sign of a second season and co-producer Murakami Wolf Swenson concentrated on their other show, an adaptation of an independent comic book called Teenage Mutant Ninja Turtles

Next on The Telephemera years: we jump back into the time machine and set the controls for the heart of 1971’s Longstreet and more!

Check out our other Telephemera articles:

The Telephemera Years: 1966 (part 1, 2, 3, 4)

The Telephemera Years: 1968 (part 1, 2, 3, 4)

The Telephemera Years: 1969 (part 1, 2, 3, 4)

The Telephemera Years: 1971 (part 1, 2, 3, 4)

The Telephemera Years: 1973 (part 1, 2, 3, 4)

The Telephemera Years: 1975 (part 1, 2, 3, 4)

The Telephemera Years: 1977 (part 1, 2, 3, 4)

The Telephemera Years: 1980 (part 12, 3, 4)

The Telephemera Years: 1982 (part 1, 2, 3, 4)

The Telephemera Years: 1984 (part 1, 2, 3, 4)

The Telephemera Years: 1986 (part 1, 2, 3, 4)

The Telephemera Years: 1987 (part 1, 2, 3, 4)

The Telephemera Years: 1990 (part 1, 2, 3, 4)

The Telephemera Years: 1992 (part 1, 2, 3, 4)

The Telephemera Years: 1995 (part 12, 3, 4)

The Telephemera Years: 1997 (part 1, 2, 3, 4)

The Telephemera Years: 2000 (part 1, 2, 3, 4)

The Telephemera Years: 2003 (part 1, 2, 3, 4)

The Telephemera Years: 2005 (part 1, 2, 3, 4)

The Telephemera Years: 2008 (part 1, 23, 4)

Titans of Telephemera: Irwin Allen

Titans of Telephemera: Stephen J Cannell (part 1, 2, 3, 4)

Titans of Telephemera: Hanna-Barbera (part 1, 2, 3, 4, 5)

Titans of Telephemera: Kenneth Johnson

Titans of Telephemera: Glen A Larson (part 1, 2, 3, 4)

Titans of Telephemera: Quinn Martin (part 1, 2)

[ENDED] Win a VESTRON Collector’s Series Blu-ray Bundle

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We’ve teamed up with Lionsgate to give one lucky reader a chance to win a bundle of three Vestron Collector’s Series Blu-rays. The films are Dementia 13, The Wraith, and Sundown: The Vampire in Retreat. To be in with a chance, just read on and enter below…

DEMENTIA 13: DIRECTOR’S CUT (1963)

Presented in a high-definition director’s cut, Francis Ford Coppola’s first-ever film Dementia 13 is quintessential gothic horror, wrapped in the twisted mysteries of a family’s deepest, darkest secrets. A widow deceives her late husband’s mother and brothers into thinking he’s still alive when she attends the yearly memorial to his drowned sister, hoping to secure his inheritance. But her cunning is no match for the demented, axe-wielding thing roaming the grounds of the family’s Irish estate in this cult favourite featuring Patrick Magee (The Legend of Hell House, A Clockwork Orange) and Luana Anders (The Trip, Night Tide).

Blu-ray and DVD Special Features

  • Introduction by Francis Ford Coppola
  • Audio Commentary by director Francis Ford Coppola
  • Prologue (Dementia 13 Test)

 

THE WRAITH (1986)

Charlie Sheen, Nick Cassavetes (Face/Off), Sherilyn Fenn (Twin Peaks), and Randy Quaid (Independence Day) star in this turbocharged cult classic! When four glowing orbs crash into each other over the Arizona desert, they leave in their wake a badass Dodge Turbo Interceptor, and its enigmatic, helmeted driver. The next day, the mysterious Jake (Sheen) appears in the town of Brooks, catching the eye of Keri (Fenn) and the ire of Packard (Cassavetes), the ruthless leader of a gang of street racers. When gang members start losing races, and lives, to the Interceptor, the recent death of Keri’s boyfriend suddenly seems connected to the arrival of Jake, the unbeatable car…and an avenging entity called The Wraith.

Blu-ray and DVD Special Features:

  • Audio Commentary with writer/director Mike Marvin
  • Audio Commentary with actors Dave Sherrill and Jamie Bozian
  • Isolated Score Selections featuring audio interview with co-composer J. Peter Robinson
  • Tales From The Desert – An interview with writer/director Mike Marvin
  • Rughead Speaks! – An interview with Actor Clint Howard
  • Ride of the Future – Interviews with stunt coordinator Buddy Joe Hooker and transportation coordinator Gary Hellerstein
  • The Ghost Car – Interviews with visual effects producer Peter Kuran and effects animator Kevin Kutchaver
  • The Wraith Filming Locations: Then and Now
  • Theatrical Trailer
  • TV Spots
  • Alternate Title Sequence
  • Still Gallery

 

SUNDOWN: THE VAMPIRE IN RETREAT (1989)

The road to Purgatory is paved with good intentions, and Count Mardulak (David Carradine) wouldn’t have it any other way. He’s seeking atonement for centuries of human carnage, which is why he’s instructed Purgatory’s vampire residents to slather on SPF 100 sunblock, pursue daytime activities… and drink only synthetic blood. But some vampires don’t agree with Mardulak — they want the real thing — and if that means wooden bullets flying in a vampire civil war, so be it! This wild horror-comedy also stars Bruce Campbell (The Evil Dead franchise), M. Emmet Walsh (Blade Runner), and John Ireland (Spartacus).

Blu-ray and DVD Special Features:

  • Audio Commentary with Director Anthony Hickox and Director of Photography Levie Isaacks
  • Isolated Score Selections and Audio Interviews with Music Historian Randall Larson and Producer Jefferson Richard
  • Wild Weird West – An Interview with Director Anthony Hickox
  • Bloodsuckers from Purgatory – An Interview with Special Make-up Effects Creator Tony Gardner
  • Memories of Moab – An Interview with Actor Bruce Campbell
  • A Vampire Reformed – An Interview with Actor David Carradine
  • A True Character – An Interview with Actor M. Emmet Walsh
  • Theatrical Trailer
  • Still Gallery

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Dementia 13, The Wraith, and Sundown: The Vampire in Retreat are released as part of the Vestron Collector’s Series on November 15th. You can pre-order from Amazon now.

Five Films to Check Out on Horror Channel This Week – 081121

horror check out

Here are our picks for what to watch on Horror Channel this week….

Wednesday November 10th, 9pm – The Taking (2014)

This supernatural found footage film was also known as The Taking of Deborah Logan and focuses on a crew making a documentary about a patient with Alzheimer’s. It’s suitably creepy but and will please fans of the subgenre.

Thursday November 11th, 9pm – Jackals (2017)

A family attempt to rescue their son from a cult, but his new family won’t give in without a fight.  Stars Deborah Kara Unger and Stephen Dorff and is directed by Saw alumni Kevin Greutert.

Friday November 12th, 9pm – 1.05am – Soska Sisters Double Bill

The Twisted Twins are back on Horror with back-to-back screenings of Rabid (2019) and American Mary (2012). Expect plenty of body horror and stylish, bloody delights.

Saturday November 13th, 10.50pm – The Hitcher (2007)

A remake of the classic 1986 film, this version stars Sean Bean as the titular psychopath picked up by Sophia Bush and Zachary Knighton. Another great public service film on not picking up strangers.

Sunday November 14th, 10.35pm – The Loft (2014)

This American remake of a Belgian movie boasts Karl Urban, James Marsden, and Wentworth Miller. Like The Vanishing and Funny Games, this was directed by the guy who made the original, Erik Van Looy. It involves a group of men who share a loft that they use to have affairs. Unfortunately, one day a dead body appears there…

Tune into Horror Channel on Sky 317, Virgin 149, Freeview 68, Freesat 138.

Nicolas Pesce | PIERCING

nicolas piercing

Writer/director NICOLAS PESCE follows up his extraordinary horror film debut THE EYES OF MY MOTHER with a second twisted tale in PIERCING. We probe the acclaimed filmmaker to find out what attracted him to the project, his stylistic influences, miniatures, and more …

STARBURST: For those who haven’t read Ryū Murakami’s novel on which the film is based, how would you best describe the central concept?

Nicolas Pesce: It’s mainly about a guy who’s a new father with a newborn and he’s feeling tempted to harm his child, so to quell those murderous instincts he plans to carry out what he thinks is the perfect murder of a prostitute. But when the young woman arrives at his door, she has much more nefarious intentions for him than he has anticipated. So you get a twisted cat and mouse game that is also a romantic comedy of sorts.

What was it about the source material that made you want to adapt it?

My first movie [The Eyes of My Mother] was a very specific type of film – it was black and white, subtitled, very bleak – and I was looking for something that would allow me to stay in my wheelhouse with dark subject matter but was also a bit playful and fun. I look at South Korean filmmakers like Bong Joon-Ho and Takashi Miike who have such a great sense of humour while also dealing with some pretty dark stuff and I love the playful quality they bring to it because you’re not sure if you’re meant to be laughing or not. So when I read Piercing I found all of those qualities in the novel and it definitely felt right up my alley.

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Had you read any of Murakami’s material before?

Yeah I have, I first discovered him through [Takashi] Miike when he adapted Audition, and when I read that book I absolutely fell in love with the way he writes. He definitely makes it easy to translate to film by writing in the present tense, just like a screenplay, which I’ve found with a lot of Japanese novels. A guy named Ralph McCarthy does the translations for Murakami, so I read Audition, In the Miso Soup, Almost Transparent Blue and loved every single one but when I came to Piercing it seemed that this one was more universal than his other stories which feel uniquely Japanese. Piercing is about two deeply damaged people who are trying to work out their psychological problems and happen to find each other and realise that they may be able to help each other sort their shit out however twisted and weird that process might be. It’s definitely a morality tale and we wanted to strip the movie of place and time because to me it was less about taking a Japanese story and setting it in America and more about telling the universal story of these two characters.

It’s safe to say you’ve expertly drawn a lot of inspiration from the likes of Lynch, Cronenberg and most prominently Dario Argento – the score in particular invoked emotions that I experienced in Suspiria. Was that stylist choice made when you were reading the source material and is that how you imagined it in your head?

As far as Lynch and Cronenberg go, those are two of my favourite filmmakers, they come with me on everything I do – manipulating mood in abstract ways is something I love to do. For Argento, one of the most interesting cross cultural things about the source material is the novel is very much Murakami as a Japanese author poking fun at the American psycho-sexual thriller of the ‘90s – especially when he calls out Basic Instinct – and not being a Japanese filmmaker I wanted to find my association, and I found that Murakami to Basic Instinct is what I am to Giallo movies. My point of reference were films such as The Bird with the Crystal Plumage, Tenebrae, and Deep Red, and it’s funny because Suspiria is the most popular of the genre but I think most others don’t look like that – they don’t have the colours that it does – but you get the great Goblin score. Giallo movies found a way to take fashion, architecture, decor design, fine art, furniture and make it not just an aesthetic choice, but made it a character itself that directly impacted the human characters. But also the style of music is definitely unique to that pocket of cinema. Sixty piece orchestras were unfortunately too expensive for us, so we went with something a little more Giallo inspired that added that extra level of detail.

We loved the choice to embrace a ‘70s aesthetic. On top of that, the fact that the buildings and outside world look like they’re in a graphic novel, it really captures the essence that this is an isolated incident and any one of those windows could be holding a dark secret like we see on screen. Was that also something you envisioned when reading Murakami’s work?

Totally, I think that one of the really interesting things about Tokyo is how densely packed it is, and one of the things that Murakami talks about a lot is how Japanese culture in public is superficial and refined and yet they have this very seedy underbelly of subcultures in there as well that isn’t traditionally seen as Japanese – but really behind closed doors they could be doing weird sex shit. So for me, first of all we wanted the world to feel artificial and poke fun at the artificial world. I saw these photos by a photographer called Michael Wolfe who I believe is a Brit living in Hong Kong, he takes these photos of real high rise buildings that look fake. We were shooting the movie on stages in New York City and we were looking around for buildings to shoot that look like the photos, but it didn’t feel right in New York. So we built a whole city out of miniatures – every time you see the buildings in the background of the outside world, each of them is only three feet tall. We had an amazing miniature artist named Laurie Nix who did everything, and what’s funny is she does way more photorealistic stuff and we had to tell her to make it look more fake! Also the fact that you don’t see any other characters makes it feel more isolated too.

Christopher Abbott and Mia Wasikowska both give incredible performances, especially Christopher who captured the quintessential spirit of the likes of Norman Bates in parts. When adapting the screenplay, were those the two actors you had in mind from the start?

Christopher, yes, Mia, no. The role was always written for Chris – I’ve been friends with him for years – in real life he’s a pretty boy, but I wanted to give him a role that was more like Patrick Bateman. Also, he’s a very quiet person that can look like so much is going on in his head and that’s exactly what our main character needed to have. Very reserved but you see the gears spinning. For Mia, she was originally cast as the wife role but our actress who was playing Jackie suffered an injury shooting another project and because we were under a schedule I had to ask Mia to step in and she jumped at the opportunity because to be fair, the character in the book suited Mia a lot better. It was quite the massive jump between playing a completely different character and after shooting the film I now can’t see anyone else but Mia playing the role. What she did was tremendous and I was lucky to have her be a part of it.

At just 80 minutes the film is one of the shorter horrors thrillers on the market, but you certainly manage to make it always feel relentless in the unease and tension. How did you achieve that?

I have no attention span when I comes to watching movies – if it’s over two hours it’s tough to get me to see it. When I saw Denis Villeneuve’s Enemy and it was 82 minutes I was blown away! I also like withholding a lot, so when it’s 80 minutes long it’s easier to keep the film moving and make sure that people don’t get bored and also leave them with pieces to put together. There’s a lot of backstory in the novel that we show in very quick little bursts that don’t give you much insight in the case of the novel, but in the case of the movie, it really works!

Piercing screens on Horror Channel on November 5th. Find out more at horrorchannel.co.uk. Freeview 68, Freesat 138, Sky 317, Virgin 149

Rock Band OPENSIGHT’s Top Seven Horror Films

opensight

Horror is a film genre of extremes. While some try to stay away from the genre as much as possible, there are others obsessed with it, always looking for the next cathartic experience of cinematic terror or another sublime look at the dark side within the realms of cinema. Ivan, frontman of the band Opensight, would fall closer to the second group. Playing in a band that has a strong film music influence despite its rock and metal basis comes with a love affair with genre films and, in particular, horror movies.

Opensight’s new single and video Stained Remains centres around “a forgotten horror from the past brought back from obscurity. A motion picture so frightening that decades ago it was locked in a vault deep within the earth. Cinephiles and film freaks will definitely recognise the old movie that the band used for their video, which you can see below.

 

In honour of the band’s video release, they have put together a list of their top seven horror films for us…

The Beyond (Lucio Fulci, 1981)

Despite being directed by Lucio Fulci who has been proclaimed as the Godfather of Gore, one of the main strengths of The Beyond is its atmosphere. Cold vibes but colourful visuals and gorgeous photography create a surreal world where the dead come back from hell through one of its seven gateways to invade the earth. Italian composer Fabio Frizzi has been a key influence on Opensight’s music, and his score for the film is outstanding, contributing immensely to the vibe and also being very effective when experienced by itself.

The Beyond breaks the rules, which is the reason it stands out. A beautiful movie drenched in blood and a mandatory watch for horror enthusiasts and zombie fans everywhere. After watching The Beyond, you might want to pop in Zombie Flesh Eaters and City of the Living Dead for a ‘triple feature’ extravaganza!

The Exorcist III (William Peter Blatty, 1990)

A highly underrated sequel. The film presents a connection between demonic possession and serial killing for a genuinely unsettling and enigmatic effect. The Exorcist III is not only a horror film but also a superb psychological thriller.

William Peter Blatty, the author of the original book, wrote and directed this based on his novel Legion. He took chances despite pressure from the production company and brought a film that stands on its own. Add on top of that we get some excellent performances by all the cast, including George Scott, Brad Dourif, and Jason Miller. With The Exorcist III, your horror movie night is sorted! Watch out for the famous ‘corridor scene’, which is a testament to how pacing can make a horror film truly effective.

Rosemary’s Baby (Roman Polanski, 1969)

Based on the novel by Ira Levin. Rosemary’s Baby is soaked in occult vibes and that charming atmospheric mysticism from the ‘60s. The film portrays the descent into madness of our protagonist, who suspects that she and her unborn baby are the targets of a plot by a witchcraft cult. Mia Farrow delivers an amazing performance as a vulnerable but strong heroine. And we are with her all along, at the edge of our seats, during the amazing build up all the way to the climatic end.

The history of the film is surrounded by curious and tragic real-life events. Besides Mia Farrow and Frank Sinatra getting divorced over commitments for the film, there was the connection to the Manson Family crimes and the film being shot at the Dakota building where John Lennon was murdered. There were also false rumours about Anton LaVey being brought as a consultant during the shoot. All of this gives the film a certain ‘occult’ energy and makes it a true pop-culture curiosity.

The New York Ripper (Lucio Fulci, 1982)

Another Fulci entry but a very different one. The New York Ripper has to be seen to be believed! A notoriously ruthless film of the Italian giallo style of the murder mystery. The movie is based around a violent serial killer that talks like a duck (imagine Donald Duck’s voice threatening to kill you over the phone) and terrorizes the city leaving a trail of dead bodies. New York is portrayed as a sleazy place, filled with strip joints, crime, perversion, and shady characters (including the main ones). All presented with beautiful photography and a mysterious but funky ‘crime’ score by Francesco De Masi. The New York Ripper is a fun and thrilling ride, but you will probably need a shower after watching it.

Pieces (Juan Piquer Simón, 1982)

A Spanish ‘slash and dice’ fest, also borrowing from the Italian giallo rulebook while still breaking the rules! The advertising for Pieces claims that “You don’t need to go to Texas for a chainsaw massacre”, and it delivers in spades. Despite being a full-blown slasher, the film is presented as a murder mystery, as it follows the police investigation to unmask and apprehend the black-leather-gloved killer who is piling bodies at a high school. It is pretty obvious who the killer is, so the strength of this film lies in its extravagant over the top temperament and deliciously ‘80s atmosphere. The ending has a twist that is absolutely unbelievable and worth the entire ride.

The Wicker Man (Robin Hardy, 1973)

One of the things I’ve always loved about bands like Iron Maiden is their references to literature and film, which could lead curious fans into the discovery of some cool films like Where Eagles Dare, Falling Down and the all-time British favourite The Wicker Man. Fans of recent movies that have a more pastoral or folk vibes like Midsommar or The Witch would definitely enjoy this one. A mysterious story about a religious police officer who gets thrown deep into the pagan rituals of a remote island while investigating the disappearance of a little girl. The plot unfolds and twists in a way that will keep you on the edge of your seat until the shocking ending, which is genuinely jaw-dropping. The Wicker Man enjoys a soundtrack of authentic folk music and visuals that contribute to the sense of authenticity and also confusing weirdness. Edward Woodward as Sergeant Howie does an impressive performance and Christopher Lee embodies Lord Summerisle magnificently.

Trick Or Treat (Charles Martin Smith, 1986)

With appearances by Gene Simmons and Ozzy Osbourne, this one is an enjoyable supernatural horror that is a product of the Satanic Panic of the ‘80s, when the idea of heavy metal musicians as part of a satanic conspiracy to corrupt our youth was taken seriously by some people. With a typical high school setting where jocks spend their time pranking and bullying the outcast students, our metalhead protagonist is able to get revenge via dark supernatural powers from beyond the grave, given to him by his all-time favourite heavy metal star Sammi Curr. We witness creepy ‘subliminal’ messages, nightmarish visions, and a revenge plot gone out of control. Trick or Treat is an interesting take on the subject of metal music as an instrument of evil. Turn the volume up to eleven on this one.

Find out more about Opensight and listen to more of their music here.

 

opensight

[ENDED] Win Arrow Video’s THE HILLS HAVE EYES 4K Ultra HD Blu-ray

win hills eyes

Wes Craven’s 1977 masterpiece The Hills Have Eyes is released in glorious limited edition 4K Ultra HD edition from Arrow Video on November 8th and one lucky reader can win a copy! Just read on and enter below…

Synopsis:

Taking an ill-advised detour while on their way to California, the Carter family soon run into trouble when their campervan breaks down in the middle of the desert. Stranded, the family find themselves at the mercy of a group of monstrous cannibals lurking in the surrounding hills. With their lives under threat, the Carters have no choice but to fight back by any means necessary.

Following on from his notorious 1972 directorial debut The Last House on the Left, Craven’s The Hills Have Eyes stands alongside the likes of The Texas Chain Saw Massacre and Night of the Living Dead as one of the defining classics of American horror.

4K ULTRA HD BLU-RAY LIMITED EDITION CONTENTS:

Brand new 4K restoration of the film, viewable with both original and alternate endings
• 4K (2160p) UHD Blu-ray presentation in High Dynamic Range
• Original lossless mono audio
• Optional lossless 2.0 stereo and 7.1 remixes (original ending only)
• Optional English subtitles for the deaf and hard of hearing
• 6 postcards
• Reversible fold-out poster
• Limited edition 40-page booklet featuring writing on the film by critic Brad Stevens and a consideration of the Hills franchise by Arrow producer Ewan Cant, illustrated with original archive stills and posters
• Audio commentary with actors Michael Berryman, Janus Blythe, Susan Lanier and Martin Speer
• Audio commentary by academic Mikel J. Koven
• Audio commentary with Wes Craven and Peter Locke
• Looking Back on The Hills Have Eyes – making-of documentary featuring interviews with Craven, Locke, actors Michael Berryman, Janus Blythe, Robert Houston, Susan Lanier, Dee Wallace and director of photography Eric Saarinen
• Family Business – an interview with actor Martin Speer
• The Desert Sessions – an interview with composer Don Peake
• Outtakes
• Alternate ending
• Trailers and TV Spots
• Image gallery
• Original screenplay
• Reversible sleeve featuring original and newly commissioned artwork by Paul Shipper

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The Hills Have Eyes 4K Ultra HD limited edition is out on November 8th from Arrow Video.