One thing that I love about Screen Junkies’ Honest Trailers is that they not only poke fun at the films they’re examining, but they also offer a lot of insights that you might not have considered. For example, while I recognized that sending a character back in time to prevent the future in X-Men: Days of Future Past was similar to how a character was sent back in time in Terminator 2, I never realized just how closely Days of Future Past followed T2‘s plot.
If you’ve ever wondered where the term “grindhouse” originated, it came from theatres located on 42nd Street in New York City which used to feature “bump-and-grind” burlesque and striptease shows. Eventually, these same theatres started to screen the sleazy grindhouse exploitation films we all know and love. The peak period of the “grindhouse era” was the 1960s and 70s. By 1982, the invention of home video was on the horizon and the era of grindhouse cinema was coming to an end. Nevertheless, 1982 still managed to produce a film which can be described as a quintessential piece of grindhouse cinema. A filmmaker named Frank Henenlotter dreamed up a horror film while walking around the seedier areas of Time Square and 42nd Street and he believed they would make the perfect setting for his off-the-wall story. The end result was Basket Case, a delightfully sleazy film which likely would have been a pretty successful hit during the grindhouse era, but ironically enough, wound up developing its cult following on home video. The original trailer for Basket Case is one of the better grindhouse trailers ever produced, as it delivers a compelling hook by asking the question: “What’s in the basket?”. The trailer does not provide a visual reveal to this question, but closes off with the lead character drunkenly answering: “My brother”. It’s a great “WTF” moment which leaves the audience intrigued and the film certainly delivers on its wacky premise.
With the successful release of the surprisingly good Denzel Washington screen adaptation of The Equalizer last month, I decided to go back and do some research into the 1980s TV series and an awful lot of famous actors made guest appearances on the show before they were famous. One of these big names was Sam Rockwell, who had his first role in front of a camera at the age of 18, playing a kid in a street gang named “Slick”.
Leave it to Drafthouse Films to cut together the greatest death scenes in all of cinema. Normally I’d scoff at a supercut that tried to claim it contained the best cinematic deaths, but these guys know their stuff. Don’t expect high art here, of course.
It’s alive! It’s alive! With Halloween fast approaching, it’s high time that Shouts From the Back Row got into the spirit of things, so on this episode Gill, Robin and TK are taking a look at two of the most iconic movie monsters of all time: Dracula and Frankenstein. With over a century of popularity behind these characters, there are lots of different interpretations to explore and discuss, as the guys ponder just what has made these ghoulish monsters so enduring in popular culture. Click here to download the episode!
Music for this week’s podcast was composed and performed by our very own Vince Nitro!
Today, we are going to be posting our latest Shouts From the Back Row podcast about Dracula and Frankenstein and Francis Ford Coppola’s adaptation of Bram Stoker’s Dracula will definitely be discussed. However, I was surprised to go back and see that Monica Bellucci had one of her earliest roles in the film as one of Dracula’s brides. So, to start off her career, she had the distinct honour of having Anthony Hopkins toss her severed head into a pit.
I’m afraid that this is going to be one of those annoying posts where I say “Look at this awesome thing, but I’m not looking at it!” Return of the Obra Dinn is the new game from Lucas Pope, who scored a smash hit with the top notch indie game Papers, Please. Now Pope is taking on a different style of game, a sort of time-stopping pirate-y mystery with a first person perspective, but one thing that might seem a bit familiar is the extremely retro look of the game. Papers, Please had a visual style evocative of the 8-bit era of gaming, whereas Return of the Obra Dinn looks to be imitating the style of a game that you might have played on an ancient, black-and-white Macintosh. Awesome! Needless to say, I can’t wait to give this a try. But I’ve gotta wait, because of work. Lame.