Tag Archives: Horror Movie

The Popcorn King of Nacogdoches by Kent Hill

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Here’s my Joe Lansdale origin story…if you will.

It has often been my custom to seek out and devour everything an author has written….once said author’s work has completely overwhelmed me.

My first brush with the Popcorn King from Nacogdoches came in the form of a chap book in one of those slowly disappearing, (at least in Australia anyway) dust-ridden book exchanges. Where the yellowing pages of the regarded and discarded writers of ages are stowed. The store that I frequented  with my Grandmother – the most voracious reader in the family – we would go to after she was done reading a great pile of books, looking to exchange them for new ones. Gran would always ask the proprietor to save some of the credit from her returns for me, to pick up an armful of comic books. Yay!

It was on a rainy day in February, three summers and a thousand years ago, that I went into that old store by myself, ready with a pile of freshly digested comics…..ready to swap them – for more. As I scanned the racks I saw, at far end of one of the shelves, wedged between two war comics, a thin, slightly discolored book entitled: On the far side of the Cadillac Desert with Dead Folks. That title alone is a grabber – I don’t give a shit what you say. Eagerly I dove in and found myself so entranced, that it took the hand of the proprietor, shaking on my shoulder, to break the spell the story had on me. Turns out I had been standing there for a good forty-five minutes reading. Without hesitation I handed over the comics in my other hand and said I wanted nothing but the thin, little volume. The owner tried to tell me I could take it plus the comics, but I had neither need nor interest in comics that day. I shoved the Dead Folks into my pocket and cycled home as fast and as recklessly as I could. Once there, I read the incredible find over and over, till the weekend faded away.

Some weeks later, and after countless repeated readings of the Cadillac Desert, I found myself beset by another grey and rainy Saturday. I was rushing into the city library via the side entrance. My breath was all but gone as I had been racing, and narrowly escaping, the oncoming downpour. Dripping on the carpet with my hands on my knees I looked up. As my breath returned, at the bottom shelf of the aisle closest to me, I remember clearly staring at the row of books and noticing that they were all by the same author. The same guy who penned my glorious obsession, Dead Folks. I snatched up as many books as my library card would allow me to leave with, and the rest is history. My first encounter had been powerful, but now my love affair with Lansdale was really about to take flight.

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And…at last…we have a cinematic valentine to that literary God among men. All Hail the Popcorn King, directed by Hansi Oppenheimer, is a perfectly balanced, passionate portrait of the man, who by some, is called the greatest writer…you’ve never heard of.

With collaborators like Don Coscarelli, Joe Hill and the man with a chin that could kill, Bruce Campbell, Popcorn King showcases Joe Lansdale the best way a filmmaker can: on his home turf, on his own terms, and in his own wondrous porch raconteur’s tone, that I’ve heard before –  but still, it’s not nearly as cool as talkin’ to the legend his own self.

Enjoy this dynamic one-two punch of literary and cinematic awesomeness, I pray you. Be excellent…

JOE R. LANSDALE

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HANSI OPPENHEIMER

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An Exorcism in Awesomeness by Kent Hill

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I don’t know what they are putting in the water over there in Germany, but I have of late had the privilege of speaking with some of the country’s brightest indie stars. Starting with Dominik Starck and his action movie man-at-arms, Nico Sentner. Then, I stumble into the path of a couple more revolutionaries and fine gentlemen to boot, Erza Tsegaye and Nicolas Artajo – talking about their little gem of a movie, and as history will tell, the forerunner of a new wave in German horror films . . . SKIN CREEPERS. This country Germany seems to have more than just good beer on tap . . . seems the brew cool movie-makers too.

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It’s the story (partially inspired by true events:  where a Korean family performed an exorcism on a young woman who sadly lost her life) of two unsuccessful filmmakers who want to make a pornographic movie, and things go very, very wrong. See, their lead actress . . . . gets possessed by a demon.

It’s a film,  although shot on a limited budget, that is already being recognized for its stunning visual effects and its old-school practical approach to film-making. Following a successful German theatrical run, the film is now celebrating its international release in the US, Canada, Australia, the United Kingdom and Ireland on multiple major VOD Platforms, including Amazon Prime and Tubi, among others.

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Filmmaker Ezra Tsegaye, worked previously in commercials as a storyboard artist for Hollywood films such as “THE INTERNATIONAL,” and is also a successful comic strip artist, who was involved in the creation of the first original German superhero comic. This background as a comic book/storyboard artist is mainly responsible for the film’s unique visual style. The picture, produced by media entrepreneur Sebastian Wolf, started the project with the intent to revolutionize German Horror Cinema, putting it back on the map by giving this extraordinary movie the chance to reach the big screen.

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So we chatted about the movie, of course. I heard what I would sound like – if dubbed for German audiences. There was talk of good beer, and a pub crawl in Berlin with the boys. How could this interviewer refuse?

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SKIN CREEPERS, get out there and enjoy it…The Exorcist meets Evil Dead with a sexy twist!

Not your average Poe: An Audience with Jeffrey Combs by Kent Hill

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Once upon a midnight dreary, while I pondered, weak and weary, over Men at Work and why can’t they make a sequel. While I feasted on potato chips nearly napping, suddenly there came a rapping, turns out it was Herbert West a-rapping, at my chamber door.

I just want to go on the record and say there are a handful acting dynamos out there that have enjoyed long and industrious careers. But then, there’s Jeffrey Combs. If you’ll forgive the crassness of a STEP BROTHERS fan (and Jeff, I mean this as a compliment mate), Mr Combs is the f#@king Catalina Wine Mixer of genre/character/genius actors.  You need only to watch Sir Peter Jackson’s The Frighteners – nothing further your Honor.

Now I love RE-ANIMATOR, I love the RE-ANIMATOR fans, heck I have card-carrying diehards as friends, but I must confess I’m more of a fan of Jeff’s Cellar Dwelling, Fortressy, Robot Joxy, Doctor Mordridy type offerings – and don’t get me started on Honky Tonk Freeway – whole other show.

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But for right now let’s focus on NEVERMORE. The creators of the eleventh episode in the second season of Masters of Horror have brought their act to a literal theatre near you – but if you’re reading this outside of the US – sorry. Directing legend, Stuart Gordon (Space Truckers) and his (frequent) co-writer from “The Black Cat” Dennis Paoli (From Beyond) have created a vehicle which has brought to the stage a critically heralded experience that has delighted audiences for over a decade.

Hailed as “a landmark performance” by the L.A. Times, Combs has thrilled crowds across the country with his dynamic and revelatory portrayal of the legendary Poe.

This marks NEVERMORE’s Westchester County, NY, premiere, an event made extra special by the area’s bicentennial celebration of Washington Irving—a contemporary of Poe who was, from Poe’s perspective, also a rival. As Combs recalled in a recent River Journal article, “I don’t think they ever met. I take dark delight in pointing out that Poe doesn’t have very nice things to say about Irving. Specifically, about Irving’s penchant for always having a moral to his stories while Poe was often criticized for being without morals.”

SHIFF (The Sleepy Hollow Film Festival) celebrates the Hudson Valley’s wellspring of American history, of classic literature, and the continuing legacy of supernatural writings and cinematic works that it has inspired,” says festival co-founder Taylor White. “We’re excited to have NEVERMORE as part of the festival because it encapsulates so many of these ideas—not to mention it’s a fantastic show, at the perfect time of year, in the perfect venue. We can’t wait for the crowd to experience it!”

As Combs added in the River Journal, “Poe was truly one of America’s great writers. I’m honoured every time I step on stage and recite his beautiful words.”

SHIFF, a celebration of outstanding genre cinema in the cradle of the American supernatural, takes place in Sleepy Hollow and Tarrytown, NY, October 10-13, 2019.

Finally, Jeff Combs was an absolute pleasure to chat with, his personality is as vivacious and extraordinary as the multitude of characters he has brought to our screens. If we had more time I would have really delved a great deal deeper – but, never being one to turn down opportunity when he comes a-rapping at my chamber door, I could not in good conscience turn down the chance to talk with one of the world’s most original performers. He’s still batting a thousand, I hope you’ll enjoy…

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The Taming of the Killer Shrews by Kent Hill

It was weird sitting down and watching Return of the Killer Shrews. My wife and I were not far in when I paused the movie and said, “Hang on, I’ve seen this before.” I jumped up from the chair and went to the library. Removing row upon row of DVDs, I soon came across it. I took out the disc, popped it in the player and “yes”, right I was – I had seen the movie before – under the guise of a re-titled release called MEGA RATS.

But I kept on. In part because I love the flick and the genre it is a part of. Also because I have such fond memories of watching the 1959 original on a rainy day with my grandmother on her big plushy green couch, with a huge bowl of warm, buttery popcorn and the open fire’s glow dancing against our faces. Truth is she loved monster flicks. THEM, JAWS, DARK AGE, ANACONDA, even BIG ASS SPIDER was one of the last she saw and enjoyed.

Me personally, it hits the right notes just like pictures of its ilk like PRIMAL FORCE, PIRANHACONDA, HOUSE OF THE DEAD (because yeah, I’m a stickler for Dr. Boll alright – I get a giggle out of it), and SCREAMERS (not to be confused with the Christian Duguay film, but the Sergio Martino film also known as Island of the Fishmen).

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Steve Latshaw directs James Best, returning after 53 years to take on those nasty, blood-ravenous shrews with a little help from a couple of the Dukes of Hazard. A reality TV crew, in the midst of an island paradise, soon find they are no match for the four-legged terrors that are stalking them at the behest, it would seem, of the deliciously villainous Bruce Davison (who is clearly relishing his part). ROTKS is as delightful, endearing and just as loaded with double, B-movie-cheesy-goodness as the original. It’s streaming NOW, so jump on the couch and grab a bite and thrill at those killer shrews, while enjoying that buttery popcorn you’ll chew.

My guests are a couple of the men behind the shrews. Director/screenwriter extraordinaire, Steve Latshaw, and special effects maestro, Jeff Farley.  Have a listen and gain some insights on the careers this pair of amazing cinematic artists and how they came together to try and tame those killer shrews…

STEVE LATSHAW

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Born in Decatur, Illinois, Steve began his film career in a distinctly Corman-esque style, directing a string of successful B movies in Florida in the early 90s. These included the home video/cable hits Dark Universe (1993) and Jack-O (1995), as well as the cult classic Vampire Trailer Park (1991). Relocating to Los Angeles, Steve continued his career as both writer and director, though on markedly larger budgeted projects. With a filmography well into the double digits, Steve’s recent screenwriting credits have included the family adventure _American Black Beauty (2005), starring Dean Stockwell and the upcoming Sci Fi Channel superhero adventure, _Stan Lee’s Lightspeed (2006).

JEFF FARLEY

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Jeffrey S. Farley was born on August 21, 1962 in Glendale, California, USA. He is known for his work on Demolition Man (1993), The Blob (1988) and Pet Sematary (1989).

The Independents need to Fly by Kent Hill

Well I’ve been working on this one for a while now. A collection, a tribute to the wondrous array of talents out there doing exactly what they want to do. Godard famously once said: “All you need for a movie is a gun and a girl.” That may have been the case for him, but I like my movies with a few more ingredients. Werewolves, giant snakes, sharks – it’s all part of my complete breakfast so, I endeavored to get in contact with those few, those happy few, this band of indie auteurs who don’t need permission or studio backing to do what they love to do – which is make movies.

Perhaps it is fortuitous regarding the timing of the release of this piece that all of the films here mentioned are now out there and available for your enjoyment. Mr. Bonk’s ‘Jaws Indoors’ sharksploitation offering, House Shark, Mr. Braxtan’s urban anaconda comedic actioner, Snake Outta Compton, Mr. Sheets Werewolf O’ glorious Werewolf killing by night picture, Bonehill Road and finally, Mr. Dean brings us his second installment of justice wreaking havoc by the full moon with his part man, part wolf, all cop, Another WolfCop.

We need these independents now more than ever ladies and gentlemen. Hollywood at large has become a cookie-cutter industry were everything is either a remake, a sequel or an adaptation. Something old, something new, something borrowed and something boring. It is and has degenerated into a vicious cycle that sees the movie business in the safest place it has been in decades. And why? Because dear reader, there is no gambling on a property that doesn’t already carry a built-in audience. No risk versus reward. It’s the same old shit – just in a different box.

So thank God for the Independents. Robert Rodriguez once said, “Don’t give me any money, don’t give me any people, but give me freedom, and I’ll give you a movie that looks gigantic.” Hollywood has long forgotten that the size of the budget does not equal the size of a film’s success. It is the films that defy convention, that resist formula, that are at play in the fields of freedom and creativity and not those designed and dictated via a committee in some corporate office that are still exciting audiences.

The studios may have the guns, but we got the numbers. We have the power now to embrace these magnificent artists. Together we can bring them in from the fringes and with all the social media tools at our command, we can use our influence to elevate these men and their glorious pictures to ever greater heights, instead of perpetuating the norm which sees us elevating fools into rich heroes.

Yes dear reader, today is the day. The day on which we can declare in one voice, “We will not go quietly into the night – we will not vanish without a fight. We’re going to live on, we’re going to survive. Today, we celebrate, The Independent’s Day.

RON BONK

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(DUE TO A BAD CONNECTION, SOME OF MY INTERVIEW WITH RON WAS LOST - BUT PLENTY REMAINS - I TRUST YOU'LL STILL ENJOY)

Ron Bonk is a producer and writer, known for Clay (2007), Night of Something Strange (2016) Strawberry Estates (2001) and She Kills 2016. He was born in Cicero N.Y. and attended Cicero, North Syracuse H.S. Then he graduated from M.V.C.C. , and Utica College. He is the president of S.R.S. Cinema L.L.C. in Central New York.

HANK BRAXTAN

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Hank was born and raised in Grand Junction, Colorado; this would be his greatest accomplishment until dropping out of film school at age 26. Even from a very early age, Hank showed a genuine interest in being entertained. In 1998, he put his lack of ambition on hold and joined the US Army as an Intelligence Analyst. After his discharge for honorable behavior in 2004, Hank attended film school for a short while, and made a bunch of nonsense about Ghostbusters fighting Freddy Krueger and other copyrighted materials. In the days before YouTube, that was kind of a big deal.

Hank has since gone on to work in the same town as many famous filmmakers. He currently has several projects in several stages of development, etc.

TODD SHEETS

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Todd Sheets is a writer and director, known for Bonehill Road (2017), Dreaming Purple Neon (2016) and Grindsploitation (2016).

LOWELL DEAN

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Lowell Dean was born on January 17, 1979. He is a director and writer, known for WolfCop (2014), Another WolfCop (2017) and 13 Eerie (2013).

 

 

 

 

 

“CHEESEBURGERS, NO BONES!” : An Interview with Mick Garris by Kent Hill

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It took a while to get a hold of Mighty Mick – but I’m glad I had the patience. See Mick Garris is one helluva talented man. His passage through the movies is a veritable plethora of Amazing Stories – apart from the show-of-the-same-name where he achieved career lift off.

Since those early days he has gone on to become a prolific writer, director, producer, author, podcaster – the list goes on. He made me laugh with Critters 2, he was the writer of The Fly 2, which was one of the only times a film has forced me bring up my lunch, and he has conducted wonderful and insightful interviews with fellow filmmakers – some, sadly, that are no longer with us.

Through it all Mick remains the soft-spoken gentleman with a passion for his work and cinema in total. He has had a long successful run of adapting the works of Stephen King for the screen. I have vivid memories of sitting through, night after night, his extraordinary adaption of The Stand. This he beautifully followed up with further adaptions of Bag of Bones and The Shining, in which King adapted his own book, and which Mick credits as one of the best screenplays he’s ever read.

He was instrumental in bringing together the Masters of Horror as he was composing the elements which formed great movies either under his pen, or benefiting from his exquisite direction. Follow this link ( https://www.mickgarrisinterviews.com/  ) to Mick’s site and check out the bona fide feast of delights for cineastes he has on offer. As I said to the man himself, “You have a lot of fingers in a lot of pies, and I can’t wait to cut me a slice of whatever you serve up next.”

So, without further ado,  it is my privilege to present to you . . . the one, the only . . . Mick Garris.

B Movie Glory with Nate: Split Second

One of the better entries in a long and tedious career of B movies that Rutger Hauer has inexplicably slaved in, Split Second is actually a solid, enjoyable little flick with terrific action, atmosphere to rival any of the big budget films he did and a stoically deadpan performance from the legendary badass. The year is 2008 (lol the future), the place is London, and the sea levels have been rising fpr years, causing a few feet of water everywhere, leading to a stall in infrastructure growth. Hauer plays police detective Harley Stone, a gruff, take no prisoners shit kicker with a big gun who is searching the dank streets and shadowy clubs of London, looking for a killer who dispatched his poor partner a few years before. Only thing is, this ‘killer’ isn’t actually human, as Stone finds out in a series of well staged, murky shootouts in which the muzzle flares and smoke machines combine efforts (with hidden help from the low budget) to ensure we never get a good look at this beast until the bloody finale. Hauer is the perfect lone hero, a physically imposing presence with the laconic wit and unshakable charisma to match it. His Stone is world weary, laid back but dogged, and not without a bleak sense of humour. “I’m a cop” he sarcastically barbs, flashing his badge to a nightclub guard dog who wouldn’t know it from a hole in the ground. Kim Cattrall plays the female counterpart to the fight, and watch for Pete Postlethwaite in an early role as a pesky bureaucratic swine who gets in Stone’s way a few times. If you picture the hard hitting brutality of Predator, combined with the smoky ambience of Blade Runner you’ll have some idea. Admittedly it’s on a far lower budget and as such has to make do with it’s resources, but it does that just fine. Memorable little action creature feature.