Be careful who you marry because they could end up being like the dude in Devil’s Pond, a so-so two person horror flick that sees a newlywed couple (Tara Reid & Kip Pardue) embark on their honeymoon to a remote cabin on an island in the middle of a lake, only for her to discover that her charming new husband is in fact a possessive, volatile nut job who has no plans on letting her leave this island… ever. Now, you would think there’d be signs of this guy being a loonie early on or at least something to suggest to her that he might not be a trustworthy spouse, but experience, my own and that of others around me, has taught that you can think you know someone pretty damn well only to have them pull the rout out with no warning bells and turn out to be an absolute monster. It’s a tricky situation because the island is smack-dab in the kiddie of this giant Montana lake, it’s boat accessible only and hubbie keeps the keys to his truck, parked over on the lake’s edge, on his person at all times. This leaves her to play a dangerous, breathless, brutally violent game of survival and wage a battle of wills with him so she can escape, always trying to elude his psychological torment and scary outbursts, overcome her intimidating fear of water/swimming and get out of this nightmare. The performances are good, Pardue does a serviceable lunatic routine pretty well, but Reid surprised me with a disarmingly well calibrated turn. I’m used to her in disposable teen comedies and whatnot, where she’s usually the ditzy chick and the only thing I ever consistently rewatch with her is The Big Lebowski where she’s basically the original ditzy chick prototype. She actually comes across as likeable, desperate and earned my sympathy here with emotional beats that felt authentic and a well rounded character, so good on her. The film overall is nothing special, just your run of the mill psycho husband thriller with a nice spin provided by the uniquely situated location. Just good enough to be solidly entertaining, if not much more.
I know Uwe Boll’s reputation as a horror video game adaption filmmaker and I’ve seen a few of them so my personal expectations for Alone In The Dark were set pretty damn low, and yes it was a terrible godawful cheap mess but not… *quite* as bad as I was anticipating. Here’s the thing: I have years of watching B grade horror trash under my belt and when you’ve got that kind of buffer there’s not much, Boll’s output included, that can make you really, truly recoil, like I love trashy shit, it’s fun if it knows it’s place and fits it’s groove. This? This one is especially lowbrow and unapologetically so, as we see Christian Slater being a wannabe Blade/Van Helsing type monster hunter complete with an emo trench-coat, hilariously moody narration and a sexy/nerdy scientist sidekick played by Tara Reid who is about the farthest from nerdy scientist type you can get, which is great for a laugh here. Slater is embroiled in some murky supernatural hogwash involving human inter dimensional hybrid monster things that lurk around dark corners and disembowel people occasionally. He shoots some of them in between bouts of adorably sincere expository diarrhea dialogue and silly high tech gadgetry, and clashes with the gruff commander (Stephen Dorff) of a paranormal tactical squad and that’s about it. A weird subplot about an orphanage and the kids being used for experiments there back in the day went right over my head but I never played the game this is based on so that could be why, although I suspect it’s Boll’s haphazard direction and complete lack of focus in editing. I will hand it to the guy though for doing Vancouver proud, he not only films most of his stuff here in my city (and owns a restaurant in Gastown no less) but he actually sets it here too, so that Britannia Mines, Lions Gate Bridge and the Robson art gallery actually get to play themselves for once and not double for some hack USA location. This is cheap slipshod stuff, full of dodgy effects, indecipherably shadowy monster attacks and complete with an out of nowhere soft-core porn sex scene between Slater and Reid set to a giggle inducing emo lament by a group called ‘Nightwish’ who I’ve never heard of but outdo themselves in the Evanescence-lite department. This is one of the rare cases where there’s a sequel that’s way better than the original, they made a follow up with Lance Henriksen and Danny Trejo that actually attempts to do something worth watching, whereas this is just shameless, throw-in-the-towel dogshit.
Here I give you, dear listeners, a success story in close proximity to me. A few hours east of the old ranch lives a screenwriter who has recently exploded on the scene as part of an exciting batch of cinema, emanating from a dynamic producing duo with a lucrative business model who have created a haven from bold genre movies.
Adrian, like most of us born with the creative itch (further exacerbated once bitten by the movie bug) knows, all too well, that the road from script to screen can be perilous. Anxious waiting, exhaustive rewrites, all part and parcel of this business we’re in. All the turmoil, all the hours of doubt and disharmony can however, be washed away in the instant the house lights fade into darkness and those long nights of many words come alive on screen. The journey at an end, and the audience entertained.
He traveled from the old empire, through Asia, till at last coming to settle here in the colonies. And it was here, in the sun-burnt land of Down Under that the distant stars and the bright lights of Hollywood glisten in the eyes of the dreamers, their twinkling transformed into a siren song, biding the likes of Adrian (and the rest of us) to take his place among them.
But it is no longer a mere wish upon a star for Mr Milnes. His hard work, determination and dedication to learning how the tricks of the trade blend with the troupes of the industry. All artists chiefly need a patron, and if you put yourself where the lightning strikes, as Adrian has, you might find yourself with green light and a go-picture.
Due to a recent technical misadventure, unfortunately, my recording of our chat was lost. Thankfully Adrian has been a good sport and we have the interview to present in the written form below. The tale of the local lad who made good with his BRIDGE OF THE DOOMED, and the currently in post, BLOODTHIRST. The world is about to receive a healthy dose of the cinematic musings of the man who never gave up, turning what can potentially be a road to doom into victory lane.
KH: Tell us a little about your love of cinema that has endured and seen you pursue this dream to write for the screen?
AM: I’ve always watched any movie I could find. When I was a kid in England the BBC used to show lots of old movies, and I watched as many as I could . The first movie that truly terrified me was an old Basil Rathbone movie, The Pearl Of Death. I was only nine, but I can still remember Rondo Hatton’s scenes. Later on, living in Hong Kong I developed a love for 90s Hong Kong movies. A lot of them were very small scale stories that could have happened two streets over, and you would never have known about it. The more you live in Hong Kong, the more you see and hear about things that most people don’t notice. A friend of mine was married to a Police Officer, and she really opened my eyes to a lot of things that happened there.
KH: Did you learn (undertake academic study) or was it picked up piecemeal as you progressed in your quest to master the screenplay?
AM: I just taught myself. I made a lot of mistakes in the early days that a course would have steered me away from.
KH: There are significantly more avenues today for emerging screenwriters to parade their talent; can you tell us about your early experiences in attempting to showcase your work?
AM: There are plenty of opportunities now for screenwriters, but they all cost money, and a lot of them aren’t worth it. There are so many competitions, coverage services and hosting sites, not all of them reputable. Ink Tip obviously worked out for me. It also allows you to post loglines for short scripts, which is a great way for new screenwriters to start. Sending out emails to producers can occasionally work, but they’re deluged with emails, and if you’ve got no credits it can be hard to stand out.
KH: You are two movies in as a scribe for the rapidly expansive might of the Mahal Empire, a radically successful crowd funded production company. Tell us about Bridge of the Doomed, the evolution of the screenplay and working with this dynamic producing duo?
AM:Michael Mahalread my script on Ink Tip, and straight away knew he could make it. Most producers option a script for a year, and see if they can get any interest from a director, then actors, and finally investors. He was so confident he bought the script outright, and the audition call went out a couple of weeks later. He was right to be confident, as straight away there was an incredible amount of interest from investors. When they had raised enough money Michael suggested starting the story earlier at the army camp, and having Robert LaSardo as the General. Later on they were able to afford Michael Pare as well. My original script had eight speaking parts, and we ended up with over sixty. Naturally this meant a lot of rewriting, but it was worth it. I never would have written it like this, as the budget would have been way too high for most indie producers.
KH: They say the more you write makes you a better writer; what has your journey leading up to this break, and since then having written through two successful productions now altered what you thought you knew about screenwriting?
AM: I started off writing Science Fiction, then later moved on to Crime Fiction. I sold a few short stories then gave up. At that point I really didn’t think I could write movies, it just seemed so far out of reach. Having written a lot of screenplays I can now instinctively get things like pacing and structure correct. I re-read my first ever screenplay recently, thinking I might be able to tidy it up and sell it. Of course it was dreadful.
KH: Even guys who have been at this game at the highest levels say it never gets easier; has this jump into the professional ranks made it easier (in your opinion) to present specs to potential elements to possibly mount production?
AM: Once again I’ve been lucky. Since Bloodthirst, I’ve written four scripts forMassimiliano Cerchi, the originator of that movie. The first of them is going to be filmed in October with Louis Mandylor, Michael Pare and Robert LaSardo. Having that first credit definitely helps in being considered, but it’s still no guarantee. There are plenty of professional writers with huge gaps in their IMDb listing. They’ve probably sold scripts in that time that didn’t get made, but it gives an indication of what it’s like.
KH: A young guy approaches you and tells you he wants to be a screenwriter. What do you tell him?
AM: Plan your life as though you’ll never make a cent from writing. Most writers don’t sell anything, and those that do rarely make enough to live off. The middle of the market has been contracting for a long time, it’s mostly $100 million or micro budget movies now. Even if they do sell a script, it might only be for $1k. All the good things I’ve achieved in my life came through working as an electronics technician. Every writer needs to know what producers are looking for, the market is constantly changing. Right now the big thing is having scripts that can be filmed in a Covid safe way, and producers are always looking for single location scripts with just a few characters. Those types of stories are really hard to do well, but it’s great training just to try.
KH: A major Hollywood studio, out of the blue, calls you up and says they are going to spend whatever it takes to produce your next screenplay….but it has to be a remake?
AM: Some classics shouldn’t be remade, but there are plenty of near-forgotten movies that are ripe for a remake. Truth is though, if there was a lot of money involved, I wouldn’t turn anything down.
There you have it folks. Hollywood dreams are more than attainable, you just have to want it more than the next person, be willing to fail, be willing to fight, but most importantly be adventurous, and ready to write…
Well it’s that time of year folks – when kids in costumes and horror movies walk hand in hand – and while it’s not a staple for folks at the end of October around these parts (it’s more the ropes and the reins, and the joy and the pain, and they call the thing rodeo time), doesn’t mean we can’t sit down together and watch us an awesome little horror gem…that’s quickly turning into my new beer and pizza night movie selection . . . . ART OF THE DEAD.
Imagine if you will, being an artist . . . being a struggling artist. You just want to put yourself out there – be lauded by as many people as possible, carve you name on the tree of immortality as it were. Now . . . you’re this artist and in order to get what you want you make a Faustian deal, so that your name and the power of your work shall be enticing art lovers long after you have slapped on the wooden coat and bought the farm. Trouble is, it’s not really fame that you’ll receive at your end of this deal. No, the ancient evil that has served as your patron has a different kind of eternal damnation in mind…
That’s when we meet the Wilson’s. Boy brings his girlfriend home to meet Dad, Step-Mom and Co. Dad does really well, the house is amazing . . . plus he’s decided to collect some art . . . OH NO! The paintings are shamanistic depictions of the SEVEN DEADLY SINS. Y’all know them…? Anyways the maniacal painter responsible achieved a life beyond death by taking the power he sought and evilly won by inducing, in those who gaze for too long at the paintings, whichever sin is in.
What results is a funky good time at the movies…and I encourage you all to make ART OF THE DEAD part of your Halloween movie banquet. Come watch as the Wilson family, a supportive girlfriend, the sister’s nemesis, an unfortunate hooker and a bold and committed priest do battle against art, black magic and original sin!
BEVERLY HILLS, CALIFORNIA – JANUARY 22: (L-R) Danny Tesla, Zach Chyz, Jessica Morris and Lukas Hassel attend the “Art of the Dead” exclusive cast and crew screening at Ahrya Fine Arts by Laemmle on January 22, 2019 in Beverly Hills, California. (Photo by Randy Shropshire/Getty Images for Mahal Empire)
I had a stellar time watching this…but…I have equal joy now in presenting the phenomenal cast and the genius writer/director of my new, favorite little B movie treat for All Hallows’ Eve . . .
Rolfe Kanefsky grew up in the suburbs of New York and attended Hampshire college where he studied Film. He began writing stories at a young age after his childhood dream of becoming a clown took the backseat to his interest in film. He has thus far written and directed 27 feature films and authored another 38 produced screenplays over the last 30 years. The cult flick “There’s Nothing Out There” was his debut at the age of twenty. Since then, Rolfe has continued to work in the horror genre with “The Black Room” starring Natasha Henstridge and Lin Shaye, “Party Bus To Hell” with Tara Reid, “The Hazing” starring Brad Dourif and Tiffany Shepis, “Jacqueline Hyde”, “Corpses”, and “Nightmare Man”. He was the winner of two Best Director awards for his horror flick, “Nightmare Man” at the Horror, Sci-Fi, Fantasy and The Supernatural Film Festival in Las Vegas & at the I.F.F.Y.N.T.X. Festival in Texas before the film went on to be picked up by After Dark and Lions Gate as one of the “8 Films To Die For: Horrorfest 2007.
Branching out into other genres, Rolfe wrote “Blonde & Blonder”, a comedy with Pamela Anderson and Denise Richards, “A Dog & Pony Show” with Mira Sorvino and Ralph Macchio, the western “Doc Holliday’s Revenge” starring Tom Berenger, thrillers such as “Tomorrow By Midnight” starring Carol Kane and Alexis Arquette and “1 In The Gun” with Steven Bauer and Robert Davi. Recent family fare include the animated “Space Dogs: Adventures To The Moon” with the voice of Alicia Silverstone “A Tiger’s Tail”, “Timber; The Treasure Dog”, “Puppy Swap” with Margo Kidder, “Jimmy’s Jungle”, the period crime story “Bonnie & Clyde: Justified”, and the musical “Adventures Into The Woods”.
Rolfe has also been making a name for himself in the Lifetime thriller world and has authored seven female-driven thrillers including “Killer Photo” aka “Watch Your Back” starring Annalynne McCord. “Deadly Sorority” with Greer Grammer and Moira Kelly, “The Wrong Babysitter” starring Daphe Zuniga, “Deadly Vows”, “Intensive Care” and “The Wrong Vacation”.
With 65 produced credits, Rolfe is a very active filmmaker/writer who continues to work in almost every genre in the business
Known for her portrayal of series regular Jennifer Rappaport on ABC’s “One Life to Live”, Jessica has cultivated her career as the leading lady in various television shows and independent films. Also making a memorable appearance in Universal’s theatrical success “Role Models”. Jessica has recently been the star of Lifetime TV’s hit movie “The Wrong Teacher” and has also had strong guest starring roles on popular Prime-time shows, including Fox’s “Rosewood” and TNT’s “Perception”. In addition, she leads the cast in Tom Six’s highly anticipated new feature film. Jessica stands out as an actress who conveys honesty and depth through all of the characters she plays and has also discovered her passion for screenwriting.
Born and raised in Denmark, Lukas Hassel trained and graduated from the Samuel Beckett Theater School, Trinity College in Dublin, Ireland.
As a screenwriter, Lukas won the CineStory Fellowship for his top 30 Nicholl’s Fellowship script, “The Mechanic”. This has been optioned by director/producer Charlie Stratton and is in pre-production.
Lukas wrote and directed the sci-fi short film “Into the Dark” which went on the win multiple awards for acting, writing and directing and played in over 70 film festivals world wide. His latest award winning horror short film, “The Son, the Father…”, has screened in 50+ festivals and counting, and got made after winning the Hollyshorts Film Festival competition for best screenplay. Mighty Tripod and Evil Slave LLC produced.
He has appeared on TV in shows such as Blue Bloods, Limitless, The Blacklist, Elementary and more. Currently, he’s shooting “Art of the Dead” opposite Tara Reid in Las Vegas.
Danny Tesla has starred in over 3000 live stage show performances around the world. 1000 of those shows has been his own one-man variety show that he created called “The Danny Tesla Show” He has been working in the entertainment industry for over 30 years.
Danny Tesla started performing at the age of 7 as the youngest member of “The Sunshine Singers” performing in shopping centers and theme parks like Dream World. He also worked in Productions with the Australian Ballet Company such as Onegin, Romeo & Juliet, Don Quixote, and Swan Lake. Throughout his school years he produced, directed and performed every month for 2000 of his fellow schoolmates. He studied with the best teachers in New York, London and Sydney in all aspects of performing from singing, acting, and dancing. One of his dancing teachers was award-winning choreographer Dein Perry who created “Tap Dogs” which lead to Dan being one of the Tap dancers in the Fox Searchlight movie “Bootmen” starring Sam Worthington and Adam Garcia. Which meant he was invited to perform with Adam as one of the lead tappers at the Opening Ceremonies of 2000 Olympic Games live in front of an audience of 100,000 people and telecast to 4 billion people worldwide.
He also performed in Productions on the finest cruises ships in the world. Whichever ship he was on its showcast always was voted number 1 in the fleet. He worked on Royal Viking Queen, Star Odyssey, Silver Cloud, P&O Fair Princess, P&O’s Artemis, Oriana.
A career highlight for Danny was when he was cast as Eugene in “Grease The Arena Spectacular” Which broke all box office records and still holds the record to this day. He worked alongside Australia’s biggest stars like Danni Minogue and Anthony Warlow and John Farnham. Because of his creative contribution to that production he was asked back into two other productions by the same company to reprise his role. Danny has now performed Grease over 300 times to over a million people around Australia and New Zealand.
Danny Tesla was invited to perform at some corporate events in Singapore in 2003 and since then has performed at over 750 events in Singapore. He decided in 2009 to make Singapore his home and became the Creative Director and founder of “Broadway Production Company Pte Ltd” which not only produced more shows for corporate events but also TV commercials and a Musical call “City Gym The Musical” which was staged at Jubilee Hall in January 2013. Danny wrote the script, music and lyrics to City Gym. He also directed and produced the production as well as starred in it. In 2014 Danny moved to Los Angeles and acted in many productions like HBO’s “All the way” starring Brian Cranston and ABC’s Grey’s Anatomy. That same year he was asked to sing for the soundtrack for a new musical “Tesla The Electrical Spectacle” Inspired by Nikola Tesla’s story Dan Thompson made his stage name Danny Tesla and continues to work under that name winning awards like Best Actor in the film “Birthday in a Dark room” portraying Professor Ansel Adams and starring in other films such as “Surface Wounds”
Moving back to his roots in live entertainment Danny Tesla moved to Las Vegas and performed in Evil Dead the Musical for 6 months on the famous Las Vegas Strip and as a regular actor in the No. 1 escape room in the Country (the Basement) for 8 months. In 2017 he continued to pass on his experience by teaching Acting classes regularly for LA casting Showcase in Las Vegas and lending his acting skills to readings of “Shark Attack the Musical” at the Space and regularly singing at the Venetian. In 2018 he is set to play a lead role as Dorian Wilde in the Feature Film “Art of the Dead” starring Tara Reid.
Danny Tesla is an accomplished Actor, Singer and Dancer.
Robert Donavan dabbled with acting for some time before getting serious about the art. He began studying with Robert F. Lyons when he was 42 years old, and within two years started making films.
He continues to study acting to this day, having admittedly neglected his training as a young man. He has worked with such teachers as Lurene Tuttle, Harvey Lembeck, and James Best. Currently he is studying under Kimberly Jentzen.
He has worked with directors Wayne Kramer, Fred Olen Ray, Jim Wynorski, David DeCoteau, Rolfe Kanefsky, Thomas Callaway, and Elliot Feld.
The number of films Robert Donavan has appeared in is close to 60. They cross genres from comedy, to drama, to science fiction, the supernatural, and to horror. He has portrayed scientists, secret agents, border patrol officers, military officers, FBI agents, drug dealers, psychiatrists, morticians, cowboys, and disgraced priests.
The voice over industry has been a good fit for him, having voiced quite a few commercials, and was until this year, the voice of Yahoo Fantasy Football, and the Toyota Fantasy Football Hall of Fame.
Retirement is not in Robert Donavan’s vocabulary, and he has said he fully expects to work through lunch on the day of his funeral.
I love the cinema of Uwe Boll. How you ask? Haven’t you read the reviews – don’t you know the stories? My answer: Yes.
I have read the press, I know all the stories. I watched as mindless degenerates hiding in their mother’s basements hurled shit across the web, and into the face of one of cinema’s most prolific, most passionate, fiercely independent figures. A man who needed, not a studio, but his own incredible knowledge and production savvy to make movies . . .
. . . all Uwe Boll ever wanted to do.
But I’m getting ahead of myself. Let’s set the ‘way-back machine’ for the late 90’s, and I’m tending the counter at the local video store – back when it was really its namesake – and they bring in a new coin-op to keep the punters in the store and spending money. That video game was called House of the Dead.
Supposedly so graphic and horrifying – as well as being literally rated R – HOTD was a shoot ’em up in the best, most fun sense of the genre. Behind the black curtain that was there to frivolously attempt to shield the eyes of the innocent from the mayhem, the masochistic, bullet-shredding magnificence, was a really cool world where the aim of the game was to blast your way through hordes of the undead with merciless glee.
So being a fan, and sneaking off to play while I should have been at the desk – when a friend of mine said, “I hear they’re going to make a movie based of this” – I was like, “take all my money man – this is gonna rock!” (And that was prior to The Rock giving video game adaptations a shot)
I remember going to the cinema to see it, and soon being one of only a handful of people still watching after a good number of folks had walked out. So – why did I stay I can hear you ask? Well there are two reasons. One is simple – I enjoyed the movie on many levels. Yes it wasn’t the game, nor could it have been. I think people operate under the fallacy that just because a video game has a backstory or mythology on which it is based, then it must be simple to adapt into a movie. I believe precisely the opposite to be true. I think truly solid adaptations rely more on the wit and invention of the filmmaker. To combine a good narrative with recognizable elements from the game to appease the faithful.
And, love him or despise him, that is exactly what Uwe Boll could do – and do well. For if he couldn’t dear reader, then those multitudes of investors that he went back to time after time, movie after movie would not have entertained him. If he were not commercially successful, the career of Uwe Boll would not exist, nor could it be captured in the brilliant, candid and touching portrait of a film about a filmmaker, a man, who refused to remain silent whether he was being applauded or damned.
Unlike Dan Lee West’s RAGING BOLL, which deals more with the sensationalist side of Boll’s career, S.P. Shaul’s picture meanders down the quite roads and sheds light on the personal figure behind the media circus, the private man, the family man, the man who in spite of those basement dweller’s vitriol – followed his dreams and fought many a battle to bring them into the cold light of reality.
FUCK YOU ALL, is not a gratuitous middle finger in the face from the man dubbed the worst filmmaker of all time. No dear PTS listener – it is about the pursuit of what inspires, the burden of making visions come alive as well as the reminiscences of a man who worked with and alongside the cream of the Hollywood crop while smiling at the absurdity of it all.
When and wherever you can see this, The Uwe Boll Story, I urge and hasten you. It is filled with insults and hatred but that is always counterbalanced by the friends and collaborators of Dr. Boll, speaking words of praise, constructive criticism, and overall of a man with whom it was always fun to go to work with – and as it is said best, by Brendan Fletcher (a long-time Boll collaborator), and I’m paraphrasing here: but he speaks to the haters of Boll and says . . . “when have they ever risked anything?”
It is a great film about a fascinating artist and I am most excited to present my chats now, not only with the filmmaker responsible for the documentary, but with the filmmaker who inspired him to make the journey . . .
As a child, Uwe produced a number of short films on Super 8 and video before beginning his studies as a film director in Munich and Vienna. He also studied literature and economics in Cologne and Siegen. Uwe graduated from university in 1995 with a doctorate in literature. Uwe has since directed, written and produced over 30 movies with such stars as Ben Kingsley, Jason Statham, Ray Liotta and Ron Perlman. Uwe also runs and owns the BAUHAUS Restaurant in Vancouver alongside Michelin Star chef Stefan Hartmann.
Sean is a Canadian Documentary Filmmaker who became aware of Uwe Boll whilst working on the production, Assault on Wall Street. His first encounter the wild, unchecked hullabaloo of an Uwe Boll movie. Sean would then go back and watch a number of the master’s films before lightning struck – Uwe would be the subject of his next documentary. Boll never one to have a problem with being candid – Shaul received and all access pass to the life behind the great director – enough to construct this, his definite portrait of the man, the myth, the mouth . . . the man named, BOLL!
It would be easy for me to simply sit here and wax lyrical about my love of SHARKNADO okay – real easy. But to do that does a disservice to one of the major components of its success, and that comes in the form of the director at the helm of the franchise; (now moving into its 5th installment) the dynamic Mr. Anthony C. Ferrante.
Frank Darabont and Anthony C. Ferrante at the 37th Annual Saturn Awards at The Castaway, Burbank, California June 23, 2011. Photo Credit Sue Schneider_MGP Agency
It was 2014. I was at work on the sequel volume to an anthology whose content was the collected author’s visions of their ultimate B movie. Anthony was prepping SHARKNADO 3 at the time for release. Still, I managed to get a hold of him to write the foreword for that book, and subsequently, the release of the book and SHARKNADO 3 fell in pretty close succession.
The desire to make movies and equally the passion for them, strikes one out of the blue. Anthony was not yet in his teens when that voice inside us all called out to him, and from that point forward, he knew making movies was exactly what he was going to do.
Now like I said earlier, to simply classify him as the SHARKNADO GUY, is to be completely unjust. Anthony is a renaissance man of the highest order. This writer, director, producer, sometimes actor, make-up effects artist, songwriter, comic book author – the list is longer than the list of cameos in the SHARKNADO franchise thus far.
But as you will hear, some of the best training Anthony received during his journey, was while writing for the likes Fangoria and Cinescape Magazine. For it was during this time that he was tasked to cover films being made in the local area. So he found himself hanging out on the sets of movies and getting to witness first-hand, all the stuff they don’t teach you in film school.
It was this and the do-with-what-you-got attitude he cultivated while making his early films in his hometown that has enabled him, or perhaps, weaponized him for the career he has enjoyed and one that continues to flourish. It is this shooting-from-hip type filmmaking that lends his work a frenetic energy. Fittingly you might say, he is the right man for the job at hand when it comes to the wild, bombastic and beloved lunacy that is the SHARKNADO franchise.
But beneath that, I think we are witnessing a great filmmaker on the rise. A man whose talent and skill will I hope be utilized to its full potential. Anthony C. Ferrante may indeed be the antidote these tired, Hollywood tent-pole movies are sorely lacking.
But enough to this. GO, GO, GO, GO, GO, GO, GO – listen to this interview, and don’t forget to tune into the upcoming SHARKNADO!
Out of the multiple attempts at The Crow sequels, Wicked Prayer is the most legendarily awful. You’d think that after two rainy, urban set, near identical efforts that a switch up to the New Mexico desert for an Aztec, satanic theme might just be grand, but nope, they dicked it up royally. Even with a cast as cool as they were able to lasso into this mess they couldn’t make it work. The Eric Draven avatar here is a trailer trash troublemaker named Jimmy Corvo, played by Edward ‘John Connor’ Furlong, who hasn’t exactly brushed up his acting skills since his iconic turn in T2. Corvo is in love with Lilly (Emmanuelle Chriqui), the daughter of a local chief (Danny Trejo lol) who despises him. Also running around is Luc Crash (David ‘Angel’ Boreanaz), an occultist whacko who wishes to use his body as a vessel for Satan and… rule New Mexico I guess? Joined by his psychotic little hoe girlfriend (Tara Reid) and four thug henchman aptly named after the horsemen of the apocalypse, he needs a couple human sacrifices, and who better than young lovers Jimmy and Lilly? Furlong is resurrected via that good ol’ blackbird, of course, and sports the worst makeup job since.. I don’t know since what to be honest, it’s an equally horrendous and hilarious look. He goes looking for vengeance against Crash and his ilk, and all sorts of silly supernatural nonsense ensues, yada yada. You’d think that such a concept would have been great, but everything is handled so poorly, the budget seems lower than the filmmaker’s standards of quality, and Dimension should be ashamed to have to slap their classy label on this roadkill of a four-quel. As if all that wasn’t enough wasted talent, Dennis Hopper shows up arbitrarily as a jive talking, white 70 year old pimp who has absolutely nothing to do with the story, and whose dialogue as well as delivery will have your eardrums bleeding out in minutes. Please, please avoid this at all cost.