Regular Columns

As the reality TV phenomenon continues to evolve in much the same way as irradiated insects, it is perhaps time to go back and remember Series 7: The Contenders, a film that has lost none of its relevance since its release in 2001.

The film deals with a reality TV show called “The Contenders,” now in its seventh season. Contestants are selected in a lottery, and participation in the show is compulsory. The rules are simple: kill the other contestants. The winner is the last one standing, but that sim…
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Genre and cult fans have their pantheons of cinematic deities. Some of these immortals are currently active, some are not. Some are celebrated for their incompetence. But there are others who are deified for actually making great films. And it is always heartbreaking when idols totter on their pedestals. Consider the giants of the horror film who emerged in the 1970’s, and where they are now. Wes Craven has done quite nicely for himself, thank you very much, but what has Tobe Hooper really and truly done for us since…
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I thought this week I’d toss my two cents into the whole HD DVD/Blu-ray debate. Let’s be clear: I have no particular technical expertise, and I have no interest in attempting to judge which is the superior format (though I note with interest that, in the latest issue of Video Watchdog, editor Tim Lucas mentions that Blu-ray players are not compatible with standard DVDs). I’m approaching this from the point of view of a collector, and specifically a collector of cult films.

It may be that the format w…
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Bela Lugosi has certainly had his share of collections and box sets hitting the stands, but now, belatedly, Boris Karloff has some sets of his own, and we’re not talking cheap public domain films from late in his career.

Universal, where Karloff became a star with Frankenstein, has released, as part of their Franchise Collection, The Boris Karloff Collection. There are five films here: Night Key (1937), Tower of London (1939), The Climax (1944), The Strange Door (1951) and…
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The next time someone talks about The Sixth Sense having an original twist ending, sit them down and force them to watch Carnival of Souls (1962).

Spoiler warning. If you haven’t seen either of these films, or generally have no idea what I’m talking about, stop reading now. Go away. Come back next week. You don’t want to be hear. God knows, I might spoil the twist in The Crying Game while I’m at it.

Your humble correspondent waits one for one more paragraph in case some unfort…
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Greatness can be aspired to. Its achievement can be the driving goal behind a film. But its realization comes down so often to the kinds of intangibles that frustrate efforts to control or create. And this applies to greatness whether the work is good or not. That’s right, today, we’re musing about greatness in the negative (but therefore curiously positive sense): the films that are so bad they’re great.

I don’t think anything more clearly illustrates the difficulty in reaching this special kind of greatne…
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William Peter Blatty might seem a slightly odd candidate for discussion in this space. After all, he wrote and produced The Exorcist, whose enormous mainstream success makes it rather suspect as a cult film. Ditto for another of Blatty’s screenplays: A Shot in the Dark, which is arguably the best of the Pink Panther movies. But as a director, ah, there we start getting closer to cult status. He has made two films. The Exorcist III (1990) is his best-known effort, and is debatably a cult movie. Ve…
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The serial is an extinct form of movie-going experience. Right up to the fifties, your movie ticket got you not only the main feature, a B-feature, cartoons, a newsreel and other shorts, but an episode of a serial. Usually running 12 or 15 chapters, the serial would unspool in 15-20-minute units, each ending in a cliffhanger (often quite literally so, with the hero or heroine plunging off a cliff in a runaway car, for instance). George Lucas pays tribute to the serials in his Star Wars films, which begin with …
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Well, it’s that festive time of the year, and what could be more appropriate than the remake of Black Christmas hitting the theatres on December 25? Now, I haven’t seen this film, of course, but the advance word is not encouraging. Head on over to www.dreadcentral.com and you’ll see that it seems that directors Glen Morgan and James Wong know how to do comedic horror (Final Destination), but have no idea how to play things straight. Sounds like we have another fine mess on our hands. But the remake has …
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