Ten years ago, a micro-budgeted, mockumentary horror film found a special alchemy of filmmaking and marketing, and became a box office sensation. That movie, of course, was The Blair Witch Project. In the long run, it divided audiences sharply, between those frightened speechless and those bored stiff. The case can certainly be made that the film was hyped outside of its natural cult environment, and hence some inevitable mainstream backlash. But one of my treasured memories is attending opening night with a packed crowd, and witnessing more than a few primal traumas. That's a rarity, these days.

“I am William Castle, the director of the motion picture you are about to see. I feel obligated to warn you that some of the sensations, some of the physical reactions which the actors on the screen will feel will also be experienced for the first time in motion picture history, by certain members of this audience. I say certain members because some people are more sensitive than others. These unfortunate sensitive people will, at times, feel a strange tingling sensation. Others will feel it less strongly…”

We just couldn’t have a month long celebration of horror films and not mention William Castle. Sony has now given us an excuse to feature him in our “31 Nights Of Terror”. Somehow, I think Castle would be loving a promotion like this one. Somewhere Castle is nodding his head in approval.

You love him in the hit series The Mentalist. Catch Simon Baker in his earlier hit show: The Guardian.

Paramount and CBS have graciously given us 10 copies of The Guardian: The Complete First Season on DVD to give away.
To enter to win a copy of this Simon Baker television show, just follow these two steps...

There are many movies when you are young that you just never get around to see. Perhaps your parents aren’t into that kind of movie. If it tanked at the box office, then there are probably not any friends that are going to secretly show you the film while their parents are out of the house. But often there are films that we discover in college and wonder where the heck this movie has been all my life. Such brilliance, such deep of thought, this is fantastic. For me, that movie was John Carpenter’s The Thing.

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I guess they didn’t tell the producer and director of Wrong Turn that an official remake of the Texas Chainsaw Massacre would be gracing the screens in October of 2003. This movie borrows very heavily from the horror classic in terms of the setup, the killers, and the level of gore. Now that being said, this is an above average horror film with excellent makeup and special effects delivered by one of Hollywood’s greatest – Stan Winston, and a good performance by Buffy and Angel regular Eliza Dushku (although it is kind of weird seeing her scream and run away from villains that would be considered lightweights in the Buffy and Angel universe).

The film follows the ill-fated decision by the main characters to drive on a seldom used dirt road to avoid a lengthy delay on the interstate. Once they discover that a barbed wire trap laid in the middle of the deserted road has incapacitated their cars, four of the group of six leave the vehicles to find help. Well, you don’t have to think too hard to guess what happens next – our two remaining young people are the first to encounter the chromosomally challenged inbred hillbilly cannibal killers. Enter the first of many Hollywood horror clichés that are used in this film. The second cliché happens upon the viewer quickly thereafter as our remaining four young people come across the dilapidated home of the aforementioned chromosomally challenged inbred hillbilly cannibal killers. They first investigate the shack only to find a collection of various items that have been left by the previous victims of the inbred family, and upon further searching then find the remains of the victims on plates, in jars, and of course in the refrigerator. As this grisly find is made, the hillbilly three return home for an early lunch, while our heroes scramble to hide and not become dessert. Of course they are discovered as they make their escape (cliché #3) and spend the rest of the movie being chased, culminating in a showdown back at hillbilly central.

“Yellowstone. Volcanic wonderland. Two million acres in the heart of North America, Yellowstone is deep in the Rocky Mountains, an isolated high plateau defended by rugged peaks; in the middle is the National Park. The park and the surrounding mountains form one of the most important and spectacular wilderness areas on Earth.”

There have been a lot of these nature shows coming to Blu-ray high definition lately. No less than two of them cover the beauty that is Yellowstone National Park. While there is a lot to learn about the natural treasure, more in fact than I suspected, it’s not going to be the facts that will drive you to watching this particular three part feature. It’s the absolutely stunning images that make this all that you could want in a travelogue documentary. You’ll soon find yourself completely mesmerized by images that look almost impossibly brilliant in color and sharpness to be real. If you’ve been to the park, this might serve as the ultimate way to recapture such a personal experience. If, like me, you’ve never witnessed the place with your own eyes, now you have. Everyone knows about Old Faithful, but Yellowstone National Park is about so much more.

“My name is Dylan Hunt. My story begins the day on which I died. My last look at my world was to be from inside a pressure chamber at NASA’s underground laboratory at Carlsbad Caverns. Our goal was the development of a form of suspended animation which would allow our astronauts to make longer voyages through our solar system. It had been my decision that our method was ready to test on a human so, it seemed that any risks should be mine…”

Gene Roddenberry was riding high as Star Trek began to grow more in popularity during syndication than it had as a prime time network series. Suddenly television executives wanted more ideas from The Great Bird Of The Galaxy, as Trek fans began to know him. One of those ideas was Genesis II. It tells the story of a scientist who is conducting a suspended animation experiment. He expects to be under for only a few days, but a cave-in traps him in his chamber, and he is not rediscovered for 154 years. He awakes to find an entirely different world than the one he remembers. Humans live underground as a group called the PAX. They are a peaceful sort and have left behind most of the science that destroyed the world Hunt knew. Their enemies are a group of mutants, identifiable by having two belly buttons, because they have two hearts. They have enslaved humans and live an aristocratic life in the city of Tyranus. Now Hunt (Cord) is being courted by both civilizations. He must choose between them. Attempting to win him over to the Tyranians is Lyra-a (Hartley). She seduces him and tries to taint his opinion of the PAX. But Hunt soon learns from experience which side is the nobler race.

Written by Adrienne Ambush

Romance. Drama. Tragedy and more tragedy. These four words sum up the entire storyline of Jada in a nutshell.

Enzo Castellari, Tarantino fave and director of the original Inglorious Bastards, here gives us a tale of wartime intrigue that sweeps from the retreat of Dunkirk to the Battle of Britain. During the Dunkirk evacuation, a team of Nazi saboteurs don English uniforms and mingle with the embarking troops. Captain Paul Stevens (Frederick Stafford) finds evidence that this has occurred, but no clues to the identities of the saboteurs. Indeed, the second-in-command of the group, Martin (Francisco Rabal) has become his close friend and roommate. The saboteurs target Britain's radar system, a critical part of the island's defense against the Luftwaffe. It's up to Stevens and his specially assigned team to stop the saboteurs before the Battle of Britain is lost.

It's amusing, of course, to watch a film all about England's fate hanging in the balance with not a single English actor in the mix. But the story is a good one, and the action is relentless, ranging from the epic scale (the Dunkirk scenes are quite spectacular) to the more personal (plenty of exciting gunfights around the radar installations). The dogfights are a somewhat less satisfying combination of rather obvious models and stock footage, but Castellari's inventive use of split screen keeps the visual interest high.

“In 1975 The Rockefeller Commission was appointed to investigate covert mind-control programs conducted by the CIA in the 1950’s and 60’s. These programs were known as Project MK-ULTRA. By the time of the investigation, documents relating to MK-ULTRA programs were destroyed. With out these documents, it was impossible to verify whether the MK-ULTRA program had in fact been discontinued.”

You can guess how the film intends to answer that question, can’t you?