Couldn’t pass this one up, from part two of the Well Medicated poster gallery.
Vicious Lips (1987): Beneath a blood-red moon, the dream, electric. The planet, futuristic. The nightmare, animalistic.
Still a bit unsure what it’s actually about?
A band finally gets the opportunity for that breakthrough gig if they can make it to an “in” club on another planet in time…
The double (and triple) duty the limited cast had to pull on this one is quite admirable:
- Mary-Anne Graves: Maxine Mortogo / Ghoul No. 2
- Eric Bartsch: Cecil Peabody Peeper No. 2 / Pilot / Ghoul No. 1
- Don Barnhart Jr.: Brock Christian / Alien Pervert / Co-Pilot
- Jacki Easton Toelle: Desert Siren No. 1 / Alien Hocker / Parking Attandant
Since Halloween is coming up soon, here’s Wikipedia’s List of horror comedy films.
if this could just be filtered to wikipedia’s list of “bunk horror comedy films marketed at teens, college kids, and stoners” you’d really be set, eh?
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According to Feig, geeks are people who are unabashedly enthusiastic about uncool things. Things that don’t get you status points. Things that get you beaten up at school. Things that — well, let’s just say that in his wedding picture, which hangs proudly in his home, Feig and his wife both wear kilts.
—NYTimes Mag feature on Paul Feig
I’ve been keeping my eye on this since I first heard about it, and thought I posted this piece last year, but apparently not.
Criterion Collection cover for Samuel Fuller’s White Dog.
still haven’t seen this one.
Note to self: replace this with a larger image when Criterion Dungeon adds it.
Mr. LaFontaine wrote most of his voice-overs and, sometimes with collaborators, came up with familiar phrases like “a one-man army,” “one man, one destiny,” “from the bedroom to the boardroom,” and “nowhere to run, nowhere to hide and no way out.”
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In one segment of the film a small frightened senorita walks beyond the edge of the border town and then back again, while her feelings and imagination keep shifting with the camera into the sagebrush, the darkness of an arroyo, crackling pebbles underfoot, and so on until you see her thick dark blood oozing under the front door of her house. All the psychological effects– fear and so on –were transferred to within the non-human components of the picture as the girl waited for some non-corporeal manifestation of nature, culture, or history to gobble her up.
(↝via The House Next Door)
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But then again I am somewhat the opposite of Alan Moore, in that I regard screen adaptations of my work with little more than simple childlike curiosity.
—William Gibson on the Neuromancer film
For debate: The Cyberpunk Timeline.
“Never Mind the Bullocks”?
through 1992 that’s a pretty good list.
Time article from 1993. amazing read.
Now a new subculture is bubbling up from the underground, popping out of computer screens like a piece of futuristic HYPERTEXT
oh man, more nuggets of greatness:
The newest, a glossy, big-budget entry called Wired, premiered last week with Bruce Sterling on the cover and ads from the likes of Apple Computer and AT&T. Cyberpunk music, including ACID HOUSE and INDUSTRIAL, is popular enough to keep several record companies and scores of bands cranking out CDs. Cyberpunk-oriented books are snapped up by eager fans as soon as they hit the stores. (Sterling’s latest, The Hacker Crackdown, quickly sold out its first hard-cover printing of 30,000.) A piece of cyberpunk performance art, Tubes, starring Blue Man Group, is a hit off-Broadway. And cyberpunk films such as Blade Runner, Videodrome, Robocop, Total Recall, Terminator 2 and The Lawnmower Man have moved out of the cult market and into the mall.
nostalgic cyberpunk retrofuturism is so late 2004 / early 2005.
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More than other Thompson narrators, Marty is not out to deceive. His reflections are stunningly coherent: “You may be wrong, and exist comfortably in a world of righteousness. But you may not live right in a world of error…. The growing weight of injustice becomes impossible to bear.” He expresses what most Thompson protagonists cannot: their insight into the dark heart of society—themselves included—is their cross. Their delusions only postpone, or advance, their own demise.
I just saw Coup de Torchon the other week, and there are some mentioned in the article I haven’t been able to track down.
Also it appears like Black Lizard/Vintage now has a woefully incomplete adaptation list. (No redesign of the website either.)
Donald Westlake, who adapted The Grifters for film in 1990, satirized Thompson later that year in his own novel Drowned Hopes. This book features a character named “Tom Jimson” who is hard-boiled to the point of absurdity.
the movie versions of the getaway and the grifters are both pretty great and do a good job of translating thompson to a contemporary setting (although neither is completely faithful to the source material). I also thought no country for old men was very thompson-esque—more in the broad plot outlines and chase narrative than in the characters—but I don’t think I’ve seen that comparison made elsewhere.
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At least Downey is signed for at least two more films, the aforementioned “Iron Man 2” and the starring role in British director Guy Ritchie’s take on Sherlock Holmes. “It’s definitely going to be Guy Ritchie’s take and it’s going to be done in classical 1891 surroundings but not going to be particularly stylised.” With a contemporary tone, he adds. “I think what’s contemporary about it is that you go back to the real truth of Sherlock Holmes - is that he’s a lot more broad and less stoic than I remember seeing him depicted. He’s a bare knuckle boxer, a martial artist and a complete weirdo which is why I said I’d love to do this.”
—RDJr Interview at Moviehole
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