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Dabney Coleman Dead at 92

Dabney Coleman was a formative part of my childhood. Not for his roles in The Man with One Red Shoe, Hot to Trot, 9 to 5 or so many other roles but for his work as Jack Flack in Cloak and Dagger. This underseen fantasy espionage film starring Henry Thomas (E.T. the Extra Terrestrial) as a kid who finds a secret microchip inside a video game cartridge and is instantly embroiled in spy business came and went without many people noticing. But, for a kid like me, it was an instant classic. I pried apart one of my Atari 2600 games just to see what I might find. Coleman sort of steals the show playing dual roles: Jack Flack, the imaginary super spy from a video game who exists as a child’s imaginary friend and stand-in father figure and Hal Osborne, the distant father who Jack is standing in for. It’s an extraordinary performance from one of the greats. Dabney Coleman passed on at the age of 92. A giant walked here, and now he is gone. RIP.

The Ultimate Zombie Movie Showdown: Best and Worst of the Last 50 Years!

🧟‍♂️ The Ultimate Zombie Movie Showdown: Best and Worst of the Last 50 Years! 🧟‍♀️ Are you ready for a spine-tingling, brain-munching ride through the zombie-infested cinema of the past half-century? Buckle up, because we’re diving headfirst into the undead abyss! From gut-wrenching gore to laugh-out-loud hilarity, these films have it all. Let’s break it down: The Best: “Dawn of the Dead” (1978) : George A. Romero’s classic set the bar high. Survivors hole up in a shopping mall, battling both zombies and their own inner demons. It’s a social commentary wrapped in blood-soaked horror. “Shaun of the Dead” (2004) : A zom-com masterpiece! Simon Pegg and Nick Frost fight off the undead while still finding time for pints at the pub. Remember: “You’ve got red on you.” “28 Days Later” (2002) : Danny Boyle’s fast zombies redefine terror. A post-apocalyptic London is hauntingly beautiful, and Cillian Murphy’s performance is unforgettable. “Train to Busan” (2016) : South Korea delivers a hear

The New Flesh

The New Flesh: A Post-Postmodernist Review of the Mind-Body Problem as a Theme in George A. Romero’s Films Day of the Dead and Land of the Dead. Philosophers have long wrestled with what has come to be known as the “Mind-Body Problem;” the question of whether we, as humans, are merely physical, material creatures or if we are possessed of some non-physical mind (soul or spirit are often used synonymously with mind). This open question has developed into one of the greatest schisms in the history of modern thought.# The partisans in this battle are aligned on three sides: materialists, dualists and idealists. The eminent auteur George A. Romero has quite brilliantly aligned himself on the materialist side of this fight with the latter entries in his Dead film series. A careful watching of both Day of the Dead and Land of the Dead makes this point almost excruciatingly clear. In this discussion the first order of business is to define the sides in the ongoing fight

The greatest final movie lines of all time. Number seven will amaze you! (is that click-baity enough?)

Movie dialogue can be revelatory. It can be weird and otherworldly. It can be funny, or hyper-realistic. It can be downright bad. When dialogue works, it makes the entire movie work. nice. And sometimes a single line can upend the entire way we feel about the movie. In fact, some movies are nearly dominated by their final line. For your enjoyment, as far as This Couch Thing is concerned, these are the greatest final lines of movies of all time. 10. “Alright, Mr. DeMille, I'm ready for my close-up." - Sunset Boulevard 9. "Now, where was I?" -Memento 8. “It’s a shame she won’t live. Then again, who does?” – Bladerunner 7. “I’m Finished” - There Will Be Blood 6. “It’s a strange world, isn’t it?” - Blue Velvet 5. "Ernest Hemingway once wrote, 'The world is a fine place and worth fighting for.' I agree with the second part” - Se7en 4. "I can't imagine why." - Jaws 3. "Forget it, Jake. It's Chinatown." - Chinatown

The film that could only be made in South America... where Life is CHEAP!

Snuff is one of the infamous “Video Nasties” that was banned in the U.K. during a bizarre moral panic in the 1980s. Its reputation is extreme and for years it was nearly impossible to track down a copy. That is no longer the case. It has been released on Bluray by Blue Underground and is available at major retailers. The movie started life as a sleazy little grindhouse affair called Slaughter. It was directed on the cheap by husband and wife team Michael and Roberta Findlay (known for such outings as (T he Curse of Her Flesh). It was an attempt to cash in on the hysteria surrounding the Manson Family murders of Sharon Tate and others. The plot involves an Actress named Terry London who has travelled to South America (“where life is cheap”, as the tag line informs us) along with her producer, Max. They are in an unnamed country to make a film. There is a bit of a subplot about Terry’s boyfriend wanting her to shift to more mainstream roles, rather than the

Let's sit here by the fire and discuss The Mandalorian

Before we get started, this is the mandatory warning that everything below is filled with spoilers. If you have not yet seen the first two episodes of The Mandalorian , then stop reading now. You've been warned. The Mandalorian is basically a western. It opens with a scene that would fit in any Sergio Leone film. Inside a rather dank looking saloon, obvious baddies are harassing a meek fellow, and threatening violence. The doors open and the hero of the piece saunters in. The Mandalorian is a silent, lanky presence. He brings to mind a young Charles Bronson or Clint Eastwood. Within moments he has killed the bullies, and revealed himself as a bounty hunter. The twist in the scene is that he is here to capture the milquetoast man that he just saved. We follow our now obviously more antihero than hero as he goes to get paid and seek out another job. He is led to Werner Herzog, who adds gravitas to a character that we would expect (this being Star Wars, after all) to b

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