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Hellraiser (1987) Director: Clive Barker

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let's improve on the Oscars

I largely gave up on the idea that the Oscars were some realistic measure of quality in film (mostly talking about the Best Picture award here, but your mileage may vary with all of the awards) around the time I learned that How Green Was My Valley bested Citizen Kane for the best picture award back at the dawn of time. Everyone still takes these awards seriously, but why? I mean, how many Best Picture Oscars does Mad Max: Fury Road have? Zero. It has zero despite being not just the best film of the year it came out, but the best film of the decade as well. The Academy has released the nominees for this years awards, and there is a lot to be worried about. The list of Best Picture nominees isn't offensive. It's just odd. Here it is: Ford V. Ferrari The Irishman Jojo Rabbit Joker Little Women Marriage Story 1917 Once Upon A Time... In Hollywood Parasite Ford V. Ferrari doesn't belong on this list at all. It's mid-range suburban dad en

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

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

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

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

let's improve on the Oscars

I largely gave up on the idea that the Oscars were some realistic measure of quality in film (mostly talking about the Best Picture award here, but your mileage may vary with all of the awards) around the time I learned that How Green Was My Valley bested Citizen Kane for the best picture award back at the dawn of time. Everyone still takes these awards seriously, but why? I mean, how many Best Picture Oscars does Mad Max: Fury Road have? Zero. It has zero despite being not just the best film of the year it came out, but the best film of the decade as well. The Academy has released the nominees for this years awards, and there is a lot to be worried about. The list of Best Picture nominees isn't offensive. It's just odd. Here it is: Ford V. Ferrari The Irishman Jojo Rabbit Joker Little Women Marriage Story 1917 Once Upon A Time... In Hollywood Parasite Ford V. Ferrari doesn't belong on this list at all. It's mid-range suburban dad en

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