The Twilight Zone – “Long Live Walter Jameson”

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The Twilight Zone

Long Live Walter Jameson

A father forbids a history professor from marrying his daughter when he discovers that the captivating lecturer is actually an immortal who has lived for thousands of years.

Rod Serling’s Opening:

You’re looking at Act One, Scene One, of a nightmare, one not restricted to witching hours of dark, rainswept nights. Professor Walter Jameson, popular beyond words, who talks of the past as if it were the present, who conjures up the dead as if they were alive.

 In the view of this man, Professor Samuel Kittridge, Walter Jameson has access to knowledge that couldn’t come out of a volume of history, but rather from a book on black magic, which is to say that this nightmare begins at noon.”

By Vic

What would you do if you knew someone that was actually many, many years older than they appeared? Someone who knows history and world events, of times long ago, as if they lived it personally first hand? A person who has a front row knowledge and definable insight of things that in the history books, still remained speculation, unsure and uncertain?

French actor and renowned thespian Edgar Stehli (The Brothers Karamazov), who plays Prof. Sam Kittridge, has this very problem and dilemma, in this thought provoking episode, from that incredibly profound first season of Rod Serling’s The Twilight Zone. This episode was written by the eclectic Charles Beaumont (The Intruder, Masque of the Red Death) and directed by Tony (Or Anton) Leader, who brought us the over maligned “Children of the Damned.” Leader uses Beaumont’s story to tell a very introspective and surreal tale of immortality and suspicion laced with some biting commentary about aging and academia.

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Kevin McCarthy (The Howling, Innerspace, Invasion of the Body Snacthers) plays a College History Professor named Walter Jameson, who has picqued the curiosity of Prof. Kittridge, with his vivid, animated and factual accounts of the horrific days of the Civil War between the north and the south. Jameson, who is courting Kittridge’s daughter, Susanna (Dodie Heath of Brigadoon), has been able to conceal his secret from Kittridge but not for very long, much to Kittridge’s credit. Kittridge succcessfully figures out that Jameson is not just astute at history but is an actual witness to it all. Kittridge hangs onto his suspicions of Jameson despite his contrary forewarning.

Kittridge, upon seeing an old photo of Jameson, in his military garb, during the cival war, confronts Jameson at his home during dinner. Kittridge, looking after his daughter, who is also on her way to becoming a Teacher on her own, forces the truth out of Jameson and he is left with no other choice but to admit that he is indeed, an immortal. Someone who is old enough to have known Plato himself (Who Kittridge happens to have a bust of, in his living room).

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What follows is fantastic and is chock full of classic Twilight Zone machinations. A character study, in just 30 minutes, that is astute, dramatic and very brusque in all of it’s shadowy trappings and theatricality. McCarthy gives one very impressive performance as Jameson, who is very tired of immortality and eager to move on with acquiring a mate to live out the next stage of his life. But Kittridge wants Jamesons’s secret to his longevity and we learn that Jameson does not have the power to pass it on to others (unlike a Vampire) and exclaims to Kittridge that he would not want immortality once he already old, like he is presently.

The episode, like many others from this spectacular first season, is shot much like a feature film. Moody lighting, provoking composition, good production values and, of course, that inimatible sense of fear and dread. It is a otherworldy vibe that is rich in melodrama and moving showmansship. We feel deeply for Kittridge as he wants to be youthful and immortal, but know, like him eventually, that it will escape his grasp because Jameson, the true tragic figure here, cannot give him what he wants.

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When Jameson retreats back to his home, after telling Kittridge that he does intend to marry Susanna, he is confronted by an old woman seen earlier in the episode, lurking in the shadows, watching over him. Actress Estelle Winwood (The Producers, Murder by Death, Camelot) plays one of Jameson’s long lost lovers, who has grown old but has never quite given up on trying to find the ever youthful Walter Jameson. The late sequence in this episode, which involves their confrontation, is the most gut wrenching moment of this story. And what folloows, with Kittridge and his daughter makes for great tragedy as Beaumont’s tale comes to it’s appropriate close.

McCarthy’s aging process, in the finale, has to be seen to be believed. Using classic film techniques to overlap shots over shots, the special visual and make up crew also used lighting to simulate Jameson’s untimely aging. Red, blue and green lights come into play (even though we only see it in b & w) with grand believe-ability and drama to reveal the age lines etched in McCarthy’s face.

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Long Live Walter Jameson” is indeed one of the gems of the enduring first season that is both full of unique mood, chills and versatility while remaining true to the mythos of the unknown, un-forseeable and unpredictable world that inhabits the ever present area know only as …The Twilight Zone.
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Vic’s Review – “Grizzly” (2014)

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What’s it About?

Two estranged brothers reunite at their childhood home in the Alaskan wild. They set out on a two-day hike and are stalked by an unrelenting grizzly bear.

“Grizzly”

Directed by David Hackl

By Vic

Grizzly” director, David Hackl, has been around as a pretty competant production designer, AD and Second Unit Director for many recent pictures that have spanned a couple of “Saw” films and even the cool sci fi series “Lexx” from a few years back. His next film, “Life on the Line” will star heavy hitters like John Travolta and Kate Bosworth and is due later this year. His recent film, “Grizzly” was released in 2014 and I must admit to liking it’s laudable creature feature antics that slightly reflect entertaining “killer animal on the loose” flicks like “The Edge,” “The Ghost and Darkness” and even “Day of the Animals.”

Many can make the obvious comparisons of “Grizzly” being a land locked “Jaws,” of course, but this film is nowhere on the level and complexity of that movie but Hackl uses it as a template to exercise some reverent manipulations that reminds one of those fun days of goofy “man vs animal” films of the 70’s and 80’s. It is because of some of the tongue in cheek kitsch that Hackl throws into the movie that made it all kind of work for me. It isn’t the new “Jaws” or even as definitive as “The Ghost and the Darkness” but it surely has that goofy charm that fans of movies, like say, “Orca” could appreciate.

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James Marsden (X Men, 30 Rock, X2) plays the newly paroled Rowan, our protagonist, who is hired to return back home to his old Alaskan stomping grounds to track a missing poacher who has disappeared into the wild. When he returns, he immediately is pulled into a confrontation after accidentally propositioning a prostitute (accidentally, yeah right). Lo and behold, Thomas Jane (Deep Blue Sea, The Mist, The Punisher) plays his older brother, Beckett, who is also a Sheriff’s Deputy and ends up arresting Rowan.

The two brothers are forced into a reconciliation that will prove trouble-some. After letting him go and after the obligatory sibling angst and anger is explored, Beckett lets Rowan stay with him at his home. We eventually learn that Beckett’s wife, Michelle (Piper Perabo of Covert Affairs) is a mute-deaf, conservationist out in the Alaskan wilderness, taking pictures and documenting the wildlife, which includes observing the poaching and deforestation that is causing an increase in animal attacks. Especially those involving Grizzly bears. And this one Grizzly, is certainly not in a very kind mood and does not wish to share his forest with humans.

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Those who watch “Grizzly” will pretty much know what will unfold through-out the film since the film does not take great pains to be extremely unique or singularly inventive on any level. But what Hackl does is serve up a re-iteration of the classic “animal turned mass murderer” tropes and to the movie’s benefit, it all seems to work in a wacky (yeah, that’s a specific cinematic critique) and nail-bting way.

Billy Bob Thornton, for example, is the indisputable caricature of Quint from Jaws, a character that is a loner, a hunter, a tracker and who seems to know all about the Grizzly bear that is out slaughtering poachers, ax men and hikers alike. This Grizzly (No CGI involved with rendering this bad boy) is more like 3 tons of hungry, pissed off bear. Thornton’s Douglass, is totally like-able and accessible as the surly, abrasive and experienced Ahab figure in “Grizzly.” Douglass is the know it all animal expert that clashes with Beckett and his wife, Michelle, on almost every level.

Scott Glenn (Silence of the Lambs) plays an Alaskan Sheriff, named Sully, who is forced to hire Douglass as Beckett, Rowan and a local Doctor (and Rowan’s ex flame) named Kaley go out to find Michelle and try to prevent the Grizzly from more bodies from turning up as a result of the dangerous “Rogue” bear. Yeah, Thornton calls it a “rogue” bear. If ya gotta steal, then steal from the best, no? Hackl tackles the film commendably with nice and gritty cinematography by James Liston (Canin in the Woods), a slick and dangerous score by Marcus Trumpp (who capably scored World War Z) and a brisk, chop chop running time. Hackl’s decisive direction and knowledge of what makes it all work is indeed creditable.

The bear, named Bart, is a menacing monster. Hackl lets us see everything up close, including the attacks that look very real and had me wondering how they pulled it all off. I would safely assume that it was all done with professional wranglers and skilled stunt people alike. The film has it’s share of brutal attacks, gore, chases, close calls and stunts. As the body count continues and the confrontations increase, the movie has very little time for us to really examine everything that is going on.

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This is actually to the advantage of the film-makers. Here, Hackl gives us some character development but never really explores them throughly and I really didn’t care. In “Grizzly” just knowing and learning the basics about everyone is sufficient since I grew impatient for the mayhem to begin. And here, Hackl delivers the mayhem quicky and savagely.

The lush and beautiful British Columbia stands in as Alaska and Liston really shows us the surroundings with a dangerous eye, making the woods and the interiors an integral part of the story and the movie. The movie also nods and winks to many other similar films and sometimes Hackl film walks that thin line between reverance and mimickry. The Ahab-esque obssession of Thornton’s Douglass is a very relevant example.

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Every actor on display here is in it for the long haul and even though they escape any scenery chewing or over the top antics, they never really shine either. They seem as if going thru the motions most of the time until Hackl forces them into action, and then Jane, Marsden, Glenn and Perabo kick into high gear. It doesn’t hinder the fun at all, luckily. Thornton has the meaty role in this, though, and his bespeckled and driven Douglass is indeed the most colorful of the bunch. His final showdown with the Grizzly was actually pretty bad ass.

Hackl’s “Grizzly” is a capable, desolute and sometimes witty time waster. It is a meritorious “man vs animal and nature” outing that has much to enjoy in the action and bloodletting sequences but can get bogged down in the obvious “been there, seen that” elements in many places. The tension is just boilerplate and garden variety but the performances are not a complete waste, given the subject matter. The anemic performances actually contrast much of what else happens in the movie, when things are slow.

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Grizzly” can be weak in spots when trying to be heady and something more than what it is (the politics, arguments and debates over conservation, de-forestation and even the encroachment can be trite at times). But for a lazy afternoon, when sitting in your ass grove on the Sofa, you can’t go wrong checking out “Grizzly” between episodes of Helix or 12 Monkeys on Syfy. Definitely consider as a rental before a purchase or only buy if it is at a very wallet-happy price.

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Eric’s Review – “Justice League: Throne of Atlantis”

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I wanted to take a moment to introduce the very first movie review from Eric Jones, of Deacons Den, for Vic’s Movie Den. Eric has already contributed a couple of fantastic posts to The Den and this will be his first full fledged review for me. It is of the latest DCU animated film, “Justice League: Throne Of Atlantis.”

Thank you, Eric, once again, for helping me out with content and for being patient and kind enough to submit a very cool write up!

- Vic

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What’s it About?

In the aftermath of Justice League: War, the world is at peace or so it seems. When Atlantis attacks Metropolis for the death of their king. 

Justice League: Throne of Atlantis

Directed by Ethan Spaulding

By Eric

8 out of 10

The newest of the DC Universe Animated Movies, “Throne of Atlantis” takes place after Justice League War. These movies have lately taken a Marvel style approach with a shared universe based on The New 52. The film is based on the 2012 story arc of the same name.

In the film’s story, Orm, the half brother of Arthur Curry, leads a coup to take over the throne of Atlantis. Arthur must embrace his heritage to win back the kingdom that is rightfully his.

That’s the story in a nutshell. However even with the straightforward narrative, I was engaged from start to finish. Unlike the previous DC animated movies, JL: War, Son of Batman and Flashpoint Paradox, I did not read the source material before viewing. So the story was totally brand new to me. Also, I have never read an Aquaman story, so I paid much closer attention being a first timer to his world.

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The action is top notch here. I appreciate that DC is using that PG-13 rating to take advantage of some more mature action and themes with these films. My one issue is that although Justice League is in the title, they are still not fully formed yet. By the end of film they will be one step closer to becoming that vanguard we all recognize.

Since the focus is on Aquaman and Atlantis, we still don’t spend time getting to know the characters even though as comic fans we already are. I know that I’m familiar with all of them, but I would have liked to see a bit more interaction between Batman and Superman or Green Lantern, Flash or Wonder Woman.

DC has proven they continue to make solid animated superhero films that a pretty good adaptations of their stories. Throne of Atlantis is no exception. As a comic fan I was not disappointed even if I was not familiar with the source material. Just give me a bit more character interaction and keep up the high quality action.

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Top 5 Must See Sci Fi Films of the 1970’s: From Parlor of Horror!

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Here is another Incredible Top 5 List from a great contributor, who needs no introduction, but will get one anyway.

My good (and reliable) friend, Blogger and Author, Michael Thomas-Knight, from the wicked Horror Site, “Parlor Of Horror” has answered, once again, my Call to Arms and delivered another killer Top 5 List for Vic’s Movie Den.

This time it is The Top 5 Must See Sci-Fi Films of that crazy and groovy decade, the 1970’s! I’m sure there are one or two on this list that you all would definitely want to check out!

Enjoy gang!

Vic

Top 5 Must See Sci-fi films of the 1970’s

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We all have seen Alien, Close Encounters and Star Wars, but I thought it was time to pay tribute to some of the other 70’s sci-fi films!

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5) Empire of the Ants (1977)

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This has the real feel of 1970s. Casual, laid back, a time meant to enjoy one’s self and maybe buy some ocean front property on a secluded island. Just don’t mind the giant ants. The film is loosely based on the H.G. Wells book. As giant ants ruin the land developer’s luncheon party on the beach, the real estate agent (Joan Collins), fights to make those last few sales. The group is corralled by the insects to the base of operations, a sugar cane plant, where the island folk are working diligently to process the sugar cane and feed the Queen ant.

The people are being controlled by mutated pheromones. It seems illegal dumping of radioactive waste has caused the anomaly that makes her able to control humans too. Now the Queen just has to get the humans to pass through a pheromone chamber to get them under complete control. The special effects are not so special and less than successful as the superimposed ants of various size, color and species seem to crawl in mid-air, walk sideways across the sky and pay no attention to humans poking spears at them.

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4) Logan’s Run (1976)

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Based on the novel by William F. Nolan, the film deals with a dystopian society in the near future where age is a deciding factor in life. In order to balance population, consumption, natural resources, pollution, and health, it is law that every citizen reports to the ‘Sleep Shop’ on their 30th birthday. There they will be sacrificed in order to preserve the world for younger generations. Logan 5, is a “Sandman,” a bounty hunter whose job it is to chase down any citizen that decides to run for freedom instead of report to the Sleep Shop.

He is thoroughly convinced this is the right thing to do for a strong society and for the earth’s preservation. That is, until his 30th birthday, when he makes a run for it, too! Logan meets Jessica 6 in the underground networks and they both struggle to escape the domed city. The movie has equal parts visual beauty and inept silliness, provides both wisdom and clichéd hokey-ness, but it’s worth watching and quite entertaining.

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3) Rollerball (1975)

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When I was young and saw this film, I thought it was about a sport – like a futuristic sport film. When I watched it recently, I realized the story behind the story – that the company you work for owns you and dictates your life; when you get up in the morning, when you go to bed, how much money you have, who your friends will be, if your children will have money to go to college, what doctors you will see, what kind of car you will drive (can afford), etc.

They drug test you and will fire you if you’re an alcoholic. In the end they tell you, “It’s time to retire,” and when they are done with you, they want you to shut-up and go away. Now I see what Charlie Sheehan was so pissed about – if he wanted to drink on the weekend, he felt it was no business of the network he was employed by. This film has the same basic under-story. Sure it’s about a futuristic sport but it’s also about one man who stands up to the company he works for and says, no, this is my life, I’ll live it the way I want.

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2) Westworld (1973)

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You all probably know how much I like this flick. Sure it’s slow, 70’s style slow – which makes it unwatchable to some of you young ‘uns, but I like 70’s films. They were about people, not gimmicks, effects or constant action. Real people’s lives are not that exciting for the most part. They don’t talk like gangsters, they’re not in a constant irreverent state, and they don’t act like they are on camera and having to prove something all the time (boy, do I miss the 1970s).

The characters here are looking for some excitement and head to a fantasy resort where they can experience another time, place and life. Medieval Times, The Future, The Old West. I’m sure when robots and computers go ‘AI‘ they will have no choice but to neutralize the humans. 

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1) The Omega Man (1971)

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Charlton Heston is the last person alive in the big city, not counting the zombie horde. But these aren’t your typical zombies. They speak. They call his name. They plot and scheme about how they are going to get into his shelter and make him join them. They only come out at night because they have a wicked bad reaction to light. I first saw this as a young lad. The first few attacks on Morgan’s protected domicile in this film nearly made me crap my pants.

It’s an updated  version of Richard Matheson’s, The Last Man on Earth, which was first made with Vincent Price (also an excellent version) but enough is changed in the script to feel like a completely separate film. Later if was remade as, I Am Legend, with Will Smith. I love the small details in this film. In one scene there’s a advertisement for a NEW 1973 Corvette, $3,000. I’ll take 2! 

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Honorable Mentions:

Death Race 2000 (1975) As weird as Willy Wonka crossed with The Wacky Racers cartoon, but deadlier…

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Shivers (They Came From Within) (1975) Cronenberg body horror, ‘nuff said.

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Soylent Green (1973) A little slow but the ending is a whopper!

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Flesh Gordon (1974) An amusing naked frolic through space and time…

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The Thing With Two Heads (1972) Funny stuff, sometimes not intentionally. The best bad movie from the 1970’s.

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Vic’s Review – “The Town That Dreaded Sundown” (2014)

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What’s it About?

65 years after a masked serial killer terrorized the small town of Texarkana, the so-called ‘moonlight murders’ begin again. 

The Town That Dreaded Sundown

Directed by Alfonso Gomez-Rejon

Written by Roberto Aguirre-Sacasa

By Vic

The Town That Dreaded Sundown from Director Alfonso Gomez-Rejon (American Horror Story), is an un-apologetic, fierce and retro horror reboot/sequel with a very keen sense of technical prowess, fun, scares and strong reverence. There may be the question whether or not the film is a reboot or actual sequel, in the minds of most genre fans, but I think it’s a moot point, for sure. What ever the movie is, a docu-like horror film or not, it is a 90 minute rush of reliable but fitting cliches and appropiate chills and thrills with a strong 70’s vibe, to boot.

The movie, which takes place 65 years after the original “Phantom” killings (or otherwise known as the “Moonlight Muders”), in rural Texarkana, has a unique veneration for the original film (Directed by Charles B. Pierce, who also gave us the classic cult film: “The Legend of Boggy Creek”) while maintaining a certain esteem for genre tropes, which gladly work in it’s favor. Gomez-Rejon’s film, is an amped up, but stylish, slasher that brutally hits the mark on more than one occasion. And here, if one is sqeamish, you may want to watch a Disney movie instead. Which is to say, plainly, Gomez-Rejon pulls no punches.

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To me, what made this new version of “TTTDS” quite enjoyable, aside from it’s devotion to the first, is it’s sense of dread, playful pathos and exclusive homage to films before it. The universe that the story of this film inhabits is one of smoky atmosphere, languid small town goings on and especially one of spooky gruesome-ness. Gomez-Rejon also manages to actually pull off a feat, that most horror picture directors drop the ball on, and that is to make us care about the main protagonists of the movie.

And Gomez-Rejon supplies us with a bevy of different types of eccentric personalities and vibrant characters to watch. A who’s who, or more like a rogue’s gallery of hokey and stereotypical people that are always fun to explore, watch and judge.

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65 years after the infamous murders, and co-incidentally during a annual screening of Pierce’s first film in a make-shift outdoor drive in, an uncomfortable young teenaged girl named Jami (Addison Timlin) lets her boyfriend know that the film is disturbing her. Right out of the gate, Gomez-Rejon adds a layer of dread and unease as the town watches the grisly film while a local Pastor, played by vet actor Edward Herrmann, hands out pamplets about the “wicked-ness” of the movie being screened.

When Jami and her boyfriend drive off to find a desolate place to hang out quietly, Gomez-Rejon’s film quickly re-introduces the horror of “The Phantom” with Jami barely making it out alive from the terrifying attack, that leaves her boyfriend butchered. Then, the movie becomes a paranoid work in small town police investigations, suspicions and local fear and color.

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The actors that give very capable and interesting performaces in the film include no other than vet actors Ed Lauter (CUJO) and Gary Cole (Office Space) and in a very re-freshing and surprising turn, Anthony Anderson (Scream 4) as a Marshall who prefers to be called “Lone Wolf” Morales. And to be sure, I can confidently say that Anderson manages to single-handedly steal every scene he is in. And despite his jovial and cuddly qualities, Lone Wolf is all business and wants the killer found promptly. He even asks for a copy of the first film to watch and apparently, in one scene, gets a bit squemish from the murders in the film.

Meanwhile, Jami presses on, struggling to move past what has happened to her and the recent rash of ferocious and inhuman carnage. Of note here, is Timlin who gives, easily, the best performance, adding vulnerability and fortitude at the same time, to Jami.

The wonderful Actress Veronica Cartwright (Alien, The Invasion, The Birds, The X Files) portrays her Grandmother and she earnestly adds a respectable air of seniority, class and humilty to the film as the only grounded, loving and centered adult in Jami’s life. She also meets up with a young, shy but charming research student named Nick, played by Travis Tope, who she eventually starts to have feelings for.

Good slashers are hard to come by and if you measure the the validity of a good one by it having a creepy vibe, strong characters, gory kills, chases and mood, then TTTDS has all of these things to spare and will not leave you disappointed. What is impressive, through-out is Gomez-Rejon’s visual flair.

There are Smoky, foggy rooms, diopter shots, intersting editing, fluid photography and composition that would make Dean Cundey grin, as well as footage from the original film inter-spliced with the present picture. All of this is paired up with Aguirre-Sacasa’s (The Stand) penchant for snappy and honest dialog, along with the history of the murders and the dynamics of the third act, when all is revealed.

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Even though the twisty ending is well executed, it manages to under-whelm a bit and provokes a bit of disappointment in regards to the revelation. It just didn’t pack that extra oomph! I was waiting for. But when the film clocks in at just under 90 minutes, it is hard to really dig deep for a meaningful ending to cap the proceedings. Then again, I may be making excuses for the writer.

By the time all of the carnage and action is wrapped up and the characters have completed their arcs, we have been witness to a nifty horror flick with a like-able cast, a merciless killer (you may never look at a trombone the same way again), colorful local people and a chic ocular style. The homages are all there which includes a sub-plot with one of the last victims of the original murders falling into shadowy obscurity.

This little bit of background further enhances the mood and of course, the adulation of the first film, by allowing the very versatile Denis O’Hare (American Horror Story) to shine a bit as Charles B. Pierce Jr. Much is made of his theory of who the killer may be and it all does make a kind of kooky and conspiratorial sense in the end.

There is much to this film that we have seen before and it is not, in any way, re-inventing the wheel. It will not be to everyone’s taste and lovers of the first cult classic will either be very flattered or downright insulted at the prospect of a reboot/sequel interfering with the mythos of the “Moonlight Murders” (The movie even has a strange “Helter Skelter” vibe whenever we are taken back in time to the unpredictable and scary days of the first rash of murders).

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But, to this I say: Hang in there. The movie is not very long (about 90 minutes) and it clips by at a breakneck speed once things heat up. Some may feel the story is a bit lethargic but I enjoyed it as a slow burn. There are, of course, some obligatory cliches and some predictable mis-information and psych-outs but it is all reverential and feels forthright and equitable in all honesty.

For a quick slasher that manages to genuinely mesh old school horror tactics with a rural historical thriller, then “The Town That Dreaded Sundown” is definitely worth a look. Gomez-Rejon manages to retain a certain pallette, aura and a terrifying glamour to it all which is refreshing. The strong cast and general wackiness of the characters balance the terror and dread with impressive complexity.

Also, I would like to state, that one does not need to watch the first film in order to understand the remake and what transpires within the given timelines. The movie gets into the history well enough on it’s own. But, if you can get your hands on a copy, then it definitely wouldn’t hurt to sit down and educate yourself on how the whole thing first started.

The Town That Dreaded Sundown is currently available on NETFLIX for High Definition Streaming. Enjoy!

John Carpenter’s “Lost Themes” Recording Session Pics

Cover to  Composer John Carpenter's new CD called "Lost Themes"

Cover to Composer John Carpenter’s new CD called “Lost Themes”

Here are some very cool behind the scenes photos originally posted by the Master himself, John Carpenter on his Facebook page. These are pics of the Recording Session for his new CD aptly named, “LOST THEMES.”

Enjoy!

Vic

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Director and Composer John Carpenter along with Son Cody and Godson, Daniel recording for the new CD named “LOST Themes.”

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Love this Angle of the “LOST THEMES” recording session. Those “King Kong” prints on the wall are so wicked

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That is one mean looking Guitar and the Keyboards are out! This CD is going to rule.

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Order Your Brand Spanking New Copy Here: John Carpenter’s “LOST THEMES”

TRACK LISTING of “LOST THEMES”

Vortex

Obsidian

Fallen

Domain

Mystery

Abyss

Wraith

Purgatory

Enjoy “Vortex” Below!

Update from the Den or “How I Have Been Trying to Beat the Winter Blahs”

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Hey Gang!

Vic here with a quick update. Things have Been a bit quiet here in The Den, lately,  but things will be picking up soon, I promise.

Rochester, New York, has been having a bit of a rough winter lately and sometimes the winter blahs kick in about now. In order to avoid them, I have been keeping myself busy with a new per diem job, working around the home on some minor projects, assisting my Kids with School and Job hunting, lining up Screeners from filmmakers to watch as well as devoting time to my various writing projects.

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I usually try my best to post some stuff I call: “Filler Content.” But I can fall behind even on those. So, at this point, I call on my contributors to help out and some are stepping up for my distress call for help, yet again (These guys totally rule). I do anticipate for things to all fall into place, very soon, so I can devote at least two days a week for reviews and other content.

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I definitely don’t wanna end up like Jack Torrance, this winter

My good friend, Mike, from “Parlor of Horror,” will be submitting a new List and some new reviews are in the pipe!

Here are a few:

The Guns of Navarone

The Innocents

Predestination

Whiplash

John Wick

St. Vincent

The Day the Earth Stood Still

The Babadook

Altar

Rope

On the Waterfront

The Taking of Deborah Logan

and a few more in different categories like The Bond Films, The Twilight Zone, On The Set and both Top 5 and Top 10 lists.

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Thanks for hanging in there, everyone. I always appreciate your visits, feedback, likes and participation! It is what fuels both me and Vic’s Movie Den.

Always Grateful,

Vic De Leon