I am breaking night again. Sleepless and restless yet bored and tired of the hamster wheel of square living; lost in the ether of the surface web again. I’m just here vegetated and binging on information and entertainment to numb the nerves and relax me as I float and drift with spontaneity. It looks like there’s an abundance of skullduggery and cloak & dagger schemes occurring in the world – more than the average citizen or loiterer could fathom. There is just so much information to process, to extrapolate, to synthesis and to summarize with such short time left. Information is more important than necessity; without information you have no access and avenues to proceed in society. You cannot arm yourself mentally and physically without information and the access to it.

That is what compelled me to present 1992’s Sneakers and luckily someone on YouTube was cool enough to have it uploaded.

Sneakers directed by Phil Alden Robinson, screenplay co-written with Walter Parkes and Lawrence Lasker. Starring Robert Redford, Dan Aykroyd, Ben Kingsley, Mary McDonnell, River Phoenix, Sidney Poitier and David Strathairn.

A successful movie from the creators of the 80’s classic WARGAMES, and the 20^th highest grossing film of that 1992, Sneakers is a crime thriller that if made nowadays would be considered cyber-noir. It’s another film that Roger Ebert didn’t get and gave a low review when released but, he had a knack for disliking movies before they found their audience.

The films plot revolves around a group of security penetration testers or “Pen Testers” that are recruited by men claiming to be NSA agents to retrieve a Russian black box that they are looking for. After successfully retrieving the item, the team learns that they have walked into something bigger than any of them could have imagined.

Filmed in multiple locations with a really good script and a stacked ensemble cast of heavy hitters, Sneakers has just enough humor and intrigue to keep your attention for the whole journey. A moment in time capsule for real-life cyberpunks of an analog time when things were more hands on. I definitely recommend this film for you the viewer.

Interesting sidenote:

• Leonard Adleman was the mathematical consultant on this movie. The character of “Bernard Abbott” was named after Robert Abbott, the so-called “Father of Information Security,” who was also a consultant for the film. The character “Whistler” was based on Josef “Joybubbles” Engressia and John “Cap’n Crunch” Draper, well-known figures in the phone phreaks and hacking communities.  “Donald Crease” was based on John Strauchs, a former CIA officer who founded the security consulting firm Systech Group.  Dan Ackroyd’s brother Peter supplied conspiracy material on “UFOS, cattle mutilations, the Tri-Lateral Commission, the staged moon landing, JFK, [and] Marilyn Monroe” that was used to “spice up” his character.

• The film’s press kit was accompanied by a floppy disk containing a custom program explaining the movie. Parts of the program were quasi-encrypted, requiring the user to enter an easily guessable password to proceed. It was one of the first electronic press kits by a film studio.

I know you’re probably out there in the wastelands feeling it right now: living check to check, angry, scared, dejected, detached, and trying to find some kind of escapism from reality. I hope my retro movie choice can give you some form of escapism from the madness and noise. Movies are an escape. Movies have a beginning and a definitive conclusion with all the drama and conflict playing out made digestible by the dialogue, characters and exposition, unlike reality. Reality sucks for everyone. But just know that you’re not alone out there in the storm. Stay safe, live reckless, question everything, dress smart and always keep one finger on that Rewind button. Til’ Next time.

It’s official! Masebrothers new Movie “Dragon Cop” will have a live Premiere on the NewRetroWave YT channel this Friday at 1:00PM EST! This will be a live stream so make sure you attend to be one of the first to witness the greatness! You can also catch up on the previous Masebrothers releases HERE.

HongKong Trailer of Dragon Cop Below:

This live stream will also launch a crowdfunding campaign on KICKSTARTER for the franchise! 🙂

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Cronenberg drops us into the seamy world of television broadcasting which Channel 83 executive Max Renn (James Woods) navigates as he receives a morning brief via video. We instantly see he lives an untidy life, but he’s still committed to looking for the next shocking thing to host on his channel. He’s tired of the soft but still scandalous fare that is scouted for programming. He doesn’t know how much his life, or at least his mind, will change when he’s introduced to Videodrome. This possibly pirate broadcast features material beyond the tasteless, verging to the illegal. However, Max soon learns that once viewed, you become part of Videodrome and Videodrome becomes part of you, perhaps to fatal consequence.

While critics praised the film, the material was likely too weird and extreme for general audiences. Budgeted just under six million dollars, the film failed to recoup its expenses. Still, the resonant themes combined with the compelling acting of the leads and the imaginative visual effects has turned Videodrome into a true cult classic. Often, people assign that identifier to any movie that gets an updated media release. How can a film that focuses on the dead media of VHS say anything to a world of multiple streaming options?

Max Renn is an unsavory character, but Cronenberg doesn’t present him as fully unlikeable. Supposedly he has no limits, but even he’s taken aback by the actions of the mysterious Nicki Brand (Debbie Harry), even as he’s further drawn into seductive visuals of Videodrome. Nicki, introduced to Max on a hosted debate/discussion, reveals herself to be a woman of contradictory layers. Seemingly, she’s the voice of reflection concerning whether society has become overstimulated by the media landscape, but she reveals herself to be a woman of masochistic impulses.

As the attraction of Videodrome draws her in, Max becomes the voice of hesitation. However, it’s too late, as Max learns that Videodrome is more than entertainment, Nicki is both more and less than she seems, and there are greater ideological forces wanting use Videodrome to transform society. Max Renn, as an audience surrogate, is confident in knowing who he is at the start but uncertain of what’s physically tangible and mentally possible by the conclusion.

What most would remember about Videodrome are the odd and often disturbing visual effects. In one bizarre scene, a cold inanimate television set becomes a stirring fleshy object, inviting intimacy with Max. Is it alive, or is it part of Max’s increasingly off sense of reality? Even Max himself becomes an object of mutation as orifices appear without prompting and technology merges with his body. Media prophet Dr. O’Blivion speaks of “The New Flesh.” Max, whether he wants to or not, becomes the latest subject of media/technology/body evolution. At the end you may not understand fully what you’ve seen. The images, being both realistic in composition and fantastic in their presentation, will leave an impression.

Composer Howard Shore’s stylistic choice of music is interesting. He’s known for writing bombastic scores whether working with Cronenberg or with other directors. This time he decided for a more minimalistic approach. Though still utilizing traditional instrumentation, he has overlayed it with synthesizer tones. Rather than dramatic highs and lows, there’s a pulsating droning that occasionally falls away for a plangent flourish of strings. The music serves the film, and there’s nothing incorrect about the placement in the scenes. However, the synthesized orchestra may disconcert the listener. Possibly that was Cronenberg’s and Shore’s intention, but it also likely means for most people that this score won’t be on listening cycle outside the film, unlike other science fiction films and horror films of the 1980s.

Finally, the story development leads to two conclusions that may seem contradictory. First, one can appreciate the various themes that Cronenberg throws to the audience. What are the effects of media on humanity, especially involving extreme content; can one lose touch on reality as one delves further into video world; will increasing immersion in technology mutate us into something beyond what we know is the normal expedience?

However, the second conclusion is tangent to the first. There may have been a surfeit of themes to develop within the film’s running time to the viewer’s satisfaction. By the end, all gives way to Max becoming “The New Flesh” through a series of action sequences. We’re not even sure if he has agency in doing so. Cronenberg’s intentions for Max’s outcome may have influenced his plotting. That still might not be enough for the viewer who feels there’s an unbalanced ratio of questions to answers.

Now that we’ve been in the internet age for decades, Videodrome has the ostensible appearance of quaintness. For many, however, the digital world increasingly has taken the place of reality. This film invites us to reflect on who or what controls what or who as technology, especially as a means of entertainment, becomes ever more intertwined with humanity. Cronenberg presents ideas that he might not fully flesh out. Still, having something to mull over is better than just relying on visual effects to capture your audience’s attention.

We begin mid-conversation between scientist Seth Brundel (Jeff Goldblum) and reporter Veronica Quaife (Geena Davis) at an expo for researchers and inventors. Seth nonchalantly mentions that unlike the others, his invention will transform the world. Though she should exercise caution, Veronica is intrigued and brings back the mysterious and awkward Seth back to his place. Her doubts are soon shorn when he demonstrates his teleportation pods are not a gimmick. It’s a reality, that if publicized, would change the transportation world.

The only hiccup is that device cannot process “the flesh,” metaphorically and literally. Living material is not able to teleport successively. After Veronica helps him understand the flesh through connection, he’s able to solve the conundrum. Soon after though, this connection to another human leads to the sticky business of emotions that Seth has shut off for years. With a flare-up of anger and jealousy, he commits an error of judgement. The results are a genetic abomination and a tragedy for both.

Cronenberg’s most commercially and critically acclaimed film was surprise hit for 1986. Previous science-fiction horror remakes such as John Carpenter’s The Thing had lackluster response from both the audience and critics at the time. One would likely have predicted that the grisly fly transformation effects and dour ending would’ve dampened the box office. Instead, people praised the make-up. They also seemed to relate to the story of losing a loved one to a terminal disease, even with it wrapped in a fantastical package. The world seems to have changed much from 1982.

The relationship between Seth and Veronica is a draw for audiences, especially for those more inclined to dismiss the horror and science fiction genres as juvenile, or even worse, as junk. We don’t know what to feel when we first come across Seth. He’s not conventionally attractive per Hollywood standards, though there’s a spark of charm. He’s boastful, but his awkward nature somehow prevents this from tipping into an ugly arrogance. His behavior with Veronica when she first comes to his place would normally come across as creepy. However, he doesn’t attempt to make a first move romantically. He’s so unaware that he forgets that she came along as a journalist. He just wants to confide something important with another. His interaction with Veronica shows that he’s lived an isolated life, either by choice or social neglect.

It helps that the film sets up a scuzzy antagonist, Stathis (John Getz). This former boyfriend of Veronica and somewhat stereotypical corporate type provides the ick factor to keep us on Seth’s side. (It’s a fact in 80s movies that if you’re a professional with a beard, you’re distrustful). Though even he has a side that may prove to be a surprise to the audience, being part of the resolution to the escalating tragedy of Seth’s transformation.

Besides Cronenberg’s direction, Howard Shore’s score elevates the material beyond semi-remembered b-movie schlock. Shore pulls away from the synth soundscapes of the previous Cronenberg film Videodrome. He decides to flood the audience with an operatic-instrumental orchestration from the titles onward. Depending on the scene, the music whips our emotions from wonder of discovery to tension of frayed love to despair of biological terminus. Even though the sudden start and sharp end of the film could make the story seem like a slice-of-life narrative, the music transforms it into a 20th century tragedy. Just as in Classical Greek tragedy, where fate and the gods punish characters for their hubris, Seth is led down a similar path. It’s no wonder that the director later adapted the film into an opera.

There’s not much more that one can say about the make-up effects than already said. They are grotesque and especially in the final stage, out-of-this-world. However, Cronenberg never neglects the human element. What does that mean? We will likely never come across a man genetically spliced to a fly. However, it’s almost definite that we’ll see a friend or family member decay either due to disease or old age. It may not be as alien and dramatic a transformation as we see with Seth, but it’s a transformation from what we once knew, nonetheless.

At every stage of his change into the creature, we still see the once briefly happy and awkward man trying to poke through. Even though we know he no longer can fit with this world, we’re still sad to see the person that was Seth Brundle go. At the end, there’s still a personality within the insect.

The Fly is a cautionary tale, but the lessons are unlike that of the original 50s film. Yes, hubris in scientific endeavors may lead to unexpected, even unwanted results. This film, however, is warning that there must be a balance between technology and the heart (or the flesh). Seth is stunted socially until he meets Veronica. With her touch, he can make the final touch on his discovery. However, a life of withdrawn emotions has not prepared him when feelings break free, and he cares for an actual person. This lack of emotional control is just as harmful as living without emotion. It ends up costing Seth. The paradox is that during the journey to becoming a fly, Seth embraced more fully what it means to be human.

Released in 2018, the first Commando Ninja movie is a classic piece in the retro indie scene and a true testament to Combes’ love and dedication to the hardboiled action hero. For its sequel, the team promises to take us on an adventure through the war-torn wilderness of Vietnam where our characters will meet with ancient civilizations and wild animals along their action-packed journey. And we’re not talking about Greenscreens and CGI environments, we’re talking about shooting in some real jungle environments, as the team stated their plans to shoot both in Utah and Thailand for maximum authenticity. Furthermore, the project is set to rely entirely on old-school, on-set practical effects, an unforeseen feat for an indie movie of its kind.

For further info and to play your part in this exciting new chapter in indie retro cinema history, make haste and head over to the projects’ Kickstarter page to chip in and receive exclusive pre-order perks.

Enlist in COMMANDO NINJA II : INVASION AMERICA

Watch Commando Ninja on Youtube.

The Thing is an alien invasion film. There are many of those from which to choose. In fact, The Thing is both a remake of Howard Hawks’ The Thing from Another World and a more faithful adaptation of the source novella, Who Goes There? But what makes the conflict between the Antarctic researchers and the creature terrifying is that not only is the creature a shape-shifter, but every cell of the creature is its own living organism, which can infect and absorb other creatures, whether they are plant, animal, or human. As the researchers realize that their fellows might no longer be human, this is when the paranoia, augmented by the barren icy landscape, truly takes hold.

The principal character is R.J. MacReady, played by the everyman action star Kurt Russell. He’s the reluctant hero, who, due to circumstances and the failings of his crew members, must take leadership to counter the alien threat. There are many fine performances by the supporting cast. The angry skepticism of Childs (Keith David) and the mental descent of Blair (Wilford Brimley) stand out though. The critics initially said that there was poor characterization. It’s true that there’s a large cast for this type of film. Some characters are given more attention than others. Paying close attention to the quirks of the characters, though, it shouldn’t be difficult to realize each’s individuality.

I focus on the characterization and the suspense of the scenes. One shouldn’t overlook Rob Bottin’s practical effects. There, however, can’t be much more said about the practical effects than were said at the initial release. Even the harshest critics knew that these were top-notch. They, however, felt that John Carpenter focused too much on them, at the expense of other aspects of The Thing. I disagree. The viewer doesn’t see the first active transformation until around the 30-minute mark. And each eventual transformation, while detailed and graphic, is not wanton and exploitative. It serves the progression of the plot. To some modern viewers, the creature effects in some scenes may seem rubbery or comic-book like. I’ll, however, take it over the majority of CGI effects that are produced now. It’s tangible, and that helps you feel the fear that the characters do.

The score or soundtrack can make or break a film. Fortunately, John Carpenter reached out to renowned traditional composer Ennio Morricone to provide most of the score. He, along with collaborator Alan Howarth, added his usual synthesized touches for further cues. It’s very shocking that The Thing‘s score received a Razzie nomination the following year. The music is not overbearing; it fits the despairing atmosphere. Moreover, it showed American audiences, who likely knew Morricone for spaghetti western and giallo scores, that he could score for any genre of film. Besides the slow, brooding march of the main theme, I recommend paying attention to the aptly named tracks “Despair” and “Humanity I.” The frigid atmosphere of the Antarctic saturates throughout, but the human element, represented by the various instrumental sections, underlies, lamenting the situation.

Once dismissed, now praised—that could be the short quote that encapsulates the reception that The Thing received. However, the film has gone beyond even this in comparison with other film reevaluations. Without a devoted fanbase, there wouldn’t have been a prequel, video game sequel and comic book sequels, or board game adaptations.  Even the winter skeleton crew at the South Pole hosts viewings of not only the 1982 film, but of the 1951 film and the 2011 prequel as well.

Other body-horror films will likely never top The Thing, though a number of films in the wake of the film’s release have tried in imitation. It’s a shame that John Carpenter received such a critical drubbing back in 1982. There’s no doubt that it affected his career. Though he received praise for the later critical hit Starman, Hollywood no longer considered him B-movie royalty. At least he and the fans see what was once trashed raised high as a genre classic.

When director Steven Spielberg came together with conceptual story writers George Lucas and Philip Kaufman and screenwriter Lawrence Kasdan, what initially started out as a tribute to Republic Pictures serials became much more. With an estimated budget of $20,000,000, the film has since grossed $350,000,000+ theatrically, not including rentals and home purchase. As the number one film of 1981, Raiders set the new standard for family-friendly adventure tales. What is the premise? It’s 1936, and the Nazis are searching for the famed Ark of the Covenant of the Bible. The United States government authorizes skeptical Indiana Jones to find the Ark before they do. It’s simple, but the adventure story, having elements of action, comedy, romance, and horror, still enthralls nearly four decades later.

Who is Indiana Jones? He is our charming protagonist portrayed by Harrison Ford. However, he is neither a John Wayne-like white hat-type, nor is he Clint Eastwood-like anti-hero. He’s intelligent, but finds himself in situations where sometimes it takes a combination of ability and chance to triumph. He has no qualms of “fighting dirty” when he is being pressed. He’s a bit of a scoundrel in his dealings with females. He has a determination to reach his goals, but his attitude along the journey is typified, as he says to his friend Sallah (John Rhys-Davies), “I’m making it up as I go along.”

Ford is not known as one of the top actors, in the sense of possessing great range of character portrayal. However, one should take note of his facial expressions and body language when he displays triumph after retrieving relics, shows fear in the presence of snakes, and oozes contempt for his rival Belloq (Paul Freeman). In contrast with other action stars, Ford portrays the character with a sense of vulnerability. After the truck chase scene, he reveals his physical pain and general weariness to his love interest, Marion (Karen Allen). He becomes more identifiable to the every-man in the audience.

This brings us to the other characters of the film. What can be said of Marion Ravenwood that hasn’t been said many times before by other viewers?  She’s tough, spunky, stubborn, but full of charm. All of these qualities are depicted in her introductory scene in Nepal. The audience gets an inkling of her past frayed relationship with Indy. Still, despite her conflicted feelings toward Indy, the audience knows that the two are meant for each other. The peril of the adventure will reignite the flames of romance.

The viewer also gets to glimpse further at Indy’s personal life with his interactions with his friends Marcus Brody (Denholm Elliott) and Sallah. The film’s antagonists round out the cast. There’s Toht (Ronald Lacey), the mysterious and brutal Gestapo agent, Col. Dietrich (Wolf Kahler), the leader of the excavation, and Belloq, the French rival archaeologist, who has his own agenda for finding the Ark.

There are other aspects that truly elevate this film from just a fun romp to classic status. John Williams’s score, like his Star Wars music, not only fits the film, but lives outside the screen. Of course, nearly everyone is familiar with the rousing “Raiders March.” If you can’t crack a grin while that plays, you might want to check your vital signs. However, I encourage one to pay similar attention when the “Ark Theme” plays. It gives off a tone of wonder, spiritual awe, and ancient eeriness that lingers. Further, one should pay attention to the wind sounds that accompany the theme; it’s as if God has made his presence known. Touching in another way is “Marion’s Theme.” This brief piece brings to mind the melancholy-tinged romance between Indy and Marion.

In recent viewings, I have paid more attention to the cinematography, especially use of lighting and shadows. When Indy first appears on the screen, the audience doesn’t see his face.  He is as a walking shadow until he triumphantly steps into the light after countering one of his treacherous guides. It’s interesting that later in the film Belloq refers to Indy as a reflection of him. One should note that Belloq is nearly always dressed in lighter hues, while Indy is usually dressed in darker shades. When Indy meets Marion, you first glimpse his shadow on the wall before his body is visible. Even a bit later during the bar fight, the viewer sees some of the only in shadow. In contrast, consider the brilliance of light that floods the area when Indy discovers the Ark’s location in the map room.

I can still recall playtime from my childhood where I would swing from my treehouse to my playset mimicking the action of Indiana Jones.  For most of my life, Raiders has been a part of it.  To me, it’s a perfect film. That doesn’t mean there aren’t any goofs. However, it’s a movie that intelligently entertains young and older alike.  It’s a phenomenon that’s hard to duplicate. Yes, there are blockbusters coming out every month, it seems like.  However, most won’t become part of the public consciousness.  If you know a person who hasn’t seen Raiders, introduce them to this classic.  If you’ve seen it, watch it again.  You won’t tire of it.  As Indy says to Marion, “Trust me.”

Who’s that protagonist whose manner has become so imitated in other film portrayals of anti-heroes?  It’s Snake Plissken, brought to life by now-iconic actor Kurt Russell.  Russell was in the business since he was a boy, often acting in the live-action Disney films of the 1960s and 1970s.  However, it was the John Carpenter-directed TV movie Elvis, with the titular character played by Russell, that really changed the trajectory of his career.

When Carpenter brought Russell on for Escape from New York, his career as a director was ascendant.  Coming off two horror hits, Halloween and The Fog, he was ready to move back into action.  Ever since Watergate, he’d been thinking about governmental authority and corruption, as well as the increasing crime rate.  These ideas helped form the themes of Escape from New York.

It’s 1997, and it’s been nearly a decade since the U.S. government walled off Manhattan and turned it into a maximum- security prison due to a dramatic increase in crime in the U.S.  The catalyst that sets Snake Plissken on his journey is that the U.S. President has escaped a hijacked Air Force One, but the inmates of Manhattan Island have subsequently captured him.  Not only is the President’s life at stake, but so are the lives of millions.  The President has a tape that will likely end the war among the U.S., Soviet Union, and China.  The government thus gives one-time war hero, now-felon Snake a chance to earn his freedom if he rescues the President and the tape.

It’s a simple story without a lot of frills.  As an independent picture with a $6,000,000 budget, it had modest success by grossing $25,000,000 domestically and having mostly positive reviews.  Can a modern viewer see some of the seams of the production due to the limited budget?  Of course.

Compared to modern productions, the action is sparse.  Snake doesn’t fire his weapon until forty-three minutes in the film.  Despite his capability, he doesn’t come across as invulnerable.  He spends as much time sneaking and running as he does fighting.  There’s a moment where he sits down in frustration.  This makes him more relatable to an audience who could be put off by his lack of white hat heroism.  His gruffness though makes him interesting.  One wants to get to know the man behind the eyepatch.  The acting as a whole is memorable.  Specific praise should go out to the President (Donald Pleasance), the amicable Cabbie (Ernest Borgnine), stern Police Commissioner Hauk (Lee Van Cleef), and the antagonistic Duke of New York (Isaac Hayes).  These veteran actors bring their distinctive personas to the concrete jungle.

The visuals add to the dystopian atmosphere.  Cinematographer Dean Cundey brings his excellent camerawork to the production.  There’s a beautiful zoom shot that illuminates Cabbie’s smile and the bright yellow of his cab, contrasting with the tired gray of the buildings and streets.  Carpenter and Cundey puts color to good use to set the gloomy mood.  One notices a predominantly gray palette throughout the film.  Especially in the beginning, the only colorful imagery is either the ubiquitous U.S. insignia or the brilliant flashes emanating from the tech.  Everything else reflects the gray morality of the characters and the bleak world condition.

As with most of his filmography, Carpenter, teaming up with regular collaborator and sound engineer Alan Howarth, composed the music, providing his imitated synthesized soundscapes.  The main theme is simple and hummable, likely knowable even to those unfamiliar with the film.  However, some of the other highlights are the funky “The Duke Arrives,” the frenetic “Chase Across the 69^th Street Bridge,” and the dreamy rendering of Debussy’s “Engulfed Cathedral” that plays as Snake glides towards the Manhattan skyline.  The image of the World Trade Center matched with the gentle impressionistic melody give chills.

Will someone used to the slam-bam stylings of modern action cinema come to Escape from New York feeling let down?  Honestly, there will be some that will.  However, this film is not for them.  It’s for those who want to see a director put their vision to screen despite limited resources.  To aspiring filmmakers, it shows them that a simple, strong story and interesting characters played by actors who care often matter more than stunning visuals.  There’s a simple line where Hauk reminds Plissken that he “flew the Gullfire over Leningrad.”  We don’t get a flashback to this past mission, but that’s fine because it’s not needed.  One infers from this line that Snake has seen much, and the rescuing of the President is just another adventure.  Sometimes, less is more.  You’ll get more mood, atmosphere, and heart here than in most modern sci-fi epics.

Announced back in 2016, Seth Ickerman’s sequel to the explosive music video to Carpenter Brut’s Turbo Killer made major waves across the Retrowave and Genre film fanbase, garnering the support of over three thousand backers who helped get this dream project off the ground via a highly successful Kickstarter crowdfunding campaign.

Blood Machines promises to expand on the gorgeous, action-packed universe that made Turbo Killer into a viral success and follows the story of two space hunters, Vascan and Lago, on their journey to uncover the mysteries behind Mima, a ghostly female apparition that escaped from a machine.

Given what we know about the team at work on this project and what we’re seeing in these first images, it is fair to assume that the Ickerman and Carpenter Brut combo is set on delivering a heck of a thrill ride that our eyes won’t soon forget.

The visual effects look nothing short of phenomenal and every aspect of the trailer grabs you tight and pulls you into the films’ dark, grindhouse-like style. So lucky backers may rest assured in seeing these first images; Blood Machines is looking as promising ever and seems prone to exceed some of our initial expectations!

For those who’ve missed their chance to be a part of the initial crowdfunding campaign, there is still time to jump aboard and join the journey. The film is currently in Post-Production and is looking for backers to finish the final edit, which currently exceeds the thirty-minute runtime that was initially announced.

If you’d like to contribute to the project, head over to www.bloodmachines.com, pledge your support and get some of the many exclusive perks reserved exclusively for backers, including t-Shirts, Blu-Ray/DVDs’, the Original Soundtrack, a copy of the Script, original Artbooks, and much, much more!

Blood Machines:
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Official Website
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Now, the trailer for the upcoming Horror film Summer of 84′ has dropped online.

It looks interesting; at least on the surface. Equal parts Stranger Things with Stephen King’s Silver Bullet. All I hope for is a killer soundtrack, authentic dialogue and a good director of photography. Overall, I’ll keep an eye out for this movie since it looks chill and moody and definitely less X-MEN than what Stranger Things is.

Directed by François Simard, Anouk Whissell and Yoann-Karl Whissell and starring Graham Verchere, Judah Lewis, Caleb Emery, Cory Gruter-Andrew, Tiera Skovbye, and Rich Sommer. The film premiered at the 2018 Sundance Film Festival. It is scheduled to be released on August 3, 2018 by Gunpowder & Sky.

Thoughts?

Be advised: the following is merely me turning the themes of said movie on its head and putting a new perspective on it. I am not snowflaking on your childhood. In fact, I’m just having some fun and talking about a great movie from a great time in my life. So check your feelings in the butt.

The 1985 fantasy teen coming of age film starring Michael J Fox was the #2 movie at the domestic box office when it premiered in theaters. The number 1 spot went to Back to the Future also starring Michael J Fox. The film isn’t the best of times but, we all remember watching it on television and daydreaming about roof surfing, wolfing out and being “That dude” flexing your teeth in the bathroom mirror.

So what’s it all about? Teen Wolf was co-written by Jeff Loeb who would later go on to become a well-known comic book writer and producer of both television and film (Smallville, Lost, Commando, Heroes) and Executive Vice President of Marvel Television. It’s the story of a teen in the everyday ideal suburb of America. He’s got the picket fences, the mall, the pseudo-cool best friend, the cool female best friend and all the social anxieties of being a teenager. He’s smitten with the hot blonde in school who’s in love with the meathead with Peter Gallagher eyebrows. After a night out at a house party and seven minutes in heaven, Scott suddenly feels something strange happening to his body and rushes home to discover he’s more than just experiencing growing pains; he’s in fact going through his first full moon transformation as a Werewolf.

No, Scott wasn’t bitten by a stray lycanthrope behind the Jack in the Box. Scott received his affliction/blessing through his genes. Turns out, Scott is the part of a family of werewolves that have adapted to living among humanity and assimilated.

Now we can take this as an allegory for puberty at face value or, we can take things a little further and dive into the rabbit hole. Besides the obvious themes of growing up on Main Street, America, what else could we extrapolate and theorize? Well I’d like to throw my hatchet into the buffet and say “Teen Wolf can also be a film about accepting one’s own racial identity in America”

See, when I watch Teen Wolf and I like watching Teen Wolf every-so-often. I amuse my fellow audience members with the idea that Scott isn’t just discovering that he is a werewolf but, in fact he’s bi-racial; That his family somewhere in the past due to being fair-skinned made the choice of assimilating into mainstream society by keeping their mixed identity a secret; That these themes were either subconscious or just too clever for the time. For example look what happened when Hollyweird tried making a generic comedy about racial identity – They made Soul Man (1986). Soul Man being a movie I’ll probably never touch, unless I was ripped to the jugular on rot gut and pain medications.

But, think about it. Scott’s family is the cookie cutter square American family, even his cousin Todd in the bland but identically similar sequel Teen Wolf Too.

See when Scott transforms, he isn’t roaming the countryside feeding on the weak and transient; he isn’t terrorizing the community he lives in or feasting on human flesh. He’s still very civil and coherent. According to the film the only differences between human Scott and Wolf Scott is his enhanced athleticism and charisma and his obvious facial differences leaning more towards his wolf side than his “human” side and the hair a lot of hair. Nevertheless, he’s walking with a strut like a symbiotic Peter Parker, he’s the star basketball player, he’s picking up chicks, he’s breakdancing – he’s breakdancing. Breakdancing? See where this was going?

The true conflict of the film is not Scott beefing with the brushy eyebrow antagonist but, his conflict of should he just be himself  – the wolf within the young man or just the Wolf and all that dog and pony show that the wolf persona has elevated him into in the eyes of his peers. Should he be himself or exploit his heritage for swag and instant gratification.

Scott chooses to be himself and wins the big game by being comfortable within who he is. He doesn’t have to be who anyone else expects him to be or jump through someone else’s hoop. Even realizing the best friend at his side is the real love of his life. His self-confidence inspires his team and they all come through. It’s a story about being young and self-discovery. No matter how you paint it. It’s us and we’re all winners.

So think about it and enjoy yourselves. Be beautiful in your own eyes and let it shine outward.

Keep it classy, keep it fresh and keep your claws on that Rewind Button.

• S. H.