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WAITING FOR YOUR CALL: THE TIMOTHY WOODARD, JUNIOR INTERVIEW

TIMOTHY WOODWARD, JUNIOR (photo credit: EVAN DE NORMANDIE)

Timothy Woodward, Junior is an actor, a writer, a producer and a director. He has done at least one of those jobs, and in some cases, most of those jobs on a variety of TV shows and film projects, including STUDIO CITY, HICKOK, BEYOND THE LAW, AMERICAN VIOLENCE and THE FINAL WISH.

Woodward’s current project is THE CALL, a psychological horror movie set in 1987 and starring the wonderful duo of Lin Shaye (THE FINAL WISH and the INSIDIOUS franchise) and Tobin Bell (the SAW franchise) as a seclusive couple who, after being tormented by four teenage pranksters (played by Chester Rushing, Erin Sanders, Mike Manning and Sloane Morgan Siegel), suffer a horrible tragedy. Edward Cranston calls the four to tell them that his wife, Edith, has died and has named each of them in her will. There’s a catch, however. For them to collect the money, each of them must go to a room in the Cranston home and make a phone call… to Edith, who had a telephone buried with her. If the youths can stay on the line for one minute, they will get their inheritance. Along the way, each must face their biggest fears and regrets. The film is a dark and brooding character study that occasionally brings to mind the lurid Slasher flicks of the 1980s in vivid splashes of red.

THE CALL DVD box

After a brief run at drive-in theaters in October, THE CALL will be available on DVD and Blu-Ray on December 15 at the usual outlets. This brief phone interview with Timothy was conducted on October 2, the day of the film’s theatrical release.

THE MULE: So, we got ten minutes. Let’s jump right into it. Watched the movie last night. I liked it… a lot. I’ve gotta say, a lot of stuff made sense to me that didn’t make sense in the trailer. Primarily, the press release said that it was set in 1987 and I couldn’t, for the life of me, figure out why such a bizarre… I mean, why pick 1987? And then… I mean, this is an homage to those classic Horror/Slasher movies from that time period.

TIMOTHY WOODWARD, JUNIOR: Yeah. For sure. And, you know, I turned four years old in 1987. That was the first year I watched my first ever Horror movie. So, that’s also why I picked that year. Could be the setting, ‘cause it was originally kind of generic ‘80s, so I picked ‘87. I just thought there was a lot of Horror that was coming out around that time. I kinda started setting out the sort of ‘80s Horror vibe.

THE MULE: Yeah, it worked really well, too.

TWJ: Thank you. I think we’re gonna release another trailer that’s gonna have more of an ‘80s vibe. We had two and we were going back and forth on which one we were gonna use. We didn’t want people, when they saw the trailer, to think that we were using the ‘80s almost as a crutch. So, we wanted to kinda catch people with the hook and then potentially release another one where we kinda focus on, you know, the more… as we get closer to the movie, the uniqueness instead of violence in the trailer.

THE CALL (Lin Shaye) (photo courtesy: CINEDIGM)

THE MULE: Sure, sure. The one thing I gotta ask you, man: Working with Lin and Tobin had to be just absolutely incredible. How did you snag them for this work? I know that Lin had… she’s got a production credit in there but, other than that, how did you end up choosing them for these roles and how was it to work with them?

TWJ: So, I got the script, actually, from Lin’s manager through Lin. They were already producers on it and they gave it to me to direct. I worked with Lin on THE FINAL WISH. Jeffrey Reddick (producer on both films) and I had a really good rapport and working relationship on that movie and they liked what I did. They came to me and said, “Hey, look, we’ve got this script and we’d like you to direct it, maybe come on board as producer. What do you think?” And I wanted to work with Miss Lin again… in a heartbeat so, I read it, liked the concept and we started punching up the characters and, I think a couple months later we were in production, ready to go.

THE CALL (Tobin Bell) (photo courtesy: CINEDIGM)

And, you know, the idea of Edward Cranston… we were trying to figure out… there’s this couple, revenge that has to happen, there’s… if you’ve seen the film, there’>s probably things that aren’t in the trailer, it’s not just a straight they break windows and a revenge thing by any means. So, you wanted someone who would feel suspect a little bit, did he have anything to with this. Someone, you know, who just fit and Tobin had come across in conversations between me, Gina (Rugolo, another producer on the film) and Lin and he just felt like a perfect fit from the start. I’m just so glad we went that direction because I think he did such a great job and Lin and him had such good chemistry immediately. Which, you usually don’t see people just walk on set, you know, never really met in person or worked together before in person and they’re iconic like that, in a certain genre, and then they just click and they disappear into their characters like they are just who they are, you know. They look like they fit, they feel like they fit and those scenes were so easy because their chemistry was so good. It was just point the camera and shoot.

THE MULE: Yeah. That’s amazing that you got into production so quickly. That almost never happens.

TWJ: Yeah, we were lucky that we were able to do it, to pull it off.

THE MULE: The… uh… I’m gonna put “teenagers” in quotes here, but they all really pretty much hit the spot with their characters and the horror aspect, their horror at what was going on… from originally, >you know, the whole prank thing… there’s a backstory there that’s just amazing.

TWJ: Thank you, man. Yeah, that’s something that I carved out… even while we were filming, I was coming up with different situations and ideas for that because the backstory in the original script wasn’t fleshed out much for each character, it wasn’t much more of a blueprint. The two weren’t originally brothers and we said, “Hey, let’s make them brothers.” I worked with Jeffrey Reddick and Patrick – Patrcik Stibbs, who wrote it and Jeffrey Reddick, who was a producer – and, I was like, “Let’s make these guys brothers and, then, kinda create a situation for all of them where it’s just a little bit more personal.” You know, the idea is, hopefully you think one way about a person, then you feel another way in another moment. And it makes you feel for them or you don’t. It’s just to make them feel more three dimensional, so they didn’t just feel like complete cardboard characters until you feel like, “Hey, I understand why this person may be this way.” I can understand what this person’s going through.

THE CALL (Chester Rushing, Erin Sanders, Mike Manning, Sloane Morgan Siegel) (photo courtesy: CINEDIGM)

THE MULE: Right. I was actually going to say that, without giving anything away, all four of those characters come with baggage that kinda makes sense for… the way they turned out. Let’s put it that way.

TWJ: Yeah. Definitely. Yeah, for sure. And, their story for why they’re doing what they’re doing, you know… again, can’t give away too much… but, you feel one way, you think one way and then, it’s something else and the trailer tells you something completely different. That’s kind of the idea, we want you going in not really knowing exactly what it is you’re going to see and exactly who to pull for and in what way and be just… entertaining, you know. A psychological war. Psychological war is important to me because I think that’s… the idea of living in your mind and repeating your worst nightmares and your dreams… I mean, your fears on loop and repeat, that’s pretty terrible thing to be, you know.

THE MULE: And, it does work on that level, as well, as far as psychological horror, psychological thriller, whatever you want to call it. And, not only is it an homage back to those very bloody ‘80s kind of Horror things, but even back further than that when the horror wasn’t actually shown on screen, it was just intimated. I mean, it works really well because there’s stuff going on in that… in the final third of that movie that really… it sets the standard for stuff to come, I think.

THE CALL (Brooklyn Anne Miller) (photo courtesy: CINEDIGM)

TWJ: Yeah. That was the idea and it’s just a little bit… people are like, “Well, you got Tobin from SAW and SAW was gory… ” and people kinda automatically assume from the trailer that it’s gonna be really just this… gory film and I’m going, “You may be surprised. It’s not going to be just like you think.” It’s very different… on purpose. It was done that way because I think your mind can imagine way worse than what I can show you. If I can show you a piece of it, your mind can go other places, you know. So, that’s the thing about it. Whether it’s JAWS and the shark, you know… if you see it all the time it becomes this way… But, we wanted to pull out spots in a few areas to make your mind go, “Oh, shit!” and just let you wonder what they’re going through. Even at the end of it, ya know.

UP ON THE GLASS

(GRAVITAS VENTURES/SAVE THEM WILD DOGS (96 minutes; Unrated); 2020)

Wow. I remember a review of the Viggo Mortensen film A HISTORY OF VIOLENCE, in which the writer used the effective line “You won’t know what hit you” to summarize the dastardly plot. That’s how I felt at the conclusion of the genuinely compelling new film UP ON THE GLASS. I really don’t want to give away much here, because this film is worth experiencing on your own, without knowing key details beforehand. It manages to be suspenseful, visually appealing and non-formulaic throughout most of its 90-minute running time, and that is quite an achievement. So here’s what I can say. Jack DiMercurio (Chase Fein), the main star of this unique film, is a restless, introspective sort who is not given to explaining his emotions or thoughts very easily, and has an uncertain employment history. He’s agreed to spend some time at the lake house of his old friend Andy Shelton (Hunter Cross), who’s a bit too abrasive and honest, but is a successful businessman who seems to have good intentions. Andy’s wife Liz (Chelsea Kurtz) is only talked about for the first portion of the movie. We learn that Jack may have once been involved with her and gets moody when her name comes up. We also have to endure the obnoxiousness of a third friend, “Mose” (Steve Holm), who joins his old buddies for the weekend. At first you think this movie is going to be a character study of these three friends, starting to feel their ages, drinking too much, and questioning each other’s life choices. They’re in a beautiful setting along Lake Michigan, enjoying the shoreline and the imposing sand dunes Andy takes them to so they can lose themselves. “There’s space out there. Men need that,” Andy tells his pals. But though we’re shown some memorable scenery, and these guys overall seem to be basically likable, friction soon develops. Andy pushes Jack to share more than the latter is comfortable with. “I think you’re TOO smart,” he tells him matter of factly. “It trips you up. You overthink things.”

UP ON THE GLASS (Chase Fein, Hunter Cross, Steve Holm) (publicity still)

For this part of the film, I was admiring the believability and charisma of the characters, especially Jack, and the bright, striking cinematography by Mark Blaszak. I was intrigued. But then there is a sudden, rather implausible event that changes the entire nature of the film. Hopefully no one gives it away to you because, despite this didn’t-see-that-coming development, the film trades on a different kind of suspense and a couple of pretty rich themes from then on. Although we’ve been treated by this point to the appearance of a couple of lovely women from town, store employees Becca (Jessica Lynn Parsons) and Kate (Nikki Brown), their part in the story is mostly minimal. Not so when Liz shows up at last. Chelsea Kurtz does a fine job investing Liz with depth of character and conflicting emotions. She and Fein have clear chemistry and authentic-sounding conversations, and there is some seriously good acting going on here, as a sense of buried romantic potential must compete with a few other developing themes. You sort of WANT these two to get together. A dripping faucet in the kitchen, which Jack promises to fix at least twice, provides a metaphor for the passing of both time and opportunity, and these two terrific actors really do make you want to see what will happen in the next scene. The grim nature of reality, however, prepares you to expect bad stuff. Director and co-writer Kevin Del Principe shows plenty of command with his helming of this tale, and he has the patience to trust that most audiences will take the ride, slow though it may be at times. I think he has the makings of an exceptional filmmaker.

UP ON THE GLASS (Chelsea Kurtz) (publicity still)

I simply can’t say a word about the ending. I watched this film early in the morning, letting a couple of its big surprises wash through me, and I want to enjoy my feeling of sheer admiration, something I don’t feel near enough these days after I screen a film. You do NOT get a neat resolution of anything with UP ON THE GLASS. It does almost nothing that you want or expect it to do. It certainly gives you a couple of complex characters with shifting motivations. And it creates its own brand of intense suspense that for me was truer to what might happen in real life than a dozen bigger budget films. And I liked all six of the principal actors, with something pretty unforgettable being captured here by Chase Fein. He’s an actor to watch. Judging from a few less enthusiastic reviews on IMDB, not everyone was enamored with Del Principe’s directorial vision, however, and you certainly could be forgiven if you don’t like the main plot twist or the way you’re left hanging at the end. But I genuinely admired this film for how it avoided the obvious at most turns, and tried to hint at much bigger themes and character conflicts than what we usually get on screen. I won’t forget UP ON THE GLASS, that’s for sure, and I plan to follow the careers of virtually everyone who played a part in making it.

KEN OSMOND: AN APPRECIATION

KEN OSMOND, 1995 (photo credit: CBS VIA GETTY IMAGES/photo copyright: CBS PHOTO ARCHIVE)

I wanted to share a few thoughts about actor Ken Osmond who played Eddie Haskell on the classic TV sitcom LEAVE IT TO BEAVER, as well as its revival, THE NEW LEAVE IT TO BEAVER, in the 1980s. Kenneth Charles Osmond passed away on May 18, 2020; he was 76 years old. LEAVE IT TO BEAVER ran for si seasons, from 1957 to 1963, and is still widely distributed in reruns. The Eddie Haskell role was originally to be a one shot deal, but the producers of the show really liked Osmond’s portrayal and kept the character in the series. Eddie appeared in 96 of the series’ 235 episodes. He was shrewd, under handed and, even if he wasn’t up to something, he always LOOKED like he was up to something that was borderline legal. Eddie was everything that his best friend, Wally Cleaver (Tony Dow) wasn’t; Wally made good grades, was an athlete, popular with girls and well liked by everybody. Eddie was none of those things and, maybe that was the secret of their friendship. I think at times that Wally secretly wanted to have a little more of the bad boy in him.

LEAVE IT TO BEAVER, circa 1958 (Hugh Beaumont, Barbara Billingsley, Ken Osmond, Tony Dow, Jerry Mathers) (publicity still)

Wally’s parents, June and Ward (Barbara Billingsley and Hugh Beaumont), always saw through Eddie’s saccharine politeness (“Gee Missus Cleaver, your hair looks real pretty today.”), but generally let things be; he was always welcome in their home and they never told Wally that he couldn’t hang out with Eddie. Another friend, the loutish twenty year old high school senior, Clarence “Lumpy” Rutherford (wonderfully played by Frank Bank), sometimes accompanied the pair, falling in with Eddie on whatever scheme he had in mind. Likewise, Theodore “Beaver” Cleaver (played with kind of a dumbfounded simplicity by Jerry Mathers), had his share of friends who led him into mischief: Larry Mondello (Robert “Rusty” Stevens), who appeared in 68 early episodes and later, there was Richard Rickover, Gilbert Bates and Whitey Whitney (Rich Corell, Stephen Talbot and Stanley Fafara) to lead the gullible Beaver into some fairly far-fetched misadventures. But, it was Ken Osmond’s Eddie Haskell who was the gold standard for the bad boy character, played with an unctuous charm and a certain indefinable refinement that you really couldn’t help but like. We all knew (or was) an Eddie Haskell in grade or high school, so both kids and adults could easily relate to him and to the show. A few years back, TV GUIDE named Eddie as one of the most iconic characters in television history. It’s been said that Eddie was the role model for Bart Simpson.

LEAVE IT TO BEAVER, circa 1958 (Tony Dow, Jerry Mathers, Ken Osmond) (publicity still)

When LEAVE IT TO BEAVER ended, Ken made guest appearances in other series in the mid-to-late ‘60s (THE MUNSTERS, PETTICOAT JUNCTION and LASSIE, to name a few) and a handful of TV movies, but, he was so typecast as Eddie Haskell, that his career never fully recovered; he ended up playing the character in …BEAVER reunion movies and series, as well as reprising the role in a couple of ‘90s series, PARKER LEWIS CAN’T LOSE and HI HONEY, I’M HOME. With a wife and a new baby on the way, Osmond became a Los Angeles motorcycle cop, serving from 1969 through 1988, when he was granted disability due to an injury suffered in the line of duty eight years earlier. He wrote a book in 2014 called EDDIE: THE LIFE AND TIMES OF AMERICA’S PREEMINENT BAD BOY, definitely a fun read. After 60 years, LEAVE IT TO BEAVER and Eddie Haskell’s slimy machinations are still fun to watch. I wanted to thank Ken Osmond for giving me a lot of laughs and a great character to remember him by. In a favorite episode, June says to Ward, “Of all the boys around, Wally would have to pick Eddie Haskell as his best friend.” Ward replies, “Oh, I don’t know dear, we need someone to blame Wally’s faults on.” And that pretty much sums it up for me!

All six seasons of LEAVE IT TO BEAVER are available on DVD and Blu-Ray, either individually or as a “Complete Series” box set.

A “DEADSIGHT” BETTER THAN SOME ZOMBIE FLICKS: THE ADAM SEYBOLD INTERVIEW

PART ONE: THE INTRODUCTION

ADAM SEYBOLD in DEADSIGHT (publicity still)

Zombie minimalism. I doubt it will become a THING, as most audience members probably WANT to see oozing-faced members of the undead fraternity, ravenous for fresh flesh and single-minded of purpose. There is nothing discrete or casual about the way zombies behave (not that there is a rulebook on such), but director Jesse Thomas Cook (THE HOARD, SEPTIC MAN) deserves a spot on some future panel discussing the zombie cinema genre, which DEADSIGHT, after two years of industry machinations, is now a part of. It seems like Cook and his two stars, Adam Seybold and Liv Collins, are pretty familiar with zombie and plague movie lore, and mostly decided NOT to follow in the footsteps of George Romero, Danny Boyle, et al. They took their own restrained path, somewhat admirably. Cook, Seybold and Collins (who also co-wrote the script) gamely try to tell a suspenseful story in an idiom which has been done to death on both the big and small screen. Seybold plays an injured everyman, Ben Neilson, who has just had a tough eye operation, resulting in seriously impaired vision. He’s hoping to get back to his family soon, but something is terribly wrong. Ben is clearly at a disadvantage when it comes to skulking dead dudes who keep showing up hoping to snack on him. His only ally is a pregnant police officer who crosses his path, Mara Madigan (Liv Collins), taking it moment by moment in what is now a rural “zombieland.” The two must team up simply to survive.

PART TWO: THE INTERVIEW

“For me the attraction of making a movie like this, is that you’re not really making a ‘zombie movie,'” said Adam Seybold, during a recent phoner, of portraying Ben with both vulnerability and determination. “I’m playing a regular person who is blind, trying to get back to my family. And I meet a woman who is trying to survive WITH me. That’s what we’re doing. All you can do is play the moment to moment truth of what is happening. There are only so many ways to show a zombie outbreak. In terms of explaining where they come from, we don’t really do that. Viewers are smart about that. There just happen to be zombies. It’s better to just let the story happen and use zombies as a backdrop.”

Oh, they’re a bit more than a backdrop. Poor Ben never knows when he is gonna hear erratic footsteps behind him, and have to fend off another attack. Mara has the firepower, however, and Ben wants her close by at all times, especially when he learns she is pregnant.

“Liv was actually pregnant during the shoot,” he revealed. She was exhausted much of the time. But she was such a trooper. I’d say, ‘You should be at home resting instead of running around with a double-barreled shotgun!”

ADAM SEYBOLD in CREEP NATION (publicity still)

The two have an easy rapport on screen, despite the rather minimal dialogue. They previously appeared in CREEP NATION together, which Seybold described as a “PSYCHO for the modern age.” In DEADSIGHT, they often spent rainy, cold days on set trying to crack jokes and keep each other grounded.

“She’s one of my favorite co-stars,” he said. “We’ve worked together a couple of times. It makes those transitions (from off-camera waiting to ACTION) easier. Some actors save it all for the camera. But Liv and I are chatty by nature, so we’d try to crack each other up between scenes. It makes such a difference when you are comfortable with someone, and you can trust each other.”

How did Seybold prepare for such a challenging shoot? After all, he has gauze wrapped around his eyes for most of the film, and there are scenes of him attempting to make his way up steep hills or maneuver through the rooms of an unfamiliar house. Seems dangerous!

ADAM SEYBOLD with JORDAN HAYES in EXIT HUMANITY (publicity still)

“As much as possible I tried to limit how much I could see,” he said. “Unless there were obvious safety issues. I’m sure there’s hours of outtakes Jesse has where I am wandering out of the shot or something. But when your eyes are closed, you’re not really acting anymore. You might be truly in danger. I think that’s why we make horror films. It takes you to that edge. Sometimes it’s miserable while you’re IN it, the frustration of not being able to see. But I chose that situation ‘cause it does take you beyond the limit. My day job is a writer, and I don’t have those concerns. My biggest decision is, am I gonna have tea or coffee?”

I commented on the surprisingly minimal action for a zombie movie, and the rather austere look of the film. Did Seybold sense it was going that way when they were shooting? “I haven’t actually seen the finished film yet,” he responded. “We shot it two years ago. I think that initially, Jesse told me, they had something a little more comedic in mind when they conceived it. That was the vibe before Liv and I. But based on our skill set, it was the way we acted together that changed the movie. Stemming from the vulnerability of these two people. So I guess the acting and direction ended up becoming more naturalistic.”

While films such as DAWN OF THE DEAD and ZOMBIELAND seemed to take pleasure in featuring gorey closeups of the dead either having flesh fiestas or getting blown to smithereens, DEADSIGHT avoids that kind of thing for the most part. Yet it is still suspenseful, and the zombies are in some ways even more believable as a result.

ADAM SEYBOLD in EJECTA (publicity still)

“They are what makes the movie,” agreed Seybold. “If the zombies don’t work, the whole thing falls apart. It’s a credit to the tone that it worked so well.” An early scene of a “transitioning” woman confronting Officer Madigan near her police car is rather unsettling; you don’t know what to expect, and Collins plays it that way. But creepier still are shadowy figures showing up a distance from Ben and starting to shuffle towards him. This sort of thing is almost never good in horror movies. And having Ben be virtually blind is an undeniably interesting touch. But whatever DEADSIGHT’s strengths, it’s unclear if audiences will discover such a “subtle” tale of the undead.

“That’s out of my control,” said Seybold. “I don’t know about niche. I’ve done enough things now where I play the game of how things will be received. You can’t write a hit on purpose, or by accident. It’s been two years since we shot the movie. It exists in a time when I was with those people. I had a great time working on the movie. Those people are my friends, like brothers and sisters. And that’ll be true, whatever the outcome.”

PART THREE: THE REVIEW

DEADSIGHT

(RLJE FILMS/RAVEN BANNER/FORESIGHT FEATURES (82 minutes; Unrated); 2019)

I’m a fan of minimalism, I gotta admit. And when you’re talking about a cinematic genre as inherently goreworthy and unhinged as zombie horror, it’s admirable if a director does NOT aim to out gross-out the likes of DAWN OF THE DEAD, 28 WEEKS LATER, WORLD WAR Z, TV shows such as THE WALKING DEAD, et cetera. Honestly, the restraint shown by director Jesse Thomas Cook in lensing this modest production was the first thing I admired.

DEADSIGHT (Adam Seybold) (publicity still)

The film opens with a partially blind man, Ben (Adam Seybold), awakening in a hospital disoriented about where he is and what the hell is going on, a story element borrowed from Danny Boyle’s classic 28 DAYS LATER. Ben’s eyes are covered in gauze wrap, and he knows enough to put drops in them periodically, but everything is quite blurry. And rather than staying put, Ben decides to wander around and see what he can suss out from his surroundings. This is not a wise choice, as periodically a shadowy figure will appear behind him or come out of nowhere, and these of course are the undead. Weirdly, they often take their time in stalking and trying to dine on Ben, which tends to give him opportunities to hide or whack the living shit out of them with his little walker weapon. Ben seems a little too bold and clever for this story, and I found it hard to believe he could just walk up hills and locate empty houses as easily as he did having very little of his eyesight to aid him. But I don’t fault Seybold as an actor; he’s reasonably effective, and not overly emotional in his portrayal.

DEADSIGHT (Liv Collins) (publicity still)

It’s a lonely journey for Ben until a female… and rather pregnant police officer named Mara Madigan (Liv Collins) crosses paths with him. Mara has had a few zombie encounters of her own, and it’s probably best that we don’t get much exposition of how this particular apocalypse came about and why Mara ended up the lone officer on her force, pretending to do her job when the only sensible pursuit is terminating these ugly zombies with extreme prejudice. There is an interesting scene early on where Mara confronts a female almost-zombie, and it’s almost poignant. Somehow the hapless officer allows the transitioning undead missy to get in her squad car and drive off. That struck me as ludicrous… wouldn’t she have shot the fuck out of her before she could get in the vehicle? And how far can you get as a soon-to-be-undead citizen, already drooling and covered with oozing sores, behind the wheel of a car? These questions are not answered; Officer Madigan continues rather calmly on foot, and reaches Ben just in time to blast a hungry fiend before it could snack on the hapless sight no-seer. Whatever tension that remains at this point comes from the cautious relationship between Ben and Mara, which is underplayed and not as well scripted as it ought to be. Still, the actors are watchable and grounded in this peculiar reality. There are no dumb speeches, and thankfully, no romance. But the two do care about each other, and Ben shows plenty of compassion upon learning that Mara is preggers.

DEADSIGHT (Jessica Vano) (publicity still)

Each zombie kill is distinct, and there are no scenes of hordes of ravenous undead descending upon our heroes, as is usually typical of these films. It’s actually a fairly quiet drama overall, with little or no excess gore. And I want to say that the cinematography is a bit better than you might expect. That is thanks to a guy named Jeff Maher, who films the empty, half forested landscape (probably the eastern US) with a disarmingly pastoral sweep, making you notice the trees and the winding rural roads at all times, so that when a creepy figure emerges from a roadside in the background, it has maximum dramatic effect. Also the film pays attention to how many bullets Officer Madigan has in her gun, a detail I appreciated. And the script counts Collins as a co-writer and producer, so bully for her for committing to every aspect of this movie. I give it points for underplaying what is normally the type of horror that absolutely goes for broke in the gore and/or black comedy department (as ZOMBIELAND did). The music score is restrained, the action is selective, and I admire the fact that very little is explained.

DEADSIGHT (Adam Seybold, Liv Collins) (publicity still)

This ends up being a minimal two-character drama overall, and I can’t name another zombie movie you can say that about. It’s pretty suspenseful, and I was not bored by DEADSIGHT, which I sort of expected to be. It’s made with attitude and an understanding of its cinematic template, while seeming determined to avoid most of the cliches of the genre. Sure, it has a few screws loose, and I would have written a few more soul-sharing conversations for the two leads, but DEADSIGHT moves briskly and economically through its contribution to a genre that would seemingly have little new territory to explore. And that’s a “dead sight” more than you have a right to ask for.


The flick is available on DVD, Digital HD and Video-On-Demand beginning Tuesday, July 2.

AMERICAN POLTERGEIST: THE CURSE OF LILITH RATCHET

(ITN DISTRIBUTION/FRIGHT TECK PICTURES/DAGGER 3 MEDIA (104 minutes; Unrated); 2019)

I want to say something straight off the bat. B movies or even Grade “Z” movies should NOT be weighted against big budget or “major” films when they’re evaluated. It’s not fair. There are different tiers to moviemaking, and a low-budget production with unknown actors is NOT in competition with “regular” movies that get wide distribution. Or even a Netflix offering. Such films should be seen as what they are, lower-tier offerings that are either entertaining or NOT. And let them exist on that level for better or worse, while recognizing that they may still stink, or not. We NEED these films, and they can launch the careers of talented people sometimes. Enough said.

AMERICAN POLTERGEIST: THE CURSE OF LILITH RATCHET (KateLynn E Newberry, Rob Jaeger, Brianna Burke) (publicity still)

So, this low-budget horror film, AMERICAN POLTERGEIST: THE CURSE OF LILITH RATCHET came my way, and it survived two immediate tests for me as a viewer. First, it is entertaining. And, being a horror film, it’s actually rather suspenseful. It has some scares, and doesn’t always quite do what you might think. So I give it points for that. The titular Lilith Ratchet was an ill-fated woman who suffered losses during the Civil War (including her head) and vowed revenge for her suffering, via a series of chanted phrases which, if invoked along with her name, will cause hellish torments for those doing the chanting. When an antique shop owner sells the supposedly “shrunken head” of poor ol’ Lilith in a mysterious box many years later (the buyers are two curious young women, Alice Crow and her friend Lauren), a disturbing series of events begin to unfold, especially after Alice (KateLynn E Newberry) and Lauren (Brianna Burke) approach a paranormal radio show host named Hunter Perry (Rob Jaeger), whose show “Beyond the Veil” is immensely popular with the locals. The girls want to know more about this “thing” they bought, and Hunter sees an opportunity to get serious attention if he arranges for a “chanting game” to be done live in a local watering hole on Halloween. The kids can just toss Lilith around, say those phrases, keep pouring drinks, and see what kind of merriment results. I mean, what are the odds that the demonic spirit of Lilith Ratchet (Crissy Kolarik) would suddenly return and start inflicting nasty mayhem on all these fun-loving youngsters? Well, there wouldn’t be a movie if she didn’t, right?

AMERICAN POLTERGEIST: THE CURSE OF LILITH RATCHET (Crissy Kolarik) (publicity still)

Lilith is not your garden variety 19th century spinster, let it be said. She has terrible teeth frozen in a murderous grin, beady eyes bent on watching you take your last breath, and black, long, curving fingernails just perfect for slicing through youthful flesh. To paraphrase the Terminator, “she can’t be reasoned with, she can’t be bargained with, and she will not STOP until you are dead.” Hunter thought he was just gonna get some ratings for his podcast, and poor Alice and Lauren, while clearly spooked by disturbing visions and understandable apprehension, try to go along with the proceedings semi-enthusiastically. Nate, Lauren’s boyfriend (George Tutie), is not happy about the big “Beyond the Veil” fiesta and leaves the proceedings early. You can probably guess what happens to him. This Lilith gal, though a little too pleased with herself for her demonic ways, has an agenda, and unless the somewhat smug Mister Perry can suss out what to do, Ratchet will NOT bury the hatchet. It’s best not to get too attached to any of the characters in this film, to say the least. While most of the acting is simply functional, Newberry puts some real energy into her role as Alice and has you believing some of this craziness is really happening. She’s a gifted actress with a slew of credits as it turns out. Jaeger has a kind of generic charisma, and Burke acts like she’s at least trying. As for the nasty Ms Ratchet, her makeup designer deserves as much credit as the actress, although being singularly demonic for over 90 minutes has gotta take some concentration. The guy putting this vision on screen in its totality, however, is writer/director Eddie Lengyel, who has a good sense of pacing and a clear understanding of common horror movie tropes… the jump scare, the build-up, the power of an evil face, et cetera. Although everything in the movie is something we’ve seen before, Lengvel knows the formula well. Certain things are kind of ridiculous: the shrunken head itself, the ludicrous scene where Hunter evades Lilith by hiding in a bathroom stall with the door not even fully closed (I mean, come on… if you’re a demon and you’ve shown your ability to float in and out of EVERY physical space, how would a BATHROOM stall flummox you when you’re victim hunting?), the supposedly “crowded” party which seems to boast no more than a few dozen participants. I also was annoyed at the lack of genuine emotion shown when various characters found out their significant other had bought it. I can’t elaborate without giving stuff away, but come on… you’re gonna cry and be in anguish if your loved one is now history at the hands of a demonic old woman, right? There are a couple of exceptions to this complaint, thankfully.

All this said, there is something admirably purposeful about …THE CURSE OF LILITH RATCHET. It keeps moving, it has a fairly riveting nasty at the center, and it uses music well (some of that supplied by Timothy Smith). And at least a few of the actors rise to the occasion. The biggest “curse” I find in movies like this is usually that they are boring and show stupid people behaving stupidly. I was not bored watching the film, and I didn’t groan that much watching these characters. So hey, let’s give this little fright flick its due. But Eddie, my boy, I don’t think Lilith could really be called a “poltergeist.” Look up the definition. This vengeful bitch belongs in another category; she doesn’t just move objects around. She does some serious slicin’ and dicin’, and in case you decide to do a sequel (there is a hint of that), lose the “p” word. Just a thought…

ASIA: SYMFONIA – LIVE IN BULGARIA 2013 WITH THE PLOVDIV OPERA ORCHESTRA

(FRONTIERS MUSIC; 2017)

Ain’t gonna lie… Asia’s self-titled debut album was one of my favorite – if not my absolute favorite – and most listened-to releases of 1982. Why? This type of supergroup progressive pomposity was well out of favor by the time of its release. Well, first and, perhaps, foremost was the fact that I would buy anything… make that ANYTHING that featured John Wetton on bass and vocals; the former Mogul Thrash, Family, King Crimson, Uriah Heep, UK and Wishbone Ash player was and remains one of my all-time favorite singers and bass players. Mister Wetton did not disappoint with this record! Next, Carl Palmer (The Crazy World of Arthur Brown, Atomic Rooster and Emerson, Lake and Powell… er… Emerson, Lake and Palmer) was much more than a drummer… he was a percussionist who could pound out a beat like John Bonham or lay down a swinging Jazz groove, a la Bill Ward or any number of his early influences like Gene Krupa or Buddy Rich, plus… BRAIN SALAD SURGERY and “Karn Evil 9.” Need I say more? The final pieces to the puzzle were 40 percent of the band that recorded my favorite Yes album, 1980’s DRAMA: Steve Howe, an innovative and virtuoso level guitarist and Geoff Downes, keyboard genius and former Buggle. I was in Prog Nerd Heaven even though I had been listening to tons of Punk Rock back then, including the Damned, XTC and the Jam (though those bands had taken their music down a more inventive, progressive path by that time). So, anyway… I was hooked from that very first power chord to “Heat of the Moment.” These guys were the real deal and I was more than ready to snatch up their next offering, ALPHA, released the following year. Yeah… it suffered from what many call “the (dreaded) sophomore slump” and the discouraging reception to the album led to the exit (temporary, though it was) of Wetton. John was back in time to record the next set, ASTRA, though Steve Howe had headed out the back door as the bassist was reentering through the front; Wetton’s return and Howe’s replacement, Mandy Meyer, couldn’t salvage the sinking ship and Asia became a distant memory as everyone moved on to other projects. The original four (Downes, Howe, Palmer, Wetton) reformed in 2006, releasing three albums of new material before Howe left once again in early 2013 (citing the wear and tear of juggling touring and recording schedules with both Asia and Yes). Which brings us to this album, featuring current guitarist Sam Coulson on what was his first tour with the band; released, unfortunately, six weeks after John Wetton lost his years-long fight with cancer, the quartet is in fine form – even if the set list is a bit spotty, which may have to do with the involvement of the Plovdiv Opera Orchestra during the second half more than anything else.

ASIA (Carl Palmer, John Wetton, Geoff Downes) (publicity still)

The album is broken up into two distinct parts: Asia performing as a standard four-piece rock band (Disc 1 of the 2 CD set) and accompanied by the orchestra on a somewhat more sedate set (Disc 2). The first set gets off to a rousing start with “Sole Survivor,” a track from the debut album. The core members of the group – Wetton, Palmer and Downes – are in fine fettle here. John’s voice is strong; Geoff’s keyboard work enters into (Jon) Lordian realms, heavy and intense; Carl’s drumming borders on hyperactive, with thunderous fills and a slightly quicker tempo than I remember from the original. Sam Coulson’s guitar parts offer a bit more heft than did Howe’s original which, alongside Palmer’s jackhammer delivery, gives a certain urgency to this updated arrangement. “Time Again” is a propulsive proto-metal behemoth, somehow reminiscent of Crimson’s “21st Century Schizoid Man.” The guitar is more in line with the original and the backing vocals are on point, as well. It’s another great version of one of the prime cuts from the first record. Truth be told, when I first heard the lead track to 2012’s XXX album, “Face On the Bridge,” I did not like it. At all! It sounded like a sappy, sentimental “time has passed me by” ballad from a band whose time had, indeed, come and gone. Brother, was I wrong! How could I have missed on this one so badly? Here, the song bristles with a vigor that belies that inevitable passing of time. Compared to the original, though the song was barely a year old (release wise), in this setting, Wetton’s voice sounds even stronger, Downes delivers some inspired live flourishes and Coulson’s guitar adds a little somethin’-somethin’ that even the legendary Steve Howe couldn’t bring to the original. “My Own Time (I’ll Do What I Want),” from the group’s second record, is very much a product of its time. ALPHA saw the band move further into the realm of schmaltzy MTV/Journey balladry, leading to divisions within and an eventual split. This particular song isn’t really too bad, just not what Asia’s fans were expecting after that monster debut; now, thirty years later, the tune seems to take on a new relevance, especially with Wetton fighting various major illnesses. I’m sure the other three men on stage felt the emotional power that their singer put behind these lyrics during this tour.

ASIA (Carl Palmer) (publicity still)

Holy War,” a song from the OMEGA record, is a heavy prog ballad propelled forward, primarily, by Carl Palmer’s ferocious percussion and Geoff Downes’ keyboard artistry. Wetton seems to be loosening up by this point as his vocals become a bit more aggressive with a raspy sort of growl that fits perfectly within the context of the tune. An overblown symphonic intro from Geoff leads into the overblown progressive balladry of “An Extraordinary Life.” The lyrics are this number’s saving grace. John delivers his words with conviction, though – in the hands of lesser singers – such fare could well have been expressed in an overly dramatic, overwrought fashion. Finally… going all the way back to THEN AND NOW, the 1990 compilation of new and old, comes a power ballad that actually works! “Days Like These” is a great example of how well the Palmer/Wetton rhythm section complimented each other. This version also features a simple organ part from Downes and a spot on solo from Sam Coulson. It’s very nice to hear this one in a live setting. With “Open Your Eyes,” a weird vocoder intro turns into a very nice mid-tempo rocker featuring Wetton’s newly-positive and uplifting lyrics. Carl is particularly… uh… restrained here, showing us that, yes, he can be a true team player. There are more vocoder shenanigans during the middle break, which is a very operatic, chorusy thing that simmers just below John’s improvised vocals. Sam’s guitar fits quite comfortably within the confines of the song, shining especially bright on some very tasty solos and, his interplay with Downes’ organ to end the number is just awesome.

ASIA (Sam Coulson) (publicity still)

As the album’s name implies, Asia is joined for the second set by the Plovdiv Opera Orchestra. The first song with the orchestra, “Only Time Will Tell,” one of the many favorites from the group’s stunning debut, still sounds as fresh and vibrant as it did the first time I heard it, with Sam Coulson echoing that amazing Steve Howe riff, while adding a bit of his own flair to the tune. At this point, I’m not certain how the addition of the orchestra is going to work, as everything in this arrangement sounds exactly like Downes’ original keyboard embellishments. Even with the inevitable intermission between the band set and the introduction of the orchestra factored in, it seems strange to bookend the progressive power of “Only Time Will Tell” with a pair of the group’s more sedate numbers, “Open Your Eyes” and ALPHA’s “Don’t Cry.” With a slightly quicker tempo and Downes pretty much sticking to piano on the latter, the orchestra definitely adds to the overall sound of the piece. I’ve already praised John Wetton’s vocal performance but, really haven’t mentioned his bass work; as always, it is superb (in my estimation, Wetton was one of the best ever) and especially so on this song. Palmer again proves to be a master craftsman, playing deep in the pocket and offering a tasteful fill only when required. Next up is “Heroine.” Uh… okay… not a fan of this one. At all. Wetton’s voice is okay, Downes’ piano and the orchestra sound fine but, “Heroine” is just… BAD! It’s a sappy ballad that simply cannot escape its own sappiness.

ASIA (John Wetton) (publicity still)

I’m not too sure what this says about Asia’s recorded output but, with five songs from their stellar debut and another four from the artistically disappointing follow-up, ALPHA, it certainly seems that, as of 2013, the group was content to bask in the glory of those two records. “The Smile Has Left Your Eyes,” the fourth tune from that sophomore release, starts slow and features the epic build inherent in all early ‘80s power ballads, though with a bit of an edge due to Carl driving the band and orchestra with an accelerated tempo that is not unappealing for an all but forgotten thirty year old single from a mostly forgettable album. The final two numbers come from the formidable ASIA album. “Wildest Dreams” somehow seems more relevant today than it did 35 years ago. I’m not even sure how they even managed to pull this off (unless the Plovdiv Opera Orchestra also brought along a hefty chorus) but, the massive background vocals sound… if not over the top, at least completely out of place. Regardless, this is the quartet hitting on all cylinders, with an aggressive arrangement that highlights a cool duel between Sam and Geoff. The first song on the first side of that first record, “Heat of the Moment” may sound somewhat dated lyrically (featuring one of the most well-known couplets in Prog Rock history, “And now you find yourself in ‘82/The disco hotspots hold no charm for you”), but the power of the music and the conviction in Wetton’s voice still make it a crowd-pleasing sing-along… even in Bulgaria. The sheer firepower that the combined talents of John Wetton, Geoff Downes, Carl Palmer and then-newcomer Sam Coulson bring to bear on this version delivers a fantastic finish to a rather uneven show that may very well have suffered due to the limitations of playing with an orchestra.

I fully understand that this is a very different band than the one that recorded that 1982 debut offering… they are far more thoughtful and introspective, particularly after the health scares faced by their frontman throughout the latter part of their history and, well… let’s face it, apart from Coulson, they aren’t exactly young men. Even when considering the phenomenal accomplishments of Palmer, Wetton and Downes before and after ASIA, it must have been a hard pill to swallow realizing that the group was at their creative peak on their first album; it couldn’t have been easy trying to equal or outshine a record that could quite easily be released under the title ASIA’S GREATEST HITS with no additional material needed to bolster the original nine-track sequencing. However, having said that, shortcomings aside, this album does work as a fitting memorial to John Wetton, one of the true legends of Progressive Rock. I should point out here that I was privy only to the music tracks that make up just a part of the SYMFONIA package, which also contains a DVD (or Blu-Ray) of the concert; there is also a double vinyl set available, without the additional video media.

THE DICK VAN DYKE SHOW: AN APPRECIATION

THE DICK VAN DYKE SHOW (Mary Tyler Moore, Dick Van Dyke) (publicity photo)
THE DICK VAN DYKE SHOW (Mary Tyler Moore, Dick Van Dyke) (publicity photo)

In a huge coincidence, I had rented a DVD box set of the old DICK VAN DYKE SHOW just a couple of days before Mary Tyler Moore passed away at age 80. The show was an Emmy Award winning, wonderful comedy that ran on the CBS television network for five seasons, from 1961-1966. A great star, a great ensemble cast, wonderful writing: It had it all and it made one young lady a huge star; just shy of her twenty-fifth birthday when the series debuted, Mary Tyler Moore had a flair for dancing, comedy and… yes, she was quite pretty and had a great smile. The chemistry between Moore and Van Dyke was exceptional.

THE DICK VAN DYKE SHOW (Rose Marie, DIck Van Dyke, Mary Tyler Moore, Morey Amsterdam) (publicity still)
THE DICK VAN DYKE SHOW (Rose Marie, DIck Van Dyke, Mary Tyler Moore, Morey Amsterdam) (publicity still)

THE DICK VAN DYKE SHOW was written by Carl Reiner, a comedy genius who also played the egotistical TV star, Alan Brady, for whom Van Dyke’s character, Rob Petrie was the head writer. Rob was (not always so ably) assisted by Rose Marie (as writer Sally Rogers) and the wonderful Morey Amsterdam as Buddy Sorrell who could throw jokes and one-liners out as fast as anyone. One of the all time great character actors of the ‘sixties, Richard Deacon played the show’s set-upon producer, Mel Cooley. Deacon is also remembered for his role as perpetual irritant Fred Rutherford on another classic sit-com, LEAVE IT TO BEAVER. Buddy didn’t care much for Mel and continually lambasted him with funny insults. And, of course, no one can deny that cheery, booming theme song is one of the greatest and most recognized in the history of television. The show, because of its writing and brilliant casting, still stands as a true classic, one of the funniest of any era. Yeah, it’s in “boring old” black and white and laced with mid-sixties nuclear-family-cum-hipster-chic fashion and interior design; still, it doesn’t come off as dated, because it dealt with everyday things in a humorous way that resonates as much today as it did 55 years ago.

MARY TYLER MOORE (Mary Richards' coming-of-age hat toss) (screen still)
MARY TYLER MOORE (Mary Richards’ coming-of-age hat toss) (screen still)

Of course, Mary Tyler Moore became America’s sweetheart as Laura Petrie. She went on to major TV stardom later with the groundbreaking MARY TYLER MOORE series, still considered a defining moment of female empowerment. As with THE DICK VAN DYKE SHOW, the series featured brilliant scripts and a memorable ensemble cast, with Moore’s Mary Richards, a frantic (a trait she shared with Laura) young woman striking a (sometimes unknowing) blow for equality in the male-dominated world of television news. The dancer-turned-actress married future NBC-TV executive Grant Tinker in 1962; the couple formed MTM Enterprises in 1969, producing Moore’s show (and a multitude of spin-offs: RHODA, PHYLLIS and LOU GRANT), as well as innovative television like HILL STREET BLUES, SAINT ELSEWHERE, THE BOB NEWHART SHOW and, one of my personal favorites, WKRP IN CINCINNATI, among others. Watching these old VAN DYKE episodes was a lot of fun and a great walk down memory lane. Mary told an interviewer in later years that being on the show, surrounded by all those talented performers, was like being in a college for comedy. I couldn’t have said it better.

RAVENWOLF TOWERS, EPISODE ONE: BAD MARY

(FULL MOON FEATURES/FULL MOON ENTERTAINMENT (32 minutes; Unrated); 2016)

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Populated by the usual freaks, degenerates, mad scientists and monsters that have become staples in any of his devilishly off-kilter features, Charles Band’s new web series, RAVENWOLF TOWERS, will be an acquired taste for the uninitiated, but… for those familiar with such delightfully gory offerings as THE GINGERDEAD MAN, PUPPET MASTER or GHOULIES, this first episode is like manna from the dark gods. The premiere installment of the seven-part series debuted on December 13, to coincide with the full moon; future episodes will follow suit, bowing on the six subsequent full moons. RAVENWOLF TOWERS can be viewed at Full Moon Entertainment’s streaming platform and their Amazon channel; each episode will also be offered as a stand-alone DVD release (no word yet on a collected DVD release).

RAVENWOLF TOWERS (George Appleby) (publicity still)
RAVENWOLF TOWERS (George Appleby) (publicity still)

The half-hour opener is titled “Bad Mary” and begins with an obligatory sexual encounter which – in true Band fashion – ends with one of the participants dying on the floor, minus an arm after checking the couple’s wardrobe for a boogie man. The horribly deformed giant in the wardrobe (so hideous, in fact, that he has to be played by two actors – Robert Cooper and Nihilist Gelo) is a member of the freakish, incestuous family who inhabits the top floor of the formerly opulent Hollywood hotel. And, then, things start to get weird… GENERAL HOSPITAL, soap opera weird. The newly hired assistant manager of the Ravenwolf, Jake (Evan Henderson), is warned by his histrionic boss (Sonny King) to stay away from the eleventh floor unless specifically requested by the family living there. During this admonishment, a suspicious character calling himself Doctor Ivan Ivanoff (a dark, understated performance from George Appleby, who has a resume that includes GAME OF THRONES and SHERLOCK) appears, seeking to rent a room. When the manager asks him to fill out an application for the room, the good doctor produces a stack of hundred dollar bills and is immediately given a key, offering insight to the management’s priorities. Once in his room, it becomes apparent that Ivanoff is a very different kind of doctor.

RAVENWOLF TOWERS (Shiloh Creveling, Evan Henderson) (publicity still)
RAVENWOLF TOWERS (Shiloh Creveling, Evan Henderson) (publicity still)

As fate – or, someone’s insidious plan – would have it, Jake is called to a room on the tenth floor due a leak from the floor above. By the way, as part of what Charles Band calls a “love letter to Full Moon fans past and present,” the occupant on ten will look very familiar to Band and Full Moon devotees. Jake’s repairs on eleven are interrupted by a beautiful young woman (Shiloh Creveling), crawling down the hallway, asking for help. Thinking the girl is being held against her will, Jake does the only reasonable thing he can think of: He takes her to his room and beds her. In the meantime, two of the occupants on the eleventh floor, a bedridden and irascible old coot (played with venomous glee by Arthur Roberts) and his daughter (portrayed in true scenery-chewing fashion by Full Moon mainstay, Maria Olsen) are told by their creepier-than-thou offspring that her son and brother, the giant in the wardrobe has disappeared. After dealing with the mess left by the brute Samson (collecting and destroying the remains in the room, as well as dragging off his traumatized bed-mate for a little late night blood-draining ritual), the father/brother/uncle/son/what-have-you asks a very simple question: “Oh, by the way, where’s Mary?” At which point, things reach a crescendo of weird… we’re talking ANOTHER WORLD weird here, with twisting plot-lines that will leave even the most clear-headed among us feeling a bit dizzy and scratching their head in an “I did not see that coming” sort of way as the credits roll. And, I haven’t even mentioned the very familiar clown who inhabits room 1012!

RAVENWOLF TOWERS (publicity still)
RAVENWOLF TOWERS (publicity still)

With this first episode, it might seem that Band is attempting a bit too much – getting most of the exposition (or “origin,” if you rather) out of the way before charging full-tilt into the mayhem in the next six installments. Time – and episode two – will tell; so, strap in, kiddies… another full moon is nearly upon us!

EIGHT DAYS A WEEK: THE TOURING YEARS

(UNIVERSAL MUSIC ENTERPRISES/STUDIOCANAL/APPLE CORPS/IMAGINE ENTERTAINEMNT/WHITE HORSE PICTURE (137 minutes; Unrated); 2016)
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Back in September, I was just back from the theater, having seen EIGHT DAYS A WEEK: THE TOURING YEARS. My immediate thoughts were that the film was truly an amazing ride and that director Ron Howard did a fabulous job with all of the archival film footage; cleaned and restored for the big screen, I was definitely taken back to the height of Beatlemania. After the end credits rolled, the audience was treated to a near-thirty minute segment of the Beatles’ 1965 Shea Stadium concert (almost the entire show), which was awesome… with a crisp new “remaster,” it was like being in the front row with that screaming, rabid New York crowd. Unfortunately, that piece of history didn’t make it to the DVD/Blu-Ray releases, as it was used as an “incentive” to get butts in theater seats. Oh, well… maybe someday! The film (and the bonus feature) made me realize, again, how much I miss both John and George; it really was a wonderful night of Rock ‘n’ Roll with, as Ringo said, “The biggest band in the land.”

EIGHT DAYS A WEEK: THE TOURING YEARS (George Harrison, RIngo Starr, Paul McCartney, John Lennon, circa 1964) (uncredited photo)
EIGHT DAYS A WEEK: THE TOURING YEARS (George Harrison, RIngo Starr, Paul McCartney, John Lennon, circa 1964) (uncredited photo)

So, by this time, who doesn’t know the story of the Beatles’ humble beginnings? Just in case you’ve been living under a rock for the last six decades, here’s the Cliff Notes version: Paul McCartney meets John Lennon, joins his band, bringing George Harrison along for the ride; then, here comes Ringo Starr, John and Paul start writing songs together, Brian Epstein becomes their manager, the lads meet George Martin, who works with them, molding their sound in the studio… yeah, yeah, yeah! As a lifelong fan of the Fab Four, I still came away amazed by this fabulous new documentary. Seeing and feeling just how wonderful the Beatles and their music were and continue to be today makes me realize just how much they still mean to me, forty years after they went their separate ways. The narrative of EIGHT DAYS A WEEK is presented through, not only vintage interviews of the Liverpudlians, but recent remembrances from Paul and Ringo, plus various other musicians, composers and celebrities. However, the real “star” is the concert footage and the mania surrounding the mop tops. It’s great reliving how the Beatles literally took control of popular culture in the 1960s; one of the things that I enjoyed seeing was how hard Ringo was playing back in the very early live days, displaying an almost punkish verve at times.

EIGHT DAYS A WEEK: THE TOURING YEARS (George Harrison, Paul McCartney, John Lennon, RIngo Starr, Washington DC 1964) (photo courtesy: APPLE CORPS)
EIGHT DAYS A WEEK: THE TOURING YEARS (George Harrison, Paul McCartney, John Lennon, RIngo Starr, Washington DC 1964) (photo courtesy: APPLE CORPS)

Personal fan-boy histrionics aside, what sets THIS Beatles documentary above others – first and foremost – is the unbelievable quality of the film itself: Not only the concert footage, but the manic press conferences and even the boys simply caught relaxing, is so clear and crisp that it really just staggers you. It was worth it to hear new concert footage with clean, crisp sound, highlighting how truly hard they rocked… especially Lennon tearing up now-classics like “Twist and Shout” and “Dizzy, Miss Lizzy.” Celebrated fans as disparate as Whoopi Goldberg, Elvis Costello and Sigourney Weaver relate just how hard they fell for the Beatles… Yes, everything from THE ED SULLIVAN SHOW to the Hollywood Bowl performance to their huge world tours and all of the madness that followed, but also because they were funny and talented, met the right people at the right time (manager Brian Epstein and producer George Martin would become the two most important people in their professional lives) and had a ton of belief in themselves and in their art. The Fab Four were always ready and more than willing to push the envelope. After seeing this movie, it’s very easy to see how and why these celebrities and, indeed, the world fell in love with them and why that love is still going strong over fifty years later.

EIGHT DAYS A WEEK: THE TOURING YEARS (a 14 year old Sigourney Weaver at the Hollywood Bowl in 1964) (uncredited photo)
EIGHT DAYS A WEEK: THE TOURING YEARS (a 14 year old Sigourney Weaver at the Hollywood Bowl in 1964) (uncredited photo)

To be sure, the Beatles released an astonishing number of great, hit songs and huge, groundbreaking albums between 1962-1970… a mere eight years. It’s still hard to believe! EIGHT DAYS A WEEK tells their story quite well and, seeing it initially in the theater, on the big screen, was a huge benefit (in particular, the restored Shea Stadium footage, with all the madness and screaming, was stunning). The film is nothing short of phenomenal; Howard and his crew did a superb job of presenting another – often overlooked – part of the Beatles’ huge world wide success, aside from the string of hits and the intense madness that surrounded them everywhere they went. Quite frankly, watching them deal with the insanity going on around them all the time, it amazes me how they remained so grounded. That Shea Stadium show in August, 1965 before 56,000 people was a game changer, setting up a future for arena and stadium rock shows; that performance took Rock and Roll music to heights never before (and seldom after) imagined.

EIGHT DAYS A WEEK: THE TOURING YEARS (Paul McCartney, John Lennon, George Harrison, Ringo Starr at Shea Stadium, 1965) (uncredited photo)
EIGHT DAYS A WEEK: THE TOURING YEARS (Paul McCartney, John Lennon, George Harrison, Ringo Starr at Shea Stadium, 1965) (uncredited photo)

Historically, one of the real turning points for the band was when they rejected George Martin’s idea of wanting them to only do other people’s songs; they wanted to write their own music and, so… away they went. The Lennon/McCartney hit-making machine was rolling and wouldn’t stop until outside business affairs jammed the gears. Still, by the time they decided to quit touring in 1966 to focus their creative output into studio work, they were just starting to hit their peak, releasing a string of masterpieces starting with RUBBER SOUL and REVOLVER. Recent interviews with Ringo Starr and Paul McCartney and archival clips of George Harrison and John Lennon, commenting on and explaining things along the way, really adds to the story and to the enjoyment of this documentary. The film flows very well.

EIGHT DAYS A WEEK: THE TOURING YEARS (Ringo Starr, Ron Howard, Paul McCartney) (photo courtesy: STUDIOCANAL)
EIGHT DAYS A WEEK: THE TOURING YEARS (Ringo Starr, Ron Howard, Paul McCartney) (photo courtesy: STUDIOCANAL)

I have been a Beatles fan since their first appearance on THE ED SULLIVAN SHOW, solidified by seeing A HARD DAY’S NIGHT in the theater and they are still as wonderful, their music still honest and positive and still touching new generations of listeners and fans… over fifty years later. As Sigourney Weaver said in the movie, “It was this sense of world music. We were all loving them, all over the world.” The joy of the Beatles’ music is, we can all have our favorite song and our favorite album; from 1962 to 1970, they made music for the ages and, indeed, this film is a must see for fans of all ages. A big “Thank you!” to Ron Howard for bringing us a new look at a very well-known story. He did a fantastic job with this movie, with a little help from some friends… John, Paul, George and Ringo.

SCREAMS IN THE NIGHT: THE KATIE KEENE INTERVIEW

Katie Keene (publicity photo)
Katie Keene (publicity photo)

Every generation needs its “Scream Queen,” a pretty young lady destined to be set-upon by various creeps, ghouls, monsters and demonic beings in horrific movie after horrific movie. Katie Keene is working very hard at being this generation’s version of the frightened survivor of such horrendous happenings, appearing in a slew of horror flicks including LOST LAKE, UNION FURNACE, the new CLOWNTOWN and the upcoming hospital torture film, INOPERABLE. In a recent interview, Katie discussed her craft, her favorite Halloween memories, her very real case of coulrophobia and her INOPERABLE co-star, the reigning Queen of Scream, Danielle Harris. Strap in, boys and girls… Katie Keene is an up-and-coming talent who is really gonna play on your fears.

THE MULE: Okay… first things first, give us a quick synopsis of CLOWNTOWN and tell us a little bit about your character, Jill.

KATIE KEENE: So… CLOWNTOWN… a little killer clown action for you. A couple of friends go to see a concert, they kinda get lost along the way and end up in this really small town full of killer clowns. Jill is a friend that’s going with the rest of her buddies. You know, couples date. And, she gets stuck with the rest of her buddies in this terrible town… of killer clowns.

THE MULE: You do a lot and I mean… a LOT of screaming in this film. Did you ever lose your voice during your oxygen-depleting, throat-mangling, near-operatic performance?

KATIE: My big screaming scene in CLOWNTOWN, that was a tough one. I have a space that I go to and I sit in this space on set. I’m there way before we’re filming, sitting at that tree, just zoning in… I just kind of sit in the environment and… sorta let that get to me emotionally and, buddy, when I’m directed to scream and to not stop screaming, that’s what I do. I just bring everything I’ve got. I give everything my little body can give. And, when I do it, I’m physically exhausted after but… I never lose my voice. So, that’s kinda cool.

THE MULE: So, you’re physically exhausted, but that must take an emotional toll on you, as well.

KATIE: Absolutely… it does. It’s really a lot of work. I’ve made a couple of horror movies and horror movies are hard to make. They take a lot out of you emotionally. There’s so much screaming, there’s so much high emotion and, when you’re in high emotion like that every day for a month or however long, it works on you… it works on your body, it takes a toll on you. My body is literally giving everything I can to the role. That’s what I love to do.

THE MULE: You mentioned that you’ve been in a couple of horror movies before CLOWNTOWN. So, what really frightens you?

KATIE: Well, that would be those filthy clowns! Clowns are my biggest fear in all the world and when they had… When I took this role, I didn’t know it was about killer clowns. When Tommy, the director, asked, “Oh, you want to be in a movie?” So, yeah… after I booked the role, I was so excited and then he said, “But, we have to let you know… it’s about killer clowns!” I was so taken aback and was a little speechless because I have a legit fear of them. As a young girl… I suffer from terrible nightmares and ever since I was a young girl, I dream about clowns. I’m SO scared of them. It’s crazy to be thirty years old and be afraid of clowns, you know. That’s a real fear that I have and it took me a minute to really check in with myself to see if this was something I could do and I was just like, “You know what? It could be the greatest acting I’ve ever done ’cause I’m not gonna be acting… I’m really going to be scared!”

THE MULE: Oh, yeah… you gotta watch out for those killer clowns! I don’t trust any of them!

Katie Keene on the set of CLOWNTOWN (uncredited photo)
Katie Keene on the set of CLOWNTOWN (uncredited photo)

KATIE: Oh, no! Gosh, aren’t they just so terrifying?

THE MULE: So, aside from CLOWNTOWN, what’s coming up for you next?

KATIE: After this movie, actually with some of the same producers, I was… on another horror film called INOPERABLE. We’re finished filming now, but that’s my newest film coming up on the horizon. And that’s just now having a trailer come out and starting to get a little buzz from that. Then, continuing my day-to-day actor life here in LA, you know, auditioning for all kinds of different things day-to-day and working on the craft and seeing what you can land next. It’s kinda nice, ’cause I’ve got a couple films that are coming out around the same time. It’s really cool, especially with the Showmi and the Netflix. You know, I’ve got a couple movies on a couple of different things and people see the trailer for CLOWNTOWN and they go, “Oh, I’ve been a fan since LOST LAKE” or “I’ve been a fan since UNION FURNACE” or a couple other horror films I did… they’re starting to come out around the same time. It’s great for my career; people recognize me from a couple other very small independent horror films. It’s just so cool to be recognized, that people are watching some of these films. It’s just great!

THE MULE: Oh, absolutely. Now, INOPERABLE… I have seen the trailer for that one and, yeah… I guess that’s another thing that can be kinda creepy… hospitals.

KATIE: Absolutely. That hospital we filmed in WAS creepy. It was not a very fun hospital. It’s so neat what scares people… that’s what so fun about horror films – it’s like, there’s so many things you can make scary, you know, you can just play on peoples fears. I know,,, the fear of clowns is very common. There are so many people. And, fear of hospitals… people are scared of hospitals and there are just so many… so much opportunity to play off the fear of real people but… can I just say, it’s really fun!

THE MULE: Yeah, it is. I mean… people love to be scared.

Katie Keene is terrorized and tortured in LOST LAKE (publcity still)
Katie Keene is terrorized and tortured in LOST LAKE (publcity still)

KATIE: Yeah, they love to be scared! You know what? I like to be scared. Halloween is my favorite holiday. The scary haunted houses, they scare me. I mean, I know they’re actors… I used to act in them but, now, that’s what scares me – going to haunted houses. Horror films these days, I’m very critical. It’s very hard for me to find a scary movie that really scares me. I’m always like, “Bring it on! Bring me everything you got!”

THE MULE: I’m less than an hour away from Saint Louis and there are some really good haunted houses there. I’m talking world class haunted houses.

KATIE: Oh, absolutely! And, people will drive from all over to go to the real good ones. It’s crazy! It’s such an interesting thing that people just love to get the shit scared out of them!

THE MULE: You mentioned Halloween. It’s probably everybody’s favorite holiday… well, Christmas is up there, too. But, anyway, what is your favorite Halloween memory?

KATIE: Oh, wow… I’ve just got so many. You know, the Halloween I really liked, I was working in a haunted house; it was a couple years back. It was the Hollywood Haunted Hayride… I don’t know if you’re familiar with it but, they do big haunted houses here in LA. I was working that for Halloween one year and we just had a ball! It was just so much fun. That’s the most recent one that really sticks out in my mind. I always try to do something crazy for Halloween. A lot of Halloweens these days, I’m working. As a child, growing up, we always would dress up and trick or treat and then, when I got a little older, then started the pranks. I was always running around in camouflage, me and my buddies from school… we were big pranksters. So, every Halloween, everybody was going to get egged or pranked in some way. I had a lot of fun on Halloween growing up… always trying to scare people. I’ve got so many good Halloween memories.

THE MULE: Cool. I was just going to get back to INOPERABLE again. What is it like to work with Danielle Harris? She’s kind of a queen of the scream movies.

KATIE: Danielle… yeah, she sure is. Danielle was so great, such a big help to me, such a good friend to me, such a good mentor. She’s been working since she was three years old and now she’s kinda the big scream queen, you know, with HALLOWEEN. That’s what she does. We were so in awe… it’s always really neat when you grew up watching someone on television and then, a few years later, down the road, there you are working with them in a movie. A known movie. It’s always so great. She was just so very informative, she’s very professional. I love to watch her work, I love to watch her act and to hear her ideas and her thoughts. It was just so professional; you could just tell she’s been doing it her whole life. It was just great to see. We have a similar… She gave me a lot of great advice for my own career. She did a lot of horror films; I’m kinda… in that way, as well… doing a lot of horror films. She gave me great advice and had only nice things to say about my acting. She was like a friend and a mentor, too. I just loved her. She was amazing to work wth, so professional, so good at what she does… it’s second nature to her. It’s so cool to see people work that way, She’s a love, a friend of mine to this day. I really appreciate that. Just a lovely lady.

INOPERABLE (Katie Keene, Danielle Harris) (publicity still)
INOPERABLE (Katie Keene, Danielle Harris) (publicity still)

THE MULE: Awesome. We will be looking for that one and CLOWNTOWN is coming up soon. Thanks for the time and maybe we’ll talk again around the time INOPERABLE is released.

CLOWNTOWN

(MILLMAN PRODUCTIONS/STEEL HOUSE PRODUCTIONS/ZORYA FILMS (85 minutes; Unrated); 2016)

clowntown-final-dvd-art

This could very well be the first current events, topical horror movie ever made. It is released in the midst of a “Creepy Clown Mania” that has overtaken small towns from coast to coast; in many in rural areas, there are (mostly unsubstantiated) reports about children being menaced and stalked by people dressed as clowns. Personally, I think it’s all a magnificently choreographed – if terribly misguided (think Orson Welles’ 1938 radio broadcast of THE WAR OF THE WORLDS) – promotional stunt… maybe one intended to prepare audiences for CLOWNTOWN. Be that as it may, the Tom Nagel/Jeff Miller hack and slash is, actually, “Inspired by true events.” Apparently, October 2014 saw numerous armed people in Bakersfield, California dressed as clowns, scaring the populace at-large. I guess I missed that newscast… or, just maybe, living here in the middle of the country, I’m kinda used to seeing armed clowns at the corner store and at the family diner down the street. (Before a large contingent of angry townsfolk come after me with torches and pitchforks… that was a joke! Sheesh… why so serious?) Some of the situations our hapless heroes find themselves in call for a major suspension of reality on the part of the viewer, much like great hack ‘n’ slash movies of the past, like FRIDAY THE 13TH. That doesn’t make the film any less enjoyable for what it is: A Halloween movie meant to scare the crap out of you.

CLOWNTOWN (David H Greathouse) (publicity still)
CLOWNTOWN (David H Greathouse) (publicity still)

CLOWNTOWN begins – as most such stories do – with a preamble, a foreshadowing of the impending violence. A pretty blond babysitter (I would identify her as “Interchangeable Blond Rack 247,” but that would be demeaning and chauvinistic, so I won’t… the actress’ name is Kaitlyn Sapp, by the way) and her two charges enjoy a final swim before the kiddies’ bedtime; a foreboding mention of the sitter’s predecessor and random shots of clown-related knick-knacks inevitably lead to the… well, that would be telling, wouldn’t it? Fast forward fifteen years as four friends (played by Brian Nagel, Lauren Elise Compton, Katie Keene and Andrew Staton), on a road trip through Southern Ohio to a concert in Columbus, pull into a roadside diner to ask directions and use the facilities. A pair of workers (director Tom Nagel and Jeff Denton) sit at a window booth, one wanting to be on his way home and bemoaning the slow, leisurely manner of his friend’s eating style; remember them… they’ll be back later. Also adding to the (weird) local flavor is the county sheriff (Christopher Lawrence Chapman) and a leering old dude with lewd intentions (don’t worry about him, though, as he ends up dead in the next scene).

CLOWNTOWN (Chris Hahn, Lauren Elise Compton, Brian Nagel) (publicity still)
CLOWNTOWN (Chris Hahn, Lauren Elise Compton, Brian Nagel) (publicity still)

With directions for a shortcut offered by the Sheriff, the revelers are on their way. On the road once more, Mike (Staton) asks his girlfriend to locate the nearest gas station, but Jill (Keene) discovers her phone is missing. Sarah (Compton) calls Jill’s number in hopes of locating it; a male voice answers the call and directs the group to the nearby town of Clinton, promising to meet them there with the phone. The town seems deserted as the four head to the designated meeting place; after several frustrating hours spent waiting, the decision is made to abandon the phone for the time being and get back on the road to Columbus. The group returns to their vehicle only to find that it has been tampered with and won’t start; as the hood is closed, they finally see another person, a menacing looking man dressed as a clown and wielding a machete. The man disappears as Brad (Nagel) and the others approach. Desperate to be on their way, they begin searching for additional signs of life in the town and eventually run into Billy and Dylan, the two homeward bound workers from the diner, who have just had their own encounter with a clown. As notes are compared, the clowns return and Billy is… well, let’s just say that things quickly degenerate from that point. Heading into a suitably foreboding junkyard, the quintet is quickly reduced to a quartet as Jill is caught lagging behind the others; the hotheaded Mike is ready to confront the murderous clown horde, but is held at bay by the levelheaded leadership of Dylan (Denton).

CLOWNTOWN (Chris Hahn, David H Greathouse, Ryan Pilz) (publicity still)
CLOWNTOWN (Chris Hahn, David H Greathouse, Ryan Pilz) (publicity still)

That works out so well for the harried remnants of the little group that they find themselves surrounded, cowering in the husk of an old Winnebago until a grizzled citizen-in-hiding comes to their rescue – a variation on the whole “Follow me if you want to live” theme. Frank (Greg Violand) comes across as a stereotypical homeless psychotic, but once our heroes regroup in an abandoned warehouse, the truth about why he is the way he is comes to light. It seems that Clinton was once a thriving railroad stop, until a horrendous train wreck ruined the economy and turned the village into a virtual ghost town where the clowns imposed their own style of marshall law on the remaining citizens. Frank concludes the story by emphasizing, “Clowns own this town now.” Dylan says, “I heard rumors of clowns in this town, but I thought it was just bullshit to scare people. I heard it all started with some crazy, messed up family.” Looking away, Frank replies, “I don’t know nothin’ about that.” Which, of course, means… the clowns have discovered their hiding place and are on the hunt again. The sad thing about the whole predicament is highlighted at about the forty-four minute mark of the film, when Sarah tells Brad that she doesn’t really like Country music, anyway – had she made that fact known way back before the original foursome set out for Columbus, they would be safe at home, not running for their lives from a gang of homicidal Bozos (the killer crew are played by David H Greathouse, Ryan Pilz, Alan Tuskes, Beki Ingram and former WWE/WCW/ECW wrestler, Chris Hahn). But, then, what fun would that be for us?

CLOWNTOWN (Alan Tuskes; Katie Keene, Lauren Elise Compton; Beki Ingram) (publicity stills)
CLOWNTOWN (Alan Tuskes; Katie Keene, Lauren Elise Compton; Beki Ingram) (publicity stills)

So, anyway… with Frank and his new friends once again on the run, the clowns begin to exhibit certain preternatural – if not supernatural – abilities: Heightened agility, strength, speed and a high tolerance for pain among them. It’s also around this point in the flick that we finally get a glimpse of Jill’s fate; she isn’t dead, but she is being held captive at the clowns’ “compound.” The fact that she is still alive actually came as a bit of a surprise to me, even though the actual body count throughout the entire movie is startlingly low for one of this genre. Don’t get me wrong, there are plenty of gruesome scenes to keep today’s horror fan watching, just not a lot of people dying. After escaping from the clowns (and doing damage to at least one), Frank gives the others directions to find Jill, but along the way, they are set upon once more, as Brad is separated from Sarah and Mike. Now, well after dark, Brad sees lights on in a house; entering the home, he finds a woman (Maryann Nagel… that’s right, this low budget screamer is a family affair, with many a Nagel and Uncle Greg Voiland involved, either behind or in front of the cameras) with screws looser than Frank’s and, upon seeing a familiar picture on the mantle, begins to put things together. Meanwhile, Mike and Sarah are captured as they try to get help and removed to the clowns’ sanctuary. There really aren’t a lot of surprises left by this point, but getting to the end of the story is still a lot of fun… in a “brain-disengaged” sort of way. As I mentioned at the top of this review, CLOWNTOWN ain’t Shakespeare; it’s just good, cheap fun meant to scare the bejeezus out of you around Halloween time. Having said that, I must congratulate the writers for the humorous deaths of a pair of clowns in the last few minutes of the movie. For those who are interested in such things, the movie features a very HALLOWEEN-esque soundtrack. As far as parental warnings, there are more than a few very violent scenes, some implied bondage and one topless babysitter… kinda mild for a horror film nowadays, actually.

CLOWNTOWN is coming to DVD and Video-On-Demand on October 4, 2016… just in time for Halloween and your “Creepy Clown” or “Scream Queen” festivities.