Tagged: movie

John Ostrander: My Friend, MEMcG

Ostrander Art 130203I’m going to exercise a point of personal privilege this week and write about a friend. Her name was Mary Ellen McGarry and I just received word that she died. Mary Ellen was a great soul, a giant heart, a wonderful talent, and a large personality. She filled a room three times over.

Out of all the people I’ve ever known, only my late wife, Kim Yale, had as outgoing and, at times, boisterous a personality. One of my nicknames for her was “Boom-boom” because her laughter and her voice could boom across a room and, indeed, across Lake Michigan.

And, lord, she could laugh. Loud, infectious, and riotous. I loved to make her laugh. I would get her going so hard that she would start hitting me to make me stop which, of course, only made me try harder.

In the summer of 1971 we worked as apprentices together at a summer theater, which meant we worked like dogs for very little money. It was a strange summer. The theater was located at a college so we all lived in dorms on campus. For Mary Ellen I made up a musical comedy, Tritzing to Tibet, based on the climbing of Mount Everest by Edmund Hilary. I should explain that it has less to do with historical fact than the central conceit of the movie, The Producers, in that any show that bad has to be a hit. I took all the events that happened in 1953 and, in an absurd breach of artistic license, moved them to 1937 so I could have an opposing chorus of Nazi mountain climbers.

Every night, just before curtain went up on whatever show we were doing, I got over to her in the wings and, sotto voce, sang her a new song from the show. I should also mention that in addition to not writing music I don’t even read music. The only purpose of the whole exercise was to see if I could reduce Mary Ellen to tears with laughter. Okay, so there’s a slightly sadistic side to me.

The thing is – over the years, any time we would get together, Mary Ellen insisted on hearing some or all of those godforsaken tunes. The last time was at a reunion last year for alums of the Loyola University Theater Department (where we first met). Mary Ellen had lung problems and at that point was in a wheel chair and had to constantly have oxygen. It didn’t slow her down an inch. And she wanted me to sing some of the songs from Tritzing to Tibet.

I demurred. To be honest, I was afraid that if I got her laughing too hard I might literally kill her. Boom-boom would have none of that. She knew her own limits and she knew what she wanted and, by god, I would sing. I did and she was right.

She was also incredibly brave. Her lungs were giving up on her but she was told that, with a lung transplant, she might live longer. However, she was also teaching kids at that point. She loved it but, if she got a lung transplant, she would have had to give it up. We all know kids are Petri dished for diseases and she would likely have caught those germs and her new lungs could not have taken it.

Mary Ellen and I had a long talk about it on the phone and she was clear and firm. She would not give up what she loved so much. I had to respect that. I still do.

So many people loved you, Mary Ellen. I hope you knew that.

There’s so much more to you than I can begin to recount here. I will carry your voice and your laughter and your spirit in my memory and my heart all my days. I will grieve the loss of you and that’s alright. Those we love who have died are worth the tears we shed for them. I will celebrate your life because you were so filled with it.

Thanks, Boom-Boom, for being my friend. Love you.

MONDAY: Mindy Newell

 

UCHRONIC PRESS ANNOUNCES LATEST UCHRONIC TALE- THE STUDIO SPECTRE!

PRESS RELEASE-The Uchronic Press is proud to announce the third novella in the Uchronic Tales line—The Studio Spectre.



This time around, Clark Tyler finds himself on a movie lot with a killer on the loose. The rumors had always warned that the lot was haunted, but this time it seems the Spectre is out to kill Hollywood’s hottest starlet.

W. Peter Miller (The Zeppelin, The Horn) brings another exciting pulp action tale to the Uchronic series. Dames, death, and Tinseltown are the backdrop for this mystery in the Golden Age of Hollywood.

Is the Spectre real, or an elaborate hoax? The Jade Monk joins forces with Clark as they hunt for The Studio Spectre!

The eBook is on sale now at Amazon and the Nook store and just about everywhere else eBooks are sold. The paperback is at Amazon. The book features a stunning cover by Mike Fyles and is packed with thrill, chills, and a firetruck chase through the streets of Hollywood! How many books can say that!

The Uchronic Press serves reader that crave action, excitement, and a bit of an edge to their pulp adventure fiction. Or stories take place in a alternate past, a Uchronic world greatly like our own, but with a dash more mystery, danger, and the macabre. Here you will find heroic adventure, outlandish science, ferocious alchemy, and an alternate history just slightly larger than our own.

Look for other adventures featuring perilous airships, lost civilizations, and earth-shattering danger!

For more information visit:
UchronicTales.com
docsavagetales.blogspot.com

UCHRONIC PRESS ANNOUNCES LATEST UCHRONIC TALE- THE STUDIO SPECTRE!

UCHRONIC PRESS ANNOUNCES LATEST UCHRONIC TALE- THE STUDIO SPECTRE!

PRESS RELEASE-The Uchronic Press is proud to announce the third novella in the Uchronic Tales line—The Studio Spectre.

This time around, Clark Tyler finds himself on a movie lot with a killer on the loose. The rumors had always warned that the lot was haunted, but this time it seems the Spectre is out to kill Hollywood’s hottest starlet.

W. Peter Miller (The Zeppelin, The Horn) brings another exciting pulp action tale to the Uchronic series. Dames, death, and Tinseltown are the backdrop for this mystery in the Golden Age of Hollywood.

Is the Spectre real, or an elaborate hoax? The Jade Monk joins forces with Clark as they hunt for The Studio Spectre!

The eBook is on sale now at Amazon and the Nook store and just about everywhere else eBooks are sold. The paperback is at Amazon. The book features a stunning cover by Mike Fyles and is packed with thrill, chills, and a firetruck chase through the streets of Hollywood! How many books can say that!

The Uchronic Press serves reader that crave action, excitement, and a bit of an edge to their pulp adventure fiction. Or stories take place in a alternate past, a Uchronic world greatly like our own, but with a dash more mystery, danger, and the macabre. Here you will find heroic adventure, outlandish science, ferocious alchemy, and an alternate history just slightly larger than our own.

Look for other adventures featuring perilous airships, lost civilizations, and earth-shattering danger!

For more information visit:
UchronicTales.com
docsavagetales.blogspot.com

The Point Radio: Big Stars Big Comedy In MOVIE 43

PT012113
It’s that movie you saw a trailer for – the one with Richard Gere, Halle Barry, Kate Winslet, Hugh Jackman and a bunch of familiar people. The one with the unusual names. It’s MOVIE 43 and our exclusive preview begins with the story on how the project actually came together, straight from director Peter Farrelly. And did you know there is;more of Robert Kirkman‘s comics-verse coming, plus FRINGE exits with a bang.

Take us ANYWHERE! The Point Radio App is now in the iTunes App store – and it’s FREE! Just search under “pop culture The Point”. The Point Radio  – 24 hours a day of pop culture fun for FREE. GO HERE and LISTEN FREE on any computer or on any other  mobile device with the Tune In Radio app – and follow us on Twitter @ThePointRadio.

Marc Alan Fishman, Star Trek Virgin

Fishman Art 130112So, a few weeks ago, I decided to give myself the night off. And in doing so, I granted myself the ability to indulge in a previously DVR’ed movie stolen during a free weekend some time ago. That movie was The Green Hornet by way of Seth Rogan. It was, to date, the worst adaptation I’d personally seen of a comic book(esque) character in a movie. The flick was so god awful, I spent the following evening searching for something to wash my mind out. And there, stuck in a marathon of its brethren, a movie I knew was a sure-thing.

The Wrath of Khan was to my knowledge a near-universally beloved film of nerdtopia. Furthermore, I’d never seen it. (Gasp). Surely this shining beacon of Trekkie culture would cure my explosion-riddled mind from the misadventures of Kato and Bro-Hornet. My fellow ComicMixers… set your phasers to stunned. I loved it.

I loved every minute of it. And truly, that is saying something. I am by all accounts not a Trekkie. That being said, I’m not completely ignorant of the brand either. In my short time on this blue ball, I’ve watched dozens of episodes of Next Generation, a handful of Voyagers, a pair of Deep Space Nines (and, heck, I actually saw the one with the Borgs), and the 2009 Abrams’ flick in theater. But the original crew? My only exposure prior to Wrath was an old X-Men/Star Trek crossover comic book from 1996, purchased mainly as a joke. I tried, once, to watch the original series on TV. I was aghast at the production values (forgive me, I was but a child of 24 or 25 at the time). So, to go into this movie as cold as a Bantha on Hoth (I bet that’s pissin’ a few of you off…), I had expected to hate the movie.

Yet something clicked. Immediately after absorbing the film, I went to YouTube to digest the original appearance of Khan in the episode Space Seed. I also set my DVR to record the once-a-week rerun of the retro-upgraded Original Series on cable. Subsequent discussion with actual Trekkies gave me insight as to why I’d suddenly become enthralled in the series. I discovered that one of the motifs of the show was the war of morals versus logic. Bones vs. Spock, with Captain Kirk in the middle. It’s a great concept, one that gave me perspective to enjoy what I previously thought was banal. Where I believe much of The Next Generation is rooted in the expanded (and better looking) aliens and psuedo-science driven plots (and again, I could be wrong, but this is based on the episodes I’ve seen…) the Original Series is more focused on the characters themselves. To be fair, each concept has merit, but it’s taken me until now to find the hook necessary to really sink my teeth into TOS.

And what of James T. Kirk? Removed from the stereotypes I was used to seeing in countless spoofs and parodies stood a Captain who was very much the product of a pulpier age. He fights. He makes love, apparently a lot. He battles his giant space ship with equal amounts of abandon and cool calculation. And in Wrath, it was a treat to see nearly all of these things happen. Suffice to say, without the prejudice of “He’s no Piccard,” I’m finding just why so many people are smitten by Shatner.

For what it’s worth? My money (and new found respect) is on Bones. Prior to my Trek-Immersion therapy, all I knew of the man was “Damnit Jim, I’m not a (insert something), I’m a doctor!” In a single scene during Space Seed, I found a character so compelling, I’m kvelling a little. In Seed, Khan awakes, steals a scalpel, and bates Bones to his bedside. He grasps his neck (with a strength supposedly five times a normal man) and puts the knife to it. Bones, without a flustered yelp to his name, suggests to Khan he should either choke him or just slit his throat, making sure to point out he should tighten his gasp a bit or slit right behind the ear to make it quick. Bones has balls. Amazing.

But let’s all be real; Wrath of Khan is all about Khan. The character himself is a brilliant trope – he’s a conqueror out of time. Following his first appearance via Space Seed, Wrath plays brilliantly. The fantastic turn that Kirk has in allowing Khan a planet to rule, was fascinating. And to use that as the catapult for the movie – where the best intentions are ruined by careless happenstance, and terrible luck –  breeds a villain that we can almost sympathize. Even in Seed, we get that air of mystery to the man. He’s a product of another age, superior physically and mentally… but he’s still fallible against a man three centuries ahead of him. And while Wrath of Khan did not allow for the titular terror to match his still-amazing pecs to Kirk’s greying temples, we’re still treated to what makes the Star Trek universe so appealing to me now: Stories are built around savory plots and moral ambiguity, not action sequences and special effects.

So, I am on the verge of a new thing. A respect, and genuine interest in something I truly was never before intrigued by. Something that allows me access to a new sub-culture to both explore and debate with. Something that might just make me boldly go where so many others have gone before. But what could be next? Doctor Who?

Not likely. But that my friends… is a topic for another week.

SUNDAY: John Ostrander

 

GEEK’S GUIDE TO THE GALAXY ON ADAPTING ROBERT E. HOWARD

Geek’s Guide to the Galaxy, the Science Fiction Podcast from Wired, has released episode 77 featuring a discussion on the movie adaptations of the works of Robert E. Howard, creator of Conan the Barbarian, and interview Brandon Sanderson about finishing Robert Jordan’s epic fantasy series The Wheel of Time.

You can listen to Geek’s Guide to the Galaxy Episode 77 here or on itunes.
Follow Geek’s Guide To The Galaxy on Facebook.

Star Trek Into Darkness’ Carol Marcus Introduces New App

Star Trek Into Darkness’ Carol Marcus Introduces New App

At the Consumer Electronics Show, Paramount unveiled a clip featuring British actress Alice Eve, who plays Carol Marcus in May’s Star Trek Into Darkness. She introduces the film’s cutting edge App.

[youtube]http://www.youtube.com/embed/QkKGzRPMCtI[/youtube]

Star Trek has a history of leading others along the marketing trail. They were featured on the very first Happy Meal and Star Trek was the first movie to have a dedicated website back in the World Wide Web’s earliest days. And now the app promises the following:

• An audio scan function that can be turned on to automatically recognize and reward users for watching Star Trek Into Darkness content on TV and other media;

• An image scan function that enables users to interact with images printed or viewable in the real world;

• A geofencing function for location-based experiences;

• New Star Trek Into Darknesscontent, such as videos, images and wallpapers delivered directly to users’ mobile devices;

• Exclusive opportunities and special offers only available to app users;

• One lucky sweepstakes winner will be rewarded with the grand prize of attending the Star Trek Into Darkness U.S. premiere.

The app was developed by  Qualcomm Incorporated using Gimbal context awareness technologies which will be used to deliver exclusive content and advanced real world game experiences for the Star Trek Into Darkness application based on the upcoming movie from J.J. Abrams.

These cutting edge technologies are being showcased in a never before-seen way and will enable users to automatically engage with a wealth of movie related materials by utilizing their real-life surroundings to auto-complete integrated missions by employing audio scan, geo-location recognition, and image recognition functionality powered by Qualcomm Vuforia.  The Star Trek Into Darkness app will launch at the end of January.

During the second quarter of the big game, the app will allow users the ability to unlock the first of many surprises during the airing of the Star Trek Into Darkness TV-spot, making this one of the most unique and interactive apps ever created for a movie.

“We are excited about collaborating with Paramount on this app as it further brings to life Qualcomm’s vision of the digital sixth sense, where devices intelligently interact with the world around you,” said Dr. Jacobs.  “By leveraging the Gimbal platform, this app harnesses the power of the smartphone to bridge the digital and physical world, allowing the studio to market the film in the real world and simultaneously bring users into the film’s story and world.”

Star Trek Into Darkness is written by Roberto Orci & Alex Kurtzman & Damon Lindelof and directed by J.J. Abrams.  Abrams is producing with Bryan Burk through Bad Robot Productions, along with Lindelof, Kurtzman and Orci.  Jeffrey Chernov and Skydance Productions’ David Ellison, Dana Goldberg and Paul Schwake are the executive producers.

Superhero Movies and their Sad Perfect Badass Messiahs

Superhero Movie

Entertainment Weekly, of all places, presents one of the most thoughtful essays on superhero films and how– similar they’re all becoming, and even worse, how many other movies are aping them to great financial success and overall boredom.

Superhero Movies have evolved to the point where three of the genre’s standard-bearers can embody radically different filmmaking styles – this is a good thing, right? Well, maybe. But the problem is, when you dig underneath the three films’ respective stylistic excesses – and they are excesses; few genres in film history are more fundamentally decadent than the Superhero Film, with the ever-expanding budgets and the swooping digital-effects-crane-shots and the ruined cityscapes and the supervillains planning to conquer/pillage/destroy every city/world/galaxy in sight – there is a depressing sameness to lurking within each movie’s basic DNA.

via The Superhero Delusion: How Superhero Movies created the Sad Perfect Badass Messiah, and what that says about America | PopWatch | EW.com.

REVIEW: House at the End of the Street

House at the end of the StreetThere are flashes of characterization, wit, and warmth in House at the End of the Street, making you hope it is a cut above your modern day horror film. The movie largely focuses on the mother and daughter tandem of Sarah (Elisabeth Shue) and Elissa (Jennifer Lawrence), as they struggle to start fresh in a town after divorce. They can only afford to rent such a nice house because it is situated near the home where a young girl murdered her parents so is tainted. Of course, right there, you know the daughter is still around. Then we learn the son, who had been living with relatives when the heinous act occurred, had moved back in. And we’re off.

The movie, said to be inspired by a short story written by Jonathan Mostow, probably worked better as prose, where more could be done to set mood and character without falling into the tropes that reduce this to a cookie cutter thriller that fails to really thrill. The best thing it has going for it as some twists and turns towards the end that are interesting but are not explored (nor will I discuss so as not to spoil it for fans).

What makes the movie interesting to watch is the cast, headed by Shue, who hasn’t done much interesting work since Leaving Las Vegas, but makes the most of the underwritten role of the mother tightening her grip on the teenage daughter she loves, realizing she’s losing her at the same time. Lawrence, a major star thanks to Winter’s Bone and The Hunger Games, also doesn’t really get enough to work with but plays the new girl at high school rather well. Her scenes with Max Theriot, the boy next door, are some of the best in the film.

Had screenwriter David Loucka and director Mark Tonderai –two men with negligible credits — played more with the mother/daughter, new girl in town threads, this could have been a far richer, more believable tale. Instead, they fell into the trap of using that as window dressing, focusing instead on the mystery of who is trapped under the floor of the cursed house. The soundtrack by Theo Green adds a level of suspense that the perfunctory photography fails to deliver.

The disc coms with the 101-minutetheatricalversion and the unrated 107-minute version, which is just more of the same, making it all the more disappointing. The promised shocking added twist is interesting and could have made the film more interesting, and certainly more of a Hitchcockian thrill ride as promised in the short extra “Journey Into Terror” where the cast and crew heroically make it sound like the film was worth the effort. For Lawrence, this is one of those she will keep on her resume and probably never talk about again.

This release, out now from 20th Century Home Entertainment comes with both versions on a Blu-ray disc and the standard DVD and digital copy are on the second disc.

FERGUSON TAKES ON ‘PROHIBITION’- AN ALL PULP GUEST REVIEW!

ALL PULP REVIEWS- by Ron Fortier
PROHIBITION
By Terrence McCauley
Airship 27 Productions
181 Pages
Guest Reviewer – Derrick Fergusson
I’m going to get to talking about PROHIBITION in a bit, I promise. But first, I gotta relate a little story that will assist me in making my opening point. Okay? Thank you for your patience and sit back. Here it goes:
Couple of weeks ago I’m having a Skype conversation with a gentleman who is incensed that I don’t like “Hobo With A Shotgun.” It’s a perfect modern grindhouse movie he insists. No, I politely disagree. “Planet Terror” is a a perfect modern grindhouse movie. The gentleman spends the next two minutes expressing his opinion that whatever it is I allegedly use for thinking must be composed of excrement and another minute telling me that “Planet Terror” is garbage and why on Earth do I think it’s the better movie.
“Because,” says I, “Robert Rodriguez knows what grindhouse is. The guys who made ‘Hobo With A Shotgun’ just think they know what grindhouse is.”
Which finally brings me to PROHIBITION by Terrence McCauley. We’ve got a lot of New Pulp writers who think they know what a 1930’s gangster story is. But Terrence McCauley knows what a 1930’s gangster story. Man, does he ever.
We’re in New York, 1930. The town is run by Archie Doyle, the city’s most powerful gangster who is more like the monarch of an unruly kingdom. And there’s somebody out there looking to take his crown. Archie’s got an ambitious plan in mind that will give him more power than he’s ever dreamed of before. But he’s got to stay alive long enough to see that plan through. That’s where his chief enforcer Terry Quinn comes in. Terry’s an ex-boxer and the toughest mug on two legs. But finding out who’s trying to start a bloody gang war between Archie Doyle and his main rival, Howard Rothman is going to take more than just being tough. Quinn is going to have to rely on his street smarts and think his way through this. Of course, shooting and slugging his way to the guilty party helps an awful lot, too.
PROHIBITION has a lot going for it, mainly that McCauley isn’t afraid to write characters who aren’t likeable at all. But that’s okay with me. As long as I know why the characters are doing what they’re doing and understand their motivations, I’m cool. McCauley is writing about people who have chosen a dark, dangerous and violent life and he stays true to that. That’s not to say he doesn’t find the humanity in them. He does. It’s just a humanity that manifests itself within the terms and parameters of the concrete jungle his characters have chosen to inhabit for whatever reasons people have to live a life of crime. This wasn’t an easy period in American history to live in and people had to make hard choices. The characters in PROHIBITION have to make the hardest choices of all since the wrong one can get them killed.
A lot of New Pulp writers figure that to write a 1930’s gangster story you just have to have pseudo-tough talking wanna-be’s sounding more like Slip Mahoney than real gangsters run around shooting Tommy guns. McCauley understands that the most successful gangsters of that era ran their organizations like businesses. The business just happens to be crime is all. Violence wasn’t their first resort to solve every problem. It was just as useful and as profitable to know when notto use violence as it was to know when to use it.
I appreciated the smartness of these characters. The way they talk to each other, maneuvering to gain an edge through words makes for some really solid dialog. The relationship between Archie Doyle and Terry Quinn reminds me a lot of the relationship between the Albert Finney/Gabriel Byrne characters from “Miller’s Crossing.” Imagine if Gabriel Byrne’s character was an authentic badass who knew how to fight instead of getting his ass kicked all the time and you’ll get what I mean. Terry Quinn is a guy who knows how to work the angles and his navigation through this gleefully violent story is an enjoyable one to read.
And like any good gangster story, McCauley doesn’t skimp on the sex and violence. If you want cute gangsters who pal around and crack jokes then go watch “Johnny Dangerously” because you’re not going to find that in PROHIBITION. I appreciated the tough, hard story McCauley is telling and the even tougher, harder characters who speak and talk pretty much the way I expect gangsters of that era to behave.
I’m sure that there are some who are going to be uncomfortable or even turned off by the language and that there isn’t really an ‘heroic’ character to root for. Terry Quinn is a killer and extraordinarily violent man who doesn’t make apologies for how he lives his life. Most readers like to have a lead character to root for and while Terry’s misplaced sense of honor and loyalty lifts him a notch above most of the other characters in the book that doesn’t mean he’s anywhere near being on the side of the angels. But it’s precisely because of that misplaced honor and loyalty that makes him such an enjoyable protagonist to read about.
And I can’t wrap up this review without mentioning the wonderful illustrations by Rob Moran which do an excellent job of capturing the mood and feel of the story. I’m willing to bet next month’s rent that Rob Moran has seen a lot of those great classic Warner Brothers black-and-white gangster epics of the 30’s and 40’s as that’s the feeling I got from his illustrations.
So should you read PROHIBITION? Absolutely. It’s not only a terrific way to spend a couple of quality reading hours, it’s also an important book in the evolution of New Pulp. It’s exciting to see books like this that adds another genre to expand what New Pulp is and can be. The bread-and-butter of New Pulp are the masked avengers, the jungle lords and the scientific adventurers, sure. But there’s plenty of room for sports stories, romance, westerns and private eyes. And in the last couple of years we’ve seen those. Hard-boiled crime stories are just as much a Classic Pulp tradition and I’m delighted to see it being continued and represented in New Pulp. Most definitely put PROHIBITION on your Must Read List.