Where Have I Been?

If you're somebody who only follows my blog and not my Twitter, you may have noticed how much the content has dried up in recent months. I've been writing and podcasting in a lot of other spaces, so I haven't had as much time to devote here. Rest assured that October is going to be as jam-packed as usual, but if you're missing me why not check out this recent run I did on Alternate Ending, picking through the highlights of the krimi genre (German proto-slasher films from the 60's)? Links are below!

Fellowship of the Frog (1959)

Room 13 (1964)

The Phantom of Soho (1964)

Creature with the Blue Hand (1967)

Gorilla Gang (1968)

Cheers, and see you soon!

Word Count: 119

Blogaversary The Fourth

Folks, today marks the fourth anniversary of Popcorn Culture, and it’s amazing we all survived this long, let alone this little blog. Now, our good friend Hunter over at Kinemalogue started on the exact same day, so I want you to head over there and give him a little love. Our blogs are fraternal twins, after all. In celebration of this landmark, and in honor of the traditional fourth anniversary gift being electrical appliances, I have a little list prepared for you.

THE TOP 5 HORROR MOVIES DEATH SCENES INVOLVING ELECTRICAL APPLIANCES

#5 TV Set in A Nightmare on Elm Street 3: Dream Warriors

The boob tube gets a bad rap. It might turn your eyes square and your brain into mush, but at least it won’t murder you… unless you’re in the nightmarish thrall of Freddy Krueger. This TV kill is one of the most iconic Elm Street scenes ever, and for good reason. It’s pithy, playful, and yet still unspeakably dark in its absurdity.

#4 Microwave in The Last House on the Left

The Last House on the Left remake was altogether much less grim than Wes Craven’s original, but that also allowed them to go to some incredibly silly places that even the intermittently goofy 1972 flick couldn’t reach. The highest peak of this bonkers attitude is this scene that brings a popular urban legend to bloody life: death by having your head shoved into a microwave.

#3 Lawn Mower in Misery

Is a lawn mower an appliance? I’m not actually sure about that, but who could resist Annie Wilkes’ inimitable gusto and the creative way she dispatches one of her captive’s only means of potential survival? [Editor's Note: OK, I'm dumb. This scene is in the book, not the movie. But it's still great.]

#2 Toaster in Inside

Inside is a bleak, incredibly gory movie, but one of the scenes that has the most impact is this little moment of blunt force with a toaster. It’s a startling gag that’s so abrupt you want to giggle, but quickly devolves into full-fledged horror.

#1 Blender in You’re Next

You don’t get to be one of the best new horror flicks of the decade without an awesome kill scene, and You’re Next is chock full of them. One of the most memorable is the incredible denouement where our heroine demonstrates the incredible versatility of a common household blender.

Word Count: 399

And Another Thing...

For the past few years, I have faced a dreadful conundrum: How can I reconcile my love of reviewing movies with my desire to work in the movie industry? Critics aren’t exactly beloved in Hollywood, and for good reason. So, as my life progresses, I’ve come to a decision that will affect major changes on this blog’s content, though not – I hope – its quality.

I’m going to stop reviewing current movies.

Well, mostly. We’ll still be covering certain modern releases on my podcast, Scream 101. And if something really strikes my fancy like a La La Land or a Mad Max: Fury Road, I’ll be compelled to jot down a few words. But it’s a futile exercise for me to pan the work of other people also trying to make it in the industry. That’s just not fair.

That doesn’t mean my blog will become all sunshine and rainbows. Hell, no. I’m still the opinionated crackpot I’ve always been, but those opinions will be relegated to more retro films and nothing before – let’s say – 2010 or so. I won’t be touching the reviews I’ve already written, but henceforward the current release posts will be few and far between. Although I'll probably have monthly updates on what's good in theaters (hint: not The Bye Bye Man). And that doesn’t mean you still won’t be getting a whopper of an end-of-the-year list.

This is actually very exciting for me. I’ll be able to enjoy movies in the theater without feeling obligated to take notes. And that will open up the pages of this blog to new features I’ve been itching to try out, like director retrospectives, the unclogging of Census Bloodbath, and maybe – just maybe - the successful return of Fright Flashback.

Again, thank you for bearing with me during this transitional period. If you want to continue reading my thoughts on contemporary releases, only with much more brevity, please feel free to follow my exploits on Letterboxd.

Word Count: 331

Moving Right Along...

Howdy, folks! It's time for some quick Brennan news! Today is my first day at a new job I'm very excited about, interning at Blumhouse.com. Blumhouse Productions has been responsible for a lot of the horror content of the last few years, including the Paranormal Activity and Insidious films, and their web site is a repository of all sorts of horror discussion.

I'm really eager to get started, but this also means that I'll be transitioning out of writing news for Arrow in the Head over the next few weeks. That doesn't mean I'll be gone completely, but I'm still defining where I'll be with them. I'm just letting you guys know everything that's going on! I think this shift will have a negligible impact on how frequently I update Popcorn Culture, but the next couple weeks might get a little on-and-off as I find my feet. Plus, I'm officiating a wedding this week, so that's a wee bit distracting.

Thank you everyone for bearing with me! Here's a quick list for your enjoyment. Although Blumhouse is a household name in horror, they have their fingers in all sorts of pies...

5 Films You Probably Didn't Know Were Made by Blumhouse

#5 The Normal Heart (2014)

I did compare The Normal Heart to a body horror film thanks to its terrifying depiction of disease, but Ryan Murphy's AIDS drama is definitely a surprise from the Blumhouse team. It was also my #6 film of 2014!

#4 The Jinx (2015)

Another project that's tangentially horror, Blumhouse was behind the groundbreaking documentary about wealthy murderer Robert Durst that eventually got him arrested.

#3 Whiplash (2014)

Damien Chazelle's debut film Whiplash was a Blumhouse Production, so you have them to thank for the glory that is La La Land.

#2 Jem and the Holograms (2015)

Maybe they don't want to be reminded they made Jem and the Holograms, but glittery girl pop musicals are the farthest genre I could imagine them exploring, and boy am I glad they did.

#1 Tooth Fairy (2010)

That's right, before Blumhouse found their horror niche, they threw a lot of spaghetti at the wall, and one of those noodles was this vehicle for The Rock in which he turns into the Tooth Fairy for some reason. Who knew?

Word Count: 379

A Quick Note

Due to illness and a deranged schedule, the epic conclusions to both my Halloween retrospective and Cardboard Science crossover have been postponed. But don't cry for me, Argentina, you'll get them by mid-November! 

A Brief Note From The Stone Age

Howdy, y’all!

Don’t ask me why I wrote that. It’s been a weird week, I don’t know. As you may or may not have noticed, things have been a teensy bit slower than usual over here at Popcorn Culture. With my apologies, please allow me to lapse into a brief personal note of explanation.

First off, I just moved into a new, much larger apartment, so all the time I spend unpacking and merrily spinning in open spaces eats into my writing time. (My good friend Hunter over at Kinemalogue has also recently upped sticks – he’ll be copying my outfits next, just you wait. Why not head over there and wish him congratulations?)

Second, I’ve been dealing with a mighty unfortunate photosensitivity/migraine disorder that prevents me from looking at the computer for more than about twenty minutes at a time. While myself and a team of trained tortoises specialists are working this problem out, I’ve been dealing with a lot of pain. Especially considering the fact that I already work on the computer quite a bit for Arrow in the Head, I’ve been finding other methods to write reviews: namely, writing them freehand in a notebook, then transferring them into my blog when it is safe to do so.

Obviously, this is a huge boon for future historians who will be putting together Brennan-related museum exhibits, but it’s hell on my productivity. I assure you I’m working hard (both for my own well-being and for yours) to see to it that neither my health nor my posting pace flags, but I beg of you. Give a guy a break.

I’ve watched way too many films recently for a single human being to process, even a healthy one, so as a peace offering, here is another slate of delectable mini-reviews for you to pursue at your leisure:

Taken

Year: 2009

Director: Pierre Morel

Cast: Liam Neeson, Maggie Grace, Famke Janssen

Run Time: 1 hour 33 minutes

MPAA Rating: PG-13

An ex-military operative turned overprotective father must tap into his old skills when his daughter is kidnapped on a European vacation.

Would you look at that, it’s another generally accepted modern classic that I’m late to, what with being far too busy mucking around in the tar pits of the early 80’s for something as low profile as the best American action flick of the year. Taken was a big surprise for everyone, most likely even Liam Neeson himself. A vehicle for an aging star that kept its hot young actress (Maggie Grace, fresh from Lost fame) offscreen for the bulk of its run time? By Hollywood’s myopic standards, this film should have been dead as one of Henry VIII’s ex-wives, but it takes a chance and owns it, crackling like a live wire.

The action itself is sublime, ushered to the screen by Luc Besson apprentice Pierre Morel. While every scene is guerrilla, MacGyver-esque thriller improvisation at its finest as Neeson takes every step possible to prevent his daughter from disappearing into a human trafficking ring within an estimated three-day time limit, there’s typically an additional frisson of tension layered on top of whatever Cool Thing he happens to be doing at the moment. His genuinely fleshed-out relationship with his daughter provides an emotional centerpoint for many high-octane moments, and in addition to that the sheer fearless audacity with which he charges into dangerous, unknown situations sends a tingle up the spine.

The key to this film is that Liam Neeson isn’t a beefed up superman. He is very skilled and utterly capable, but a fallible human being just like you and me. And Donald Trump. His age is hardly a factor in that (actually it just adds to how much of a badass he is). He’s just a regular father doing what any father would in his situation. He just happens to have a more suitable background for it than the average Joe Plumber.

This all works thanks to a sleek, punchy script by Besson and co-writer Robert Mark Kamen. It’s the perfect action set-up: tight, to the point, painted in clean, efficient, broad stokes that don’t forget to highlight each character’s individual attributes, interactions, dynamics, and contributions to the screenplay. Each story beat has an emotion attached to it, which is something that far too may slick action scenarists tend to forget.

The filmmaking itself has inherited a little too much of Jason Bourne’s handheld attention deficit disorder for its own good, but for the most part the action sequences accomplish what they set out to achieve: a gritty, realistic aesthetic without (mostly) sacrificing visual logic. 

The only true faults Taken has are minor quibbles. First, the actor playing Neeson’s liaison, who looks like a French Kevin Spacey, is more wooden than a Venetian gondola. Second, in several scenes (especially in the unrated cut), the film parlays a little too heavily with rah-rah militaristic jingoism. Action films have always been a haven for the politically conservative and I should hardly dream of taking that away from anybody, but whenever one gets a whiff of Eau de Guantanamo Bay, let’s just say it’s not a pleasant one.

But all that easily fades into the background of what is a just plain terrific action flick. It’s unflagging, unforgettable, and unmatched in the annals of modern American cinema. You could say I’m quite taken with it.

Rating: 8/10

Up in the Air

Year: 2009

Director: Jason Reitman

Cast: George Clooney, Vera Farmiga, Anna Kendrick

Run Time: 1 hour 49 minutes

MPAA Rating: R

Ryan Bingman’s job is flying around the country firing people, but he faces a big change when a young corporate hotshot attempts to centralize his operation, cutting costs and ending his beloved jet-setting, companionless lifestyle.

I think the theme of all my mini-review sessions is “Brennan ignores important movies until the last possible second.” To review Up in the Air, we need to travel back to a very specific moment in time: Back before the Oscar buzz and eventual backlash, back to the middle of our nation’s period of economic turmoil, back to when Anna Kendrick was just that chick from Twilight. Alright, are we there? Let’s go.

Up in the Air tells a tale as old as time. Young idealism vs. old cynicism, single swinging vs. family values, George Clooney vs. commitment. You know, the classics. However, by setting its story smack dab in the middle of the most financially and emotionally unstable period of contemporary American history, the film finds a fresh take. Not only does George Clooney’s character constantly travel, separate from the ties of human connection, he makes his living off the backs of the fragile people he is casting carelessly off into the void. When he is forced to show Anna Kendrick’s Natalie the ropes, her ruthlessly pragmatic working style collides with his carefully curated “empathy.” They both begin to realize that everything they thought they knew about the world is completely wrong.

That meeting in the middle – a moral grey area – is another relatively unique perspective that Up in the Air brings to the table, all wrapped up in a thrilling, emotional comedy of errors about the trials and tribulation of the many different paths one can take to be a human being. Up in the Air is an upbeat, downtrodden look at how disparate lifestyles collide, how we all react to change, and how we can learn to pick ourselves up again. It’s perhaps less concerned with the plights of the laid-off workers than it claims to be, but as a backdrop of human self-doubt and upheaval, it’s certainly affecting. It might not be powerful enough to ruffle the hair of someone like Donald Trump (I’m sure he’s hiding one somewhere), but as a working-class American citizen, it’s eye-opening.

As a work of cinema, it’s rather stunning as well. The cinematography is sleek, stylish and weightless, rhythmically pattering through Ryan’s routines, ruthlessly emphasizing the chasm between Natalie’s job and her humanity with cavernous negative space. And following a fresh atypical beat from city to endless city, announced with relentlessly cheery block letters. It’s a fun, sprightly piece of comedy that’s pliable enough to hold the weight of the intense emotion it’s called upon to bear.

It could hardly be so successful without its cast, a carefully selected slate of A–grade veterans and newcomers alike. Anna Kendrick manages the woefully unenviable tasks of holding her own against George Clooney and, in fact, performs the most memorably powerful scene in the film, Vera Farmiga shines as Bingman’s coldly powerful female counterpart – exuding a sort of clockwork inhumanity masquerading as warmth, showing what he could become should he venture further down the rabbit hole - and of course Clooney himself is a godsend, full of cocksure braggadocio that slowly crumbles and twists away into he wind. Only a man as handsome and untouchable as Clooney could have pulled that part off in its beginning stages, but he knocks it out of the park when it comes time to show his vulnerable side, too

Up in the Air’s conclusion is a little rushed and sloppy, but all in all it’s a wonderful little film about people, work, and love. Oscarbait has never been more approachable.

Rating: 8/10


My Best Friend's Wedding

Year: 1997

Director:  P. J. Hogan

Cast: Julia Roberts, Dermot Mulroney, Cameron Diaz

Run Time: 1 hour 45 minutes

MPAA Rating: PG-13

A prominent food critic realizes that she’s in love with her best friend of ten years… four days before his wedding.

Doesn’t that just sound like the plot of every single romantic comedy you’ve ever been shackled by the wrist to watch with a doe-eyed significant other? Now, it might be surprising considering my horror pedigree, but I’m far from averse to the sugary sweet romance genre. It’s not a huge leap from Karo syrup to corn. However, a log line like that doesn’t exactly inspire soaring confidence in a film.

So Imagine my surprise when My Best Friend’s Wedding turned out to be kind of delightful. From the old-fashioned opening credits (which featured a full, non-diegetic, choreographed doo-wop performance of “Wishin’ and Hopin’”) on, the film captures you with its charming flair, drawing you in before slipping in a subversive spin on the genre, slowly pulling you back into stark reality. Honestly, it’s a remarkable achievement in genre filmmaking, and it’s devilishly, almost terrifyingly sneaky in its second act, as Julia Roberts’ Julianne performs a series of increasingly despicable acts and descends into full-on Cruella DeVille territory.

Along with an inexplicable profusion of musical numbers (to the point that I half expected Julie Andrews to appear and sing some cheerful lessons – Lord knows Julia Roberts could have used some), My Best Friend’s Wedding also boasts a gay character that avoids over-the-top stereotyping, a veritable parade of delicious 90’s fashions, and a downright stunning performance from Cameron Diaz as the naïve, privileged fiancée. Diaz is utterly phenomenal in this film, exuding the exact kind of facile purity that Julianne expects from her one minute, then digging deep inside to reveal an unseen strength of character the next. A karaoke scene where she transforms from shy croaker to reluctant star of the show is possibly the finest work of her career, exposing a simultaneous vulnerability and lust for life that betrays just how much competition she’ll prove to be for poor, bitter Julia Roberts.

Of course, Roberts is also fantastic waggling her annoyingly perfect face at the camera like she owns the world. The amount to which she’s willing to concede to the amorality of Julianne is truly refreshing, especially buried as it is under all the typical Roberts-isms: her dazzling smile, her ludicrously curly hair, her disarmingly un-sophisticated laugh. The only weak link in the cast is Dermot Mulroney (of Insidious: Chapter 3) as the man of the hour, the titular Best Friend himself. Mulroney’s Michael is alarmingly devoid of inner life: it’s just cream filling beneath his white smile and toothbrush hair. This is partially the fault of the writing, but when he and Roberts are together, the film drags like a West Hollywood brunch.

There’s just no spark there. It’s hard enough the believe that these two have known each other for a decade (an issue the script attempts to address by having them remind each other of this fact every 2.5 minutes), let alone actually genuinely love another. She’s crème brûlée and he’s a slice of cheesecake without the graham cracker crust. Because of this, the third act sinks like a stone once the other, funnier character take on more secondary roles.

But until that point, My Best Friend’s Wedding is a charmingly witty, daringly different beast. I’m glad I was forced to watch it (for a podcast called Now Streaming, up this Wednesday!), and it’s a vital cornerstone in any romantic comedy education. Now if only they could dump Mulroney and make a movie where Julia Roberts and Cameron Diaz have wacky wedding hijinks, then we’d be talking.

Rating: 7/10

Word Count: 2175

Pod People

Hello, party people!

It's your gracious and quite handsome host here again with another big announcement! My good friend Shannon and I just created a podcast! It's called Scream 101, and it's a horror review podcast based on my unfortunate habit of forcing my less horror-learnèd friends to watch super terrible movies with me.

Our first episode is based on the new Scream Factory release I, MADMAN (a full review to come), which is a cerebral 1989 slasher about a mad killer who emerges from a pulp novel!

Please check it out if you have a free half hour! We'd appreciate any feedback and I hope you enjoy! This has been a lot of fun and you can definitely expect more from us soon!

Also, Happy America!
Word Count: 127

This Is Your Captain Speaking

Hello, world!

Today is a very special day. Since my graduation in May, I've been working hard to become a full-fledged grown-up person. And, lamentably, I seem to have achieved this goal. I have found a job and am thus embarked upon a course that will either lead to a successful career or the demise of the human population of this world.

Starting today, I am now a horror news editor for Arrow in the Head, the horror wing of JoBlo.com. If you add that to my current job at The Backlot, it's almost like I'm a real person!

I'm very very excited to begin a career of actually being paid to write about horror movies instead of only writing extended essays about them for free like a lunatic. Mind you, I will still be writing extended essays about them for free, but I at least have something to augment that with.

If you are so inclined, you can view updates of my new work in the right hand column above my Backlot widget.

In honor of my super cool new job, our post today will be...

Five Unforgettable Deaths by Arrow

#5 Coach is Hoist by his Own Petard in Final Exam

One of my favorite things in slasher movies is when the heroes who triumphantly arrive at the last minute to save the Final Girl are unceremoniously offed seconds later. The only way those scenes could be improved is if the guy brings a hilariously exaggerated, outmoded weapon like, say, a bow and arrow, which still somehow gets turned around and used upon him in a matter of minutes. What a great film.

#4 Megan's Shopping Spree at the Sporting Goods Store Goes Terribly Wrong in The Initiation

What I love most about the scene where Megan is shot with an arrow is the fact that it's such a deliriously out-of-place murder method in a Midwest shopping mall. The 1984 slasher was a particularly desperate strain, so they had to resort to scenes like this to keep raking in the cash, and I can't say I have any complaints about that.

#3 Nolan's Application for Arrow in the Head is Rejected in Friday the 13th 2009

The Friday the 13th remake doesn't get enough credit for its silly, overwrought deaths that call back to the best of the old franchise. My personal favorite is a double death, beginning with that of Nolan who finds an arrow spontaneously thrust through his skull while driving a boat, which then immediately runs over his girlfriend who was swimming nearby. Classic.

#2 Beverly's Little Sister Abuses the Peephole in her Closet in Bloody Birthday

Little siblings can be annoying sometimes, but I think Beverly holds the world record for most annoying sister. Not only does she carve a peephole in her closet door and sell time to neighborhood boys who want to watch Beverly change (which she always does while dancing to the hits of today, naturally), she also wings an arrow through it, shooting her sister in the eye. Kids, am I right?

#1 Jack's Probability of Getting Throat Cancer Goes Way Down in Friday the 13th

While he's enjoying a nice post-coital smoke, Kevin Bacon's character Jack gets a nasty surprise in the form of an arrow through the back of his mattress. That's what you get for doing anything at Camp Crystal lake besides respectfully buttoning up your blouse or being boring.
Word Count: 574

How The Time Flies

Well hello there, dear readers! Today is a very special day. Two years ago today, Popcorn Culture was born! In one of those serendipitous twists of fate that only seem to happen in movies but leak out into real life sometimes, this is also the blog birthday of my good friend Hunter over at Kinemalogue. You should give him a visit. Consider it making up for the fact that you didn't buy me a gift.

Since the traditional second anniversary gift is cotton for some reason, our celebratory list for today will be:

The Top Ten Horror Movie Costumes

#10 Tippi Hedren's Green Pantsuit in The Birds

My undying love for The Birds has earned me no horror awards. Yet. But my passion continues, a roaring, crackling flame. This green outfit has perhaps not aged as well as it could have, but it's intrinsically tied in with her character, a complex, bored society women who suddenly finds herself trapped inside the worst hell nature can offer. It's thematic, it's brilliant, and she looks fantastic. What more is there to say?

#9 Daniel Radcliffe's Leather Jacket in Horns

I love love love this outfit, which highlights everything that isn't Harry Potter about Daniel Radcliffe. It's slick, it's cool, and it's street fashion at its highest degree. If I had a wish list for blog readers to send me things, this outfit would be at the top. Hint, hint.

#8 Hugh Keays-Byrne's Plastic Breathing Apparatus/Face Mask in Mad Max: Fury Road

OK, so this isn't technically a horror film. But screw that, it's my blog birthday. Immortan Joe's iconic costume, much like Darth Vader's, is functional rather than fashionable: It's a suit designed to keep the pale, ill, irradiated despot alive. The plastic body armor is hooked to a breathing apparatus that looms fleshily over his back, feeding oxygen into his mouth via that terrifying Donnie Darko face mask. It's remarkably stunning costume design, and I'm not likely to forget it anytime soon. Or ever. In my life.

#7 Dennis Christopher's Dracula Makeup in Fade to Black

I didn't care much for this movie with its moppish Final Girl and uncharismatic, deeply strange lead, but this outfit is superb. The killings in this movie are themed to imitate classic films, and none of the various incarnations of Eric Binford rival the majesty that is this glorious make-up job, which more or less perfectly turns reality into a black and white film for a few blissful moments. Then a hooker gets impaled on a fencepost. That's slasher movies for ya.

#6 Tim Curry's Sweet Transvestite Lingerie in The Rocky Horror Picture Show

This is the outfit that earned Rocky Horror the longest theatrical run of any movie in the annals of space and time. Cobbled together from a low budget consortium of lingerie, this indelible outfit changed the face of cinema history. And damn, does Tim Curry pull it off.

#5 The Killer's Dancing Bear Costume in Girls Nite Out

This costume is high camp at its finest. Combining a silly, colorful design with a genuinely terrifying weapon (the steak knife claws sheathed in his big fluffy paws), the Dancing Bear is a perfect ironic Killer for a thoroughly weird and delightful slasher.

#4 Johnny Depp's Crop Top in A Nightmare on Elm Street

Do I even need to explain myself here?

#3 Béatrice Dalle's Black Dress in Inside

Inside is one of the classic films of the French Extremist genre, combining over-the-top gore with a heretofore unknown artistry and class. The black dress encapsulates that tone to a T, swirling with the violent, chaotic motion of its owner, swooping like the Angel of Death without ever diminishing its beauty.

#2 Bruce Campbell's Torn Shirt and Chainsaw Ensemble in Army of Darkness

I can't say I'm a huge fan of the more action-oriented third Evil Dead movie, but nevertheless this costume is the perfect complement to its loopy tone. Bruce Campbell has never looked better than as the besieged badass whose hardened, indescribably cool appearance provides a stark contrast to his Stooge-like antics.

#1 Kane Hodder's Waterlogged Jumpsuit in Friday the 13th Part VII: The New Blood

You can tell this movie was directed by a special effects guy. This glistening costume lovingly displays Jason's riddled corpse to its best effect. With a slimy bit of spine poking out the back and the battered, lake-worn hockey mask sitting atop it like a trophy, no Jason has ever been more lovingly detailed and disgusting. Combined with Kane Hodder hulking appearance and series-best performance, it creates one of the scariest killers of modern time. Too bad the movie still sucks, but I take what I can get.

The Bottom Five Horror Movie Costumes

#5 Kiefer Sutherland's Bleached Mullet in The Lost Boys

Maybe "worst" is a strong word. I absolutely adore this blonde abomination, but let's be honest. This hairstyle should be locked in a safe an submerged in the Mariana Trench.

#4 Barbara Cupisti's Hooker Wig in StageFright: Aquarius

Just like about everything else in StageFright (including the spectacular, atrocious sax-riddled score), this outfit goes above and beyond in its attempt to rival the already screechingly 80's fashions of other, lesser horror films.

#3 Everyone's Lingerie in Sorority House Massacre II

If my whole movie was going to be about busty girls in their skivvies, I think I'd want to invest in something sexier than a formless one piece and a Dora the Explorer wig.

#2 Beth Gondek's Hyper-perm in Hello Mary Lou: Prom Night II

This costume has to be a joke, right? Somewhere down the pipeline, you're telling me no actor, hairstylist, production designer, director, producer, or local deity stopped to think "Hmm, maybe this won't age well?"

#1 Gary Oldman's Mickey Mouse Wig in Bram Stoker's Dracula

Here we are. The creme de la creme. The strong suit of Bram Stoker's Dracula is its hyperbolic, gaudy stylization, but this costume is where the film oversteps its boundaries. It's like what Baz Luhrmann sees when he presses on his eyes too hard.


So there we go. Another year down, another glorious year of slicing and dicing to come. If you've been here since the very beginning, I bow down to your commitment. If you've come more recently than that, welcome! Thank you for reading and, by doing so, encouraging me to keep pursuing my relentless, daunting movie reviewing goals. Now if I could only get someone to pay me.
Word Count: 1078

Coming Out Into The Spotlight

Hi, everybody! As I'm sure you've noticed because you are an astute and voracious Popcorn Culture reader, I have been experiencing a brief slowing of my posting frequency. Never you fear, a veritable avalanche of posts is coming your way. But the reason for these temporary hiatuses is that I have now become a writer for the gay entertainment site The Backlot!

It's really thrilling to have my own byline, be exposed to thousands of new readers, and to (shh) actually be paid for what I'm writing. It's mostly small news items, but today I released my biggest post, a recap of yesterday's episode of Looking. I'm very proud of it and decided to use it as my sort of debutante coming out party with the site.

It doesn't mean that I'm leaving Popcorn Culture - on the contrary! I just needed some time to adjust to my new workload. But now you have just one more avenue to bring Brennan into your delicious little eyes. Please go check it out!

Word Count: 170

The Sony Will Come Out Tomorrow

As I'm sure you've all heard by now, on November 24th, the Sony computer system was infiltrated by hackers calling themselves "Guardians of the Peace." On the 27th, five new films were leaked online, including the upcoming holiday epic Annie. Also leaked were the films Mr. Turner, Still Alice, and To Write Love on Her Arms, which, let's face it, weren't exactly a big loss. Personal information, including passports and visas of several Sony stars was also compromised, and workers at Sony received personal threats of violence if they didn't sign a statement repudiating the company.

As personal emails from the Sony system began to be leaked, gossip columnists took charge of the hack coverage, diverting attention from the real problem. But all that changed on December 16th when the hackers (or somebody masquerading as them and jumping onto the breached system) demanded that the upcoming film The Interview be pulled from distribution, threatening acts of terror upon cinemas that screened the movie on Christmas day.

The Interview's plot revolves around two celebrity journalists played by Seth Rogen and James Franco being sent to North Korea to assassinate Kim Jong-un, leading to speculation that the hack was perpetrated on behalf of the North Korean despot. Two days ago, after many theaters backed out of distribution, Sony decided to pull the release of The Interview entirely. This led to a social media furor, but seeing as Twitter explodes with rage at just about everything from Kim Kardashian's butt to the new episode of Teen Mom, this was to be expected. At least, for once, it's about something actually important.

People are arguing that Sony's decision is undermining the American right to free speech and that by letting the hackers succeed, we're merely inviting more attacks against just about any movie that anybody doesn't like. Which categorically includes just about every film ever released except possibly The Oogieloves in the Big Balloon Adventure.

But what kind of world would that be?

There is a lot of validity to their arguments. But while Sony's decision is politically shaky, it's largely financially and socially sound. Although the threats may have never come to fruition, people would have been afraid to go to the movies on Christmas, one of the biggest days for the cinema. Not only would the skittish have avoided The Interview, they would have steered clear of theaters in general, for fear of being caught in the crossfire, damaging the box office receipts of every other film released that day as well.

It's not like box office is the most important thing in the world, but the pressure on Sony is almost unbearable to think about. Their response is regrettable but perfectly understandable. And after the events at the Dark Knight Rises screening in Aurora, people don't need another reason to be afraid of leaving their homes to go catch a movie. Plus, the buzz around The Interview by supporters of satire and free speech alike will ensure a plentiful box office when it is eventually, inevitably released somewhere down the road.

That is about the extent of an argument that I am suitably informed to make on the subject, but I would like to use my significantly larger entertainment industry prowess to further an argument that - while certainly less socially significant than the free speech vs. cyber terrorism debate - has likewise been weighing on my mind.

In the whirl and fervor of coverage about The Interview, many apologies and defenses have been made to and for James Franco, Seth Rogen, and Evan Goldberg. But there is one person the mainstream media has been ignoring, largely because his presence is more symbolic as a catalyst than as a human being: Randall Park, the actor who plays Kim Jong-un himself.

Oh yeah, that guy.

From the coverage I've read, the North Korean leader might as well have been playing himself in the movie for all the attention payed to this particular part. It makes sense why he has been overlooked. Park isn't exactly a celebrity of Seth Rogen/James Franco wattage. But the Korean-American actor (who has been working dutifully in Hollywood for some time now) was on the cusp of his big break, only to have it ripped away. Hopefully the buzz this film ignited will do the same for his career as it will likely do for ticket sales, but for the time being the unfortunate man is in limbo yet again.

Forgive my name dropping, but I had the opportunity to meet Randall Park when I was working as a PA on the web series Awesome Asian Bad Guys, and he was one of the nicest, most respectful actors I've ever had the opportunity to work with. He's a down-to-earth guy with huge dedication and real talent. Even in minor roles, he throws his all into his performance, dragging laughter from the audience like an expert angler with a fish hook.

The Hollywood system is tough to navigate for Asian-American actors, but he's worked his way through a series of scene-stealing small parts in The Office (as Asian Jim) and films like Dinner for Schmucks, Larry Crowne, Sex Tape, They Came Together, and Neighbors. This year he's finally been given a chance to show off his comic talents on a broader arena with The Interview and the upcoming TV series Fresh Off the Boat.

And while I have the utmost faith in his skills and ability to endear himself to popular audiences, it's a real shame that this had to happen to one of the biggest movies in his career, especially with a role he performed so indelibly, Evan Goldberg himself said, "He was the only person we auditioned or discussed. He just delivered." Randall Park is a man to watch out for. His star has been rising imperceptibly but implacably over the last few years, and he's about to shoot into the sky. It couldn't happen to a better man.

Or a man with cooler glasses.

While my opinion on Sony pulling distribution of The Interview remains unchanged, so has my opinion on Randall Park. So here's my advice to you. Go to his IMDb page. Look through his surprisingly dense list of successful, high quality movies. And in between your seasonal screenings of Team America: World Police and It's a Wonderful Life, please make room for a Randall Park somewhere in your viewing schedule. I promise you it'll be worth it.
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Fang Time

I am stupendously excited because tonight I am volunteering at the Fangoria booth at the Days of the Dead horror convention in Los Angeles. The magazine has been a centerpiece of the fright community since its inception in 1979, featuring top notch articles about hundreds and (I haven't counted but probably) thousands of horror films and filmmakers. I'm truly honored to be able to participate in even a small slice of this legacy so today's article is

The Ten Best Fangoria Cover Films

Over the years, Fangoria has featured dozens of genre-changing films on its covers, but the beauty of the thing is that it is inextricably caught up in the time it was produced. Due to the nature of shifting trends, some films featured on the cover never achieved infamy outside of a certain year, while others have long-lasting legacies even today. It's nearly impossible to predict, especially with such left-fielder (at the time) hits like Friday the 13th or A Nightmare on Elm Street, neither of which graced the covers of the magazine during their initial runs.

But more often than not, this leading rag hit the nail right on the head and I've selected ten of my personal favorite films that have appeared on Fangoria covers through the ages.

#10 Pan's Labyrinth (Issue #259 Jan/Feb 2007)

Struggling to find words that adequately imply the enormity and scope of Guillermo del Toro's violent fantasy masterpiece would challenge even the greatest of humanity's writers. Fitzgerald would head for the hills. Dickens would disguise himself as a beggar and escape out the chimney. Kafka would- Well, maybe Kafka would get it.

Pan's Labyrinth is set in the Spanish Civil War, detailing the journey of a girl trapped in circumstances beyond her control as she explores the dark supernatural world hiding in the corners of everyday life. The special effects are exquisite, the story is heartfelt and powerful, and the gore is nightmarishly visceral. Although it's not even explicitly a horror film, Pan's Labyrinth is more likely to give you nightmares than any film on this list.

Unfortunately, I have no full review of this film up on my blog yet, but I have reviewed one of the
Cover Articles: The terrific meta slasher Behind the Mask: The Rise of Leslie Vernon.

#9 Little Shop of Horrors (Issue #60 Jan 1987)

I've watched the original Corman picture, the movie musical, and even performed it onstage five nights a week, yet I will never tire of Little Shop of Horrors. For a movie with so little reason to exist (the movie is based on a musical based on another movie), it's just so terrific. With songs by the unstoppable duo of Alan Menken and Howard Ashman and a wall-shattering performance by original Broadway cast member Ellen Greene, Little Shop has a relentless doo-wop energy that can brighten even the darkest days.

Telling the story of a poor Rick Moranis who has to feed blood to a hungry talking plant in order to make his dreams come true, this film harnesses all the B-movie energy of the 50's and synthesizes it into something totally modern and compelling, featuring Steve Martin in one of his best roles as a sadistic dentist and a gut-splitting cameo from Bill Murray.

Cover Articles: Re-Animator; From Beyond; And although I don't have a review of The Terminator, I wrote this article on it long ago.

#8 An American Werewolf in London (Issue #14 Aug 1981)

Hands down, An American Werewolf in London is my favorite lycanthropy movie of all time, although it's not like there's much competition in that department. John Landis' seminal horror film features state-of-the-art effects by make-up maestro Rick Baker that haven't aged a day (OK, maybe they've aged an hour, but they're still terrific) and a thorough sense of humor that The Howling briefly scrabbled at, but almost entirely failed to grasp.

In fact, the porno theater scene might just be one of the funniest moments in movie history. And all this in a horror film that is actually scary as well, along with providing ample thematic material (a stranger in a strange land, guilt over a friend's death, and all the mess that comes along with body transformation - take your pick). A must-see for anyone who's even remotely a fan of the genre.

Read my original review here.

#7 Hellraiser (Issue #67 Sept 1987)

Clive Barker is one of the most important modern voices of the macabre, one of the greatest horror writers alive (now that we've lost Poe, Lovecraft, and - more recently - Matheson), and his directorial debut was sure to be a whammy one way or another (it's a real gamble, as evidenced by Stephen King's Maximum Overdrive). But luckily he erred on the side of the truly fantastic.

Hellraiser is an unstoppable work of glistening cerebral horror, replete with dark sexual imagery and a tense family drama to boot. Pinhead and his Cenobites would soon become overworked stock franchise villains, but here they are representatives of something even more sinister than pure evil - the dark, secret desires of humanity.

Cover Articles: The Lost Boys; Evil Dead II.

#6 28 Days Later/28 Weeks Later (Issues #223 Jun 2003 & #263 June 2007)

I really need to jump on reviewing these bad boys before I'm 28 months too late. But regardless of the fact that 28 Days Later and its sequel 28 Weeks Later do not appear on the pages of this blog, they are essential movies for any modern genre fan. They kick-started the zombie resurgence in the early 2000's, paving the way for my single favorite film of all time, [REC].

While 28 Days Later was an intense British political allegory, 28 Weeks Later was an expanded look at the aftermath of a large scale crisis. Both are fantastic in their own unique ways (the opening scene of 28 Weeks is among the scariest film moments of all time) and both have a sharp wit that keeps them fresh, but it's up to personal preference to pick a better of the two. I'd prefer not to, myself, letting them stand together as one of the most beautiful, brief horror franchises to ever grace cinema screens.

#5 Friday the 13th: The Final Chapter (Issue #36 July 1984)

Although there are definitely Friday the 13th films that I've watched more often, Friday the 13th: The Final Chapter is almost inarguably the best in the franchise, at least in terms of what a slasher movie is supposed to be. Tom Savini is at his finest here, pulling out all the stops to destroy Jason, the monster he accidentally created. This entry has the most nudity in the entire franchise (a plus for fans of cheesy exploitation and fans of breasts - pulling in all the demographics here) and an all-star class including a pre-fame Crispin Glover and Corey Feldman.

Of course, we all know by now that this wasn't really the final chapter, but it did end an important era in Jason's career - the Crystal Lake Saga, as I named it just now. With its blood and guts and boobs and butts, as well as the John Hughes-esque slate of teen Meat, it's the perfect capper for this Golden Age of slasher cinema.

Read my original review here.

#4 From Beyond (Issue #59 Dec 1986)

From Beyond is a very recent discovery of mine, and I am deeply ashamed that I wasted so much time watching any other movies besides this one. This film is Stuart Gordon's second H. P. Lovecraft adaptation following his smash hit Re-Animator and it pitches everything that cheery, gory, naughty film did all the way up to the rafters.

The film brings back genre superstars Jeffrey Combs and Barbara Crampton, adding a dash of Dawn of the Dead's Ken Foree, and tossing them into a pool of technicolor goo and Lovecraftian horror. Its stomach-turning charms (and high volume sexual overtones) aren't for everyone, but for fans of practical effects magic, colorful 80's horror, or lamprey basement monsters, this is a veritable Mecca.

Read my original review here.

Cover Articles: Friday the 13th Part VI: Jason Lives.

#3 The Descent (Issue #254 July 2006)

There are only two films from this century that have chilled me to my bones. The first is [REC] but you don't need to hear me babble about that same old crap again. The second is The Descent, which pulls off the incredible horror movie task of having a first act that is just as scary, if not even more terrifying than the rest of the movie, shoving its characters into dark, claustrophobic, utterly real cave environments.

All the bloodshed and monsters are just a delicious afterthought in a wall-to-wall petrifying film. Those who say that horror movies just aren't made like they used to be clearly have blocked The Descent from their memory to prevent nightmares.

Read my original review here.

#2 A Nightmare on Elm Street 3: Dream Warriors/New Nightmare (Issues #62 Apr 1987 & #137 Oct 1994)

Although my heart will always lie with Jason Voorhees, it's impossible to deny the sheer volume of good sequels that A Nightmare on Elm Street got. In fact, Wes Craven's New Nightmare is just plain one of the best horror movies in the history of cinema. I don't throw my hat in the ring for a lot of movies, but I'm willing to put it to fisticuffs if anybody disagrees on that one.

Wes Craven's influence over the horror genre is incomprehensibly vast and the intelligence he brings to everything he does created one of horror's most enduring phenomena. The mystique and allure of Freddy Krueger survives far beyond his tawdry comedies and that crappy remake because in everything Freddy does, there remains that spark of inspiration that makes Craven one of the most important filmmakers in the genre.

Read my original reviews here and here. Or read my essay on Craven here. Or read my essay on the Nightmare franchise here. I got you covered.

Cover Articles: Evil Dead II; The Lost Boys; Friday the 13th Part VII: The New Blood; Interview with the Vampire.

#1 The Evil Dead (Issue #23 Nov 1982)

Evil Dead II gets all the credit because it's funnier and consolidates Sam Raimi's style of storytelling into a more mature entity, but I love the rough and ready DIY aesthetic of the original Evil Dead. It's one of the most original horror films ever made, all hung on the most tried and true framework story in the history of the known universe populated with one-dimensional characters.

The beauty of Evil Dead is the simplicity of the story - Cabin. Woods. Zombie things. This allows Raimi room to stretch his creativity in a way that sent the craft of cinema soaring years ahead of its time. I'm too dazzled by the film to make much sense at the moment, but I daresay I've been more coherent on the topic before.

Read my original review here.


So that's that.

Thanks for trucking along on this historical, fangorical tour. If you happen to be at the convention tonight, stop by and say hi!

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