TRON LEGACY: THE MAGIC CONTINUES

In 1982 at the height of the video arcade games popularity a movie came out that fans clamored to see. It was a hit film that year and when released on video and later DVD became a hit as well, even though it hadn’t been available for some time. And now a new generation has access to not only the original film but a sequel that takes us back to the Grid, back to a place no one has ever seen, back to the world of TRON.

TRON LEGACY picks up some years after the original. The opening scenes take place a few years later but soon after the world changes. Kevin Flynn (Jeff Bridges) promised his son he’d be back but for some reason he disappeared. Never seen again the company he began with friend Alan Bradley (Bruce Boxleitner) is different. Encom is now about to go global and rather than become the open and file sharing system Flynn intended it to be, it’s main goal is profits and security.

Security that’s not quite as good as they would hope. For into the secret board meeting sneaks a single minded individual with something on his mind, a way to open up the portals to the net and share the newest version of Encom’s favorite program. That person is Sam Flynn (Garrett Hedlund), the major shareholder in the company who yearly stirs the pot and disrupts the aims of the company, aims that he knows his father would not have shared.

After being caught and released from jail, Sam goes home to find Alan waiting for him. They talk, banter back and forth and then Alan tells Sam he received a page from his father’s old storefront, the video arcade he owned where it all began. Passing along a key Flynn left him for safekeeping, he encourages Sam to check it out.

Sam’s curiosity is piqued and he does indeed go to the old battered arcade, game machines draped in plastic that come to life along with the jukebox when he flips the power switch. Noticing the Tron game his father designed and promised to play with him the day before he disappeared, he tries to play it only to have his quarter slip out. It lands on the floor and he notices groves where the machine has moved. Pushing it aside he finds a door that leads to his father’s inner sanctum, where he made everything, where he planned to release the new idea he had that would have changed the world. Touching his computer screen, it comes to life and Sam finds himself digitized just as his father was and tossed into the Grid, the computer world.

First on the agenda is Sam being picked up and sent to the games, a virtual battle of life and death involving the information discs that each player carries on their back. He survives and attempts an escape but not before being captured by the best of the best and taken to the ruler of this world. Once there the ruler is revealed as…Flynn! But not quite. Though he may appear to be Flynn on the surface, in reality this is Clu, the program produced by Flynn years ago to create the perfect world. And Sam isn’t a part of the world Clu sees.

Once again in the games, this time on light cycles, Sam takes on the best team there is and then escapes with the help of Quorra (Olivia Wilde), a program sent to aid him in his escape. They do so and she takes him off the grid to a secret location where he finally meets his father, the real one. They talk and spend a short time together during which Flynn tells Sam that he never sent the page. It has to be something Clu has put together. It ends up being a chance to use the portal to the real world where Clu hopes to take his digital army and make them real in an attempt to control it all. Only Flynn and his son now stand in his way.

The original film was an amazing piece of work filled with special effects that were dazzling at the time. A bit dated by today’s standards, the folks behind LEGACY have taken all of the main ideas, the design of the Grid, the games, the discs and vehicles and updated them for a more digitized world. Effects have grown during the 28 years since the original and it shows in all of the amazing effects seen here. Perhaps the most amazing isn’t the vehicles seen in nearly all commercials for the film but the fact that they make Jeff Bridges look like he did 28 years ago when he appears as Clu.

But without actors, without a heart, what kind of movie would it have made? Here we have a story, seemingly simple, where the efforts of a few dedicated individuals attempt to make things right. Where good guys take on bad guys to save the day. And where a father and son have the opportunity to meet once again after so long apart.

Filled with plenty of action and enough science fiction know how to please fans of the genre, TRON LEGACY lives up to the expectations that many fans will have for the film. I found it to not only live up to the original but to take it into a new dimension as well. It was fun, it was fast and it made me want to watch the old one beside this one and that makes this a legacy fulfilled.

LOVE & OTHER DRUGS: A FILM WITH MULTIPLE PERSONALITY DISORDER

I’m not a big fan of movies that just haven’t quite determined what they want to be. They begin one way and then suddenly do a 180 and I find myself watching a movie that is totally unlike the one I started with. Granted there are times this works, most notable in mysteries. But a movie that begins as a romantic comedy that turns into heavy drama is not a combination that works. Thus is the problem with LOVE & OTHER DRUGS.

Jake Gyllenhaall is Jamie Randall, a smooth talking operator with an eye for beautiful women but on the short stack when it comes to handling a successful career or future. His brother Josh (Josh Gand) is a successful investor and his parents are two top people in the medical field. So what is Josh’s problem?

Put in touch by his brother with the folks at Pfizer, Jake takes on the improbably job of pharmaceutical sales man. He goes to classes, beds the instructor and is assigned to another agent (Oliver Platt) to help him along. Jamie applies his own knowledge and skills to get him into the good graces of Dr. Stan Knight (Hank Azaria), a doctor whose approval would result in other doctors following suit and choosing Jamie’s drugs over those of his competitor.

In his attempt to sway the doctor, Jamie passes along cash for the chance of following him through a single day. During that time he sits in on a patient consultation. Her name is Maggie Murdock (Anne Hathaway) and she’s there just to get her prescriptions filled. She knows her problems, symptoms and likelihood of success but has little hope. She has Parkinson’s disease. She’s unusually young for this, but knows what to expect.

When Maggie catches Jamie as a salesman instead of the intern he claimed to be, she gets angry. Then she finds herself attracted to him. And then the pair becomes full time lovers with no attachments. Until Jamie finds himself drawn to Maggie.

The movie to this point has seemed like a combination romantic comedy and straight out romance story with quite a bit of nudity tossed in to appease the guys dragged to the movie so their girlfriends can check out Gyllenhaal’s butt. And then it suddenly changes.

Maggie understands what to expect in the near future but does Jamie? At a pharmaceutical convention, Jamie mingles with the crowd while Maggie finds a meeting of a support group for Parkinson’s patients. The group inspires here, makes her feel alive for the first time in ages and makes her appreciate Jamie for being there for her. Except perhaps he isn’t. At the same meeting he talks to one of the husbands of another patient who tells him if he had to do it all over again he would have run right away. This of course leads to the pair parting ways.

But remember this is movieland. The odds of them getting together again after this are pretty good. Then again the movie changed from what seemed a comedy to a rather intense drama too so it’s anyone’s guess how the story will end.

Is it any good? Not particularly. The lighter moments are tinged with quite a bit of cynicism. For those easily offended there is, as mentioned, plenty of gratuitous nudity and raunchy humor to boot. But the biggest problem is that with the exception of Maggie (due to her gut wrenching disease) there are not many sympathetic characters to be found here. Just single minded self interested people. How entertaining can that be?

The acting is good, the cinematography well done and the general feeling of the film fine. With the exception and a story that feels schizophrenic and that doesn’t involve the viewer as much as it should have.

I will say that one thing that has bothered me in recent years is how women, in particular actresses in film, seem to have to remove their clothing before they will be considered actresses. If you want work, you have to take off your clothes otherwise you’re designated uncompromising. The same doesn’t hold true for male actors (though many are doing more partial nude scenes). So why is it that the value of a female actress is judged by the amount of clothing she’s willing to remove but not men? Especially when actresses seem to be more involved with women’s rights groups? Who knows?

Some will enjoy the film for the sake of the nude scenes. Some will enjoy it because they find the leads attractive. And some will find the romantic storyline just what they’re looking for. It just would have been nice if this movie were more focused on what it wanted to be from beginning to end. The way it stands, it feels more like a jumbled flick than an enjoyable one.

MAN MOVIES: THE GREAT ESCAPE

It seems like the majority of “man movies” were made in the sixties for some reason. I’m still trying to figure out why and have found some made later on but for some reason this seems to have been THE decade for them. So on with the next one. Another amalgamation of stars to fill the screen and inspire a generation. It even inspired a popular poster in the seventies of Steve McQueen riding his motorcycle between barbed wire. The movie is THE GREAT ESCAPE.

Based on the true story of a group of P.O.W.s (Prisoners Of War) in Germany it tells the tale of how they escaped from their concentration camp in an attempt to get back home. These prisoners take the war seriously and decide that they could do some damage to the Nazis if they escape. Not only will the word leak out about what happened do propaganda damage but perhaps they could do some physical damage along the way as well.

The film opens with Capt. Hilts (Steve McQueen) dropped back into “the cooler” after having attempted an unsuccessful escape. With a baseball and mitt, he passes the time until he gets out and will try again. In the meantime other prisoners are planning a more organized escape of their own.

Running the operation is Squadron leader Roger Bartlett (Richard Attenborough). He devises the original plan and along with the rest of the group puts it into action. Their first objective is to tunnel under the camp without being noticed. They use the slats in their bunks to build supports in the tunnel and take the dirt out a bit at a time, using bags strapped to their legs that they empty onto the camp grounds while walking. A major portion of the film depicts the tunneling they do and the danger they face there.

While the tunnel is dug, they also need to make sure that they aren’t stopped along the way once they get out. While some soldiers are digging the others are making preparations for their escape creating maps, clothing and documents that should allow them free reign once they’re on the outside.

Once everything is in place, the break happens. A number of the POWs escape but not all. Once free, they scatter like the wind in the hopes of making it back home, making it to freedom.

The movie plays along at a much slower pace than today’s films. But that’s all a part of the story. It unfolds and shows how the process wouldn’t be something that was done overnight but would take time. And through it all we witness something that seems to be common with the “man movies” so far. A bonding between males in the films. Not a romance, but a bond of brotherhood that shows they stand for something together as opposed to going solo. Even later movies in this category that depict a single hero or anti-hero somewhere along the line have them in need of connecting with another human being. And that is evident here as this group of heroic men attempt to win freedom.

The cast was another stellar example of a group that was either top of the line or on their way up. Included were Charles Bronson (who was in both earlier “man movies” THE DIRTY DOZEN and THE MAGNIFICENT SEVEN), James Coburn (who was in THE MAGNIFICENT SEVEN), James Garner, Donald Pleasance and David McCallum.

Parts comedy, part adventure and all true story, this tale is one that needs to be told again for a new generation that forgets what WWII was all about, what their grandfathers and great grandfathers suffered through. It’s a tale of heroism on a grand scale. It’s another forgotten film that needs rediscovered by all.

DUE DATE: NO PLANE, NO TRAIN, JUST ONE LONG DRIVE

Road trips always seem to make funny movies. The discomfort of those forced to endure another irritating person or having to make do with a bad situation are situations we’ve all been faced with. So why not get a laugh out of the same thing at someone else’s expense? It made the hilarious PLANES TRAINS AND AUTOMOBILES one of the funniest movies even after 23 years. Yes it has been that long. Who better to take the reins from Steve Martin and John Candy than Robert Downey Jr. and Zach Galifianakis?

DUE DATE begins with architect Peter Highman (Downey) trying to make it home from Atlanta in time for the birth of his son. He begins by nearly being killed as he exits his limo by some yokel dropping off Ethan Trembly (Galifianakis). This leads to a misunderstanding (and some hilarity as Ethan attempts to put his luggage in the overheard) leaving Peter on the no-fly list, suspected of terrorism. Who else is there to blame but the goofy Ethan?

With his wallet packed and on the plane, Peter searches for a way home. Fortunately, or perhaps unfortunately, one presents itself when Ethan shows up with a rental car insisting that Peter join him for the road trip to LA. And so begins one of the most famous road trips that has some of the funniest moments in a comedy of late.

As the pair travel we get to see Peter as a stick in the mud, serious person with little room for anything in his life other than his own needs. On the other hand Ethan moves about willy nilly without a care in the world, looking at the trip as fun and taking care of his pet dog Sonny. In point of fact, this trip will change both men. Peter will learn in the oddest way possible what it means to be a father and take care of someone. Ethan will face the reality of his father’s death.

That’s another part of the story. Along for the ride carried in a coffee can are the ashes of Ethan’s recently deceased father. As Peter maps out their route to get them there in time, Ethan mentions that the Grand Canyon would be a great place for his father’s ashes to which Peter informs him that it’s miles out of their way. The topic comes up again later with a different location, each time revealing something more about Ethan.

The duo make their way cross country, stopping to pick up some weed (it’s medicinal for Ethan’s “glaucoma”), crashing their car, finding they have no money, a run in with a vet at Western Union and more. Each scene seems to offer more laughs than the last and no, I won’t spoil them by giving you details here. Suffice to say that there were moments that I had to either pause the movie or back it up once I stopped laughing.

But there is a sweetness to this movie as well. And that’s another thing that reminded me of the earlier PLANES. We have two characters, both stuffy and all businesslike that end up next to someone with a lot of well hidden pain in their life. The question becomes less about the physical trip and more about the emotional one that they both make.

Downey shines here as the jerk that has the best intentions in his decisions, a man who is fearful that he won’t make the birth of his child. Short tempered most of the time and very caring at others, he makes the journey to fatherhood over the miles. Galifianakis turns in his usual solid performance as the waif who needs something more in his life. His trip to Hollywood in hopes of being an actor, even though his character shows little ability, shows the dreams that so many have. My biggest fear with him is that he will find himself pigeonholed into these same roles. This one seems very much like the one he played in THE HANGOVER. It’s a curse that many comedic actors fall into but few rise out of. Take a look at Pauley Shore for a bad example.

The movie offers some terribly crude moments that are sure to offend some and make others laugh till their sides split. For the sake of my family I’ll plead the fifth (although one scene involving both Ethan and Sonny made me laugh harder when I saw the shocked look on my wife’s face while we watched the movie). And when the final sequence shows, amazingly enough during the whole Charlie Sheen brouhaha of late, you’ll find yourself touched by these two men and the trip they took. It’s a fun film that most will enjoy and will inspire at least a smile or two from everyone.

MAN MOVIES: THE MAGNIFICENT SEVEN

Another film that ranks high on the list of man movies is THE MAGNIFICENT SEVEN. Once more you have a group of actors that carried themselves in a way that guys envied them their confidence but that women thought were darn good to look at. The main thing that this film began though (and which carried over to my first “man movie” THE DIRTY DOZEN) was that it took a single individual who gathered together a small team to confront an enemy. It would be great to say that this was original to this film but the fact is that it was a remake of a successful Japanese film called THE SEVEN SAMURAI.

Yul Brynner stars as Chris Adams, a gunfighter with a conscious. When he hears of a group of poor Mexican farmers seeking aid in getting rid of a bandit that terrorizes their town and takes whatever they want, he accepts their proposition. With little or no money on hand (the farmers have little of value now), Chris sets out to recruit his team and he starts with Vin (Steve McQueen), another cowpoke who happened to be in the right place at the wrong time.

The two set out to fill in their group visiting other men that Chris has come across at one time or another, each with his own reason for joining or for fleeing their present situation. Britt (James Coburn) has just killed a man with his knife throwing skills in a fair fight that is sure to be questioned. Harry (Brad Dexter) thinks there is hidden gold in the village because what other reason would Chris have for taking on this task? Lee (Robert Vaughan) is a gunslinger looking for a peaceful place to live a quiet life if only for a while. Bernardo (Charles Bronson) sees it as an opportunity. And Chico (Horst Bucholtz) is a youngster who wants to make a name for himself, a boy who has yet to witness death but wants to stake his claim to it.

The team assembled, they head for the village and begin training the men of the village how to defend themselves. They set up traps, show them how to use guns and teach them that they’ll have to assist in defending themselves if they want the help of these professionals.

Eventually the bandits return expecting little or no problem. Instead they confront the seven for the first time. The bandit leader is Calvera (Eli Wallach) and he respects the seven but warns them that to stand in his way will result in death. Chris and his crew stand their ground and refuse to leave, choosing instead to defend the town they’ve been paid little to protect.

Once more we have a movie that is so well thought out and directed, in this case by John Sturges, that not a single moment watched unfold is wasted. Rather than focus on the panoramic vistas offered in most films, we frequently find ourselves in the poor dirt covered village. The heroes we watch are not the typical sort but ones who are flawed in one way or another. This was the beginnings of the anti-hero movement that sprang in the sixties, heroes that were not perfect in every way.

Once more a group of exciting and popular actors was assembled in to one production. Films like these would be impossible to pull off these days due to the contract and financial demands of those involved. The closest anyone has come has been the OCEAN’S ELEVEN films.

THE MAGNIFICENT SEVEN led to several sequels and eventually in 1999 to a short run TV series. The noble defense of the small town displays a sense of honor that characters rarely show these days. And in that demonstration of honor we have another piece of what is a part of “man movies”.

MAN MOVIES: THE DIRTY DOZEN

I was talking with my boss one day. We were discussing movies that I thought were classics that he had never seen. I jokingly told him that it was impossible for him to be a man if he hadn’t seen any of these “man movies”. I gave him a handful to watch and told him he couldn’t qualify as a guy until he finished them. It was a joke. But it got me thinking, if there can be films known as “chick flicks” why couldn’t there BE “man movies”?

So I’ve decided that occasionally I’ll add something to the list of so called “man movies”. I’ll pick those I can recall and go back to watch them and write about them. “Man movies” are those films that guys watch and talk about and love but that women sit through because they like their guys…or because they think the men in the movies are hunks. What better movie to start with than the one mentioned in a chick flick, SLEEPLESS IN SEATTLE. In that film when discussing what was a real tear jerking moment, Tom Hanks says that if you really want to see a tear jerking moment you have to see THE DIRTY DOZEN. If you’ve seen either film you know why. If not, I won’t spoil it for you.

THE DIRTY DOZEN takes place during WWII. Major Reisman (Lee Marvin) is an unconventional soldier. He’s more concerned with getting the job done than in military politics. This makes him just the man for the job that General Worden (Ernest Borgnine) has in store for him. A gathering of top Nazi army officials is going to take place at a secluded castle behind enemy lines. Worden wants Reisman to lead an elite group of men to the castle to take out these German officers. But who would want to go on such a suicide mission?

This is where the twist in the story kicks in. Reisman’s team will be hand picked from a group of soldiers currently on death row. Each soldier has been court martialed and is waiting to be executed. Their motivation to accomplish the goal set before them is a pardon from the death sentence. Reisman picks each man for various reasons and during an informal line up to see what sort of men they are he eventually must beat down the cockiest of the bunch, Victor Franko (John Cassavettes). Once the men know what sort of commander Reisman is, they fall into step right away.

Reisman takes his recruits to a secret training camp where they must first build their barracks and those of the guards. But he still sees something missing, that one burst of energy that unites these men as a team. Told that if one of them attempts to escape, they all go back to prison, it helps when Franko attempts to leave and the others capture him without revealing it to the guards. But still, something is missing.

The uniting of the team comes in the form of a protest when the prisoners refuse to shave or shower since they have cold water while their guards have hot. This results in them being a bit unclean or simply put since there are 12 of them, the dirty dozen.

Reisman puts them through a rigorous training learning how to fight with a knife or gun, pushes them to the limits physically and hones them into one of the best fighting units there is. It all comes in handy when Col. Breed (Robert Ryan), a career officer who hasn’t been made aware of the secret mission and who happens to hate Reisman, and his men enter the camp unannounced. Holding the men at gunpoint and insisting they tell him what is going on, the united team stays silent. And when Reisman turns up machine gun in hand and orders them to disarm their captors they do so gladly.

Col. Breed’s handling by the team doesn’t sit well and he complains to Gen. Worden. Reisman comes up with a solution. War games are scheduled to occur within days and Reisman proposes that his team can not only win the games but that they can take the flag from Breed’s. With contempt for the disheveled soldiers he saw, Breed scoffs at Reisman’s plan. But Worden sees the chance to Reisman and his men to prove themselves and accepts. Needless to say they do indeed win.

The team is set, their training complete and now Reisman fills them in on the details of their mission. After a night of celebration, they pack up and head to Germany and their fate. They continue to go over the plan en route. A few will sneak into the castle posing as officers. The rest will take up positions to help defend their escape. Now it’s up to the dirty dozen to fulfill their end of the bargain and hopefully come home alive.

The movie revolves around three set pieces: the training, the war games and the final mission. The pacing and direction is superb as director Robert Aldrich pieces together the tale in such a way that you’re never bored and never unsure of just what will happen next. It is a well made piece of craftsmanship from the photography to the acting.

The team is composed of various actors, some who were big on TV at the time and others just starting. Trini Lopez was known for his singing career but does his part on the team as does unknown Jim Brown who was a professional football player just getting into acting. Telly Savalas is seen prior to his big break on TV and Clint Walker was coming off of a successful western TV series. Also in the mix was the then little known Donald Sutherland who has one of the films funniest moments.

The movie was a huge hit when it was released and spawned several TV sequels, none of which equaled the original. This was a movie about macho men in the dirty business of war. They didn’t play by rules other than their own. They didn’t care how cleanly they did their job as long as they completed it. And in working towards their goal them had a chance to redeem themselves for past sins and a chance to make things right. There is more to this film than the naked eye can see. It is a classic in every sense and one that should be added to all DVD collections. And it should take a hallowed place among your “man movies”.

HOW DO YOU KNOW: YOU DON’T KNOW WATCHING THIS

The romantic comedy has taken some serious hits over the past few years. What was once a major staple of a night out at the movies is slowly dissolving into a thing of the past. Lets fact it, the bad examples of this genre far outweigh the good. But the majority fall into that middle of the road category, the one where the movie isn’t quite that bad but it’s also not one you’ll watch again. Such is the case with HOW DO YOU KNOW.

Directed and written by James Brooks, the man behind AS GOOD AS IT GETS, BROADCAST NEWS and TERMS OF ENDEARMENT (sorry but I never liked this one no matter how many people love it), what we have is a movie that looks good with great stars but that leaves you with little to remember or recommend. The movie revolves around two major characters. Lisa (Reese Witherspoon) is a professional woman’s baseball star hoping to get on the roster of the latest USA team. She doesn’t make it and in a slump ends up trying something new by getting involved with a pro baseball player named Matty (Owen Wilson).

Prior to her involvement, Lisa was supposed to go on a blind date with George (Paul Rudd), a young Wall Street exec, who cancels their date on the phone since he’s involved with someone already. That all changes when George becomes the target of a Federal investigation at company he works for, owned by his father Charles (Jack Nicholson). Down on his luck, his girlfriend dumps him to concentrate on her own needs.

Lisa’s involvement with Matty is everywhere. One minute they’re fine, the next they part ways. During one of those times apart, she finally meets with George for a dinner date. For George it’s love at first sight. He adores everything about Lisa. Unfortunately the feelings aren’t reciprocated and she goes back to Matty after a phone call.

These two characters keep bouncing back and forth into each other’s lives through the whole film. Things look well and then Matty does something stupid in the most stereotypical dumb jock mode there is. Lisa leaves and then later comes back, hoping for the best. All the while George sits to the side hoping that Lisa will leave Matty and he might get the opportunity he botched with that first phone call.

The movie is mainly about Lisa and her search for love. And when she thinks she’s found it she’s never quite sure if it’s really love, infatuation or just what it is. Thus the title of the film.

So here’s the thing. This cast, as I said, looks great. They perform quite well. But while I might like the characters I never feel involved with any of them. They all seem too self-absorbed in their own problems and when they do decide to consider someone else they almost always mess it up. Sure, life is messy but this is a movie, a comedy no less. I want to be entertained and not sit there uninvolved with the main characters. The only one I found myself caring about was George’s secretary who knows what’s going on at the office but can’t tell him and wants to so badly.

The movie is beautiful to look at. It’s well photographed and the sets look delicious. These are streets you find yourself wanting to walk down. But no matter how good the photography or the sets, a story needs to be presented that you enjoy. It never happens.

Brooks has shown some incredibly deep movies. He’s made us look deeper into worlds we never visit and makes them interesting. He’s made us invest in characters and their lives, hoping against all hope that they survive everything he throws at them. But here, it’s just kind of bland. It’s not boring but when it finishes you just feel sort of empty.

When released all everyone could talk about was the cost to make this picture. The stars were paid astronomical sums. Brooks ran over budget shooting and reshooting pieces. The fear was that the movie wouldn’t make back what was invested in it and those fears came true. After watching this it’s easy to see why.

CINEMA WASTELAND, AN EXPLOITATION/HORROR FAN'S DREAM COME TRUE

There are fans of movies in general and then there are horror film fans. The horror film fan is not like any fan you are likely to meet anywhere else. These aren't the usual let me get an autograph and then go home type. No, the horror fan tracks down the actor or director of their choice and not only gets the autograph, they carry on a conversation with this celebrity to find out more about their favorite film. They sit through panel discussions to learn more about what went on behind the scenes. They buy anything from T-shirts to CD soundtracks to DVD copies of their favorite films and get them signed, not to make money on Ebay but to treasure and cherish forever. These are die hard fans. And they are the kind of fans you'll find at Cinema Wasteland in Cleveland.

My son and I went to our first Cinema Wasteland after meeting it's creator Ken at a comic convention in Chicago. He sold a number of items to my son and then discussed his own convention. It took all of 10 seconds after hearing about it for my son to ask if we could please go next time around. Yes, I caved and we went. I'm glad we did.

If I recall correctly that first convention featured almost the entire cast of the original TEXAS CHAINSAW MASSACRE together in one room as well as a ton of other guests. including several other actors who played Leatherface in the sequels to the film, Ken Foree of DAWN OF THE DEAD FAME, Bill Moseley
 and Sid Haig of HOUSE OF 1000 CORPSES and more. It was at this convention that the seed was planted in my son's brain that he could be a horror host on television, something he did indeed follow through on. For the few that saw it in our town and the many who saw it in Van Wert, OH, he was Gravedigger Grimm, host of The Unearthed Midnight Theater, showing a number of old black and white public domain titles with bits scattered throughout. If you missed him, here's a picture:

In any event, this convention is unlike any other. They don't limit themselves to horror flicks, on occasion they'll spend an entire convention based around exploitation or drive in movies. Not long ago they featured a number of actors who had made their mark in the world during the heyday of the blaxploitation films of the lase seventies.

Not only are the topics covered at this convention different, so are the fans. As I said above, these are die hard fans. It's nothing to see a fan with an entire arm tattooed with characters from a favorite horror film, a leather jacket adorned with home made artwork for a movie like this or fans walking around dressed as anything from a 8 ft tall Nazi creation to a slobbering hunchback to a werewolf. And what are they doing? They're meeting the actors, getting autographs, buying classic horror films, bootleg films, home made films, movie posters, comics, magazines and more. Don't expect it to be cheap though as some posters are highly sought after. I know of one person (name withheld to protect the innocent or guilty depending on how you view it) who spent $100 on a poster for ILSA SHE WOLF OF THE SS. Yes, these ARE die hard fans.

If you've never gone I'd suggest giving it a try. There are tons of conventions around the country but if you ask the fans, this is the must see convention to attend. It happens twice a year, once in October and the spring convention in April.


Here is a look at the upcoming guest line up for the next show which takes place April 1st, 2nd and 3rd. The main theme this year is the films of Ruggreo Deodatto, the director of the infamous CANNIBAL HOLOCAUST. Ruggero will be there as will be the stars of that film. Horror fan fave (and all around nice guy) Michael Berryman will be there as will be Bill Forsythe, Tom Atkins, at least two of the EVIL DEAD girls and Judith Ridley of NIGHT OF THE LIVING DEAD. There are a lot more guests coming but my suggestion is you visit the convention's home page and then make a trip for at least one day of the show. Who knows, you might be the next person buying that $100 poster. Visit the link below.

http://cinemawasteland.com/show.html

DAY OF THE DEAD: THE DEAD RISE AGAIN

For many it seemed that George Romero had lost his touch when he released the final film (at the time) of his Dead Trilogy. In the late sixties, NIGHT OF THE LIVING DEAD scared people with it’s depiction of walking dead, zombies, feasting on the flesh of the living. In the seventies he released DAWN OF THE DEAD.  We were treated to the same basic principal, but this time around given a more in depth allegorical story. And full color zombies eating flesh. Then in the eighties Romero released the final film, DAY OF THE DEAD.

More gruesome than its predecessor, the movie offered a harsher reality of a world run over by flesh eating zombies. And critics who had fawned over the first two films missed the point. They didn’t get it. And the movie was trashed by the same. Released in full with an X rating, the film received little advertising and died away except for the few die hard fans that flocked to it.

I was one of those fans. And I loved the film as much as I had the previous installments. And in watching the film, more so now than ever, you can see the growth of the talents of Romero. The black and white gave way to color, the color gave way to higher production values. This movie almost shines in its clarity.

Having seen (and owned) various copies of the film on video and DVD before, all I can say is that Anchor Bay has outdone themselves with this release. It is by far the clearest, cleanest print I have seen since viewing it in a theater those long years ago. The best example of this is in the very beginning when a zombie sans lower jaw walks into view as the title pops up on screen. In the past, he appeared almost black, none of the special effects work of master artist Tom Savini was apparent. Here, it is on view quite well and the rest of the film follows.

For those unaware of the story, in the beginning, something brought the dead back to life with a singular craving for human flesh. There you have it, a simple plot. The second film offered a look at American culture and it’s obsession with commercialism (see my review of this film if you like). This movie takes a look at how the military and research scientist have both seemed to have lost touch with the humanity both claim to want to protect.

As each film was released, the number of zombies increased. The first had a ratio of more humans than zombies, the second about even. In this release, the zombies appear to have taken over. From the opening sequence of a city filled with walking dead, you can tell that humanity’s hopes are all but lost.

The story revolves around a group of soldiers and research scientists holed up in what appears to be an abandoned silo. There, all sense of order is on the verge of breaking down as the scientists search for an answer to this problem. The soldiers, weary from fatigue and unable to comprehend what has gone on, are on the edge and ready to blow. A conflict between the two, each having little use for the other, is inevitable.

The main scientist is Dr. Logan (Richard Liberty) who looks at things differently. Rather than try and eliminate the problem, he’s begun researching the possibility of domesticating the zombies, as seen in the display of his prize “pupil” Bub (Sherman Howard). Bub recognizes items from his past and seems to have the ability to control the urge to devour the doctor.

Our heroine is Sarah (Lori Cardille), another scientist who comes to the conclusion that Dr. Logan’s line of inquiry could lead to the military’s shutting them down and eliminating them all. Her love for one of the soldiers, Miguel (Anthony Dilio Jr) causes a disruption among the soldiers.

Leading the military is Captain Rhodes (Joseph Pilato), a hard headed soldier who wants results and nothing more. Having just assumed command, he will no longer risk his men in attempts to gather more subjects for research. And he is, in his own way, as far over the edge as Dr. Logan.

All of these characters interact with one another as jealousies, questions of capability and a subdued battle for control runs underneath the blatant story of the zombie take over. Just who will win, who will take charge for real and who will survive is at the very heart of this movie. But more to the point of who is the question of CAN they survive in a world gone mad.

For a group of basically unknown actors (at least by Hollywood standards) the ensemble here does a tremendous job. It’s amazing to think that none of these people went on to enormous stardom. Perhaps it was the fact that horror film actors rarely are given the due they deserve.

Perhaps the main claim to fame of this film is its special effects. Tom Savini rose to the challenge of making it all believable and over the top at the same time. Displays of zombies with internal organs falling out, victims literally pulled apart before our very eyes, the camera never wavering, the basic make up of each and every zombie walking, all are shown with the skill that only a master can summon forth. And his legacy lives on as crew member (and one of the soldiers in the film) Greg Nicotero went on to form KNB Effects, one of the top groups operating now.

If you didn’t already know, this movie was just released in a special edition release from Anchor Bay. The DVD offers the movie in its most complete and clear form on disc one. It also contains commentary tracks of an ensemble including Romero himself, Tom Savini, Lori Cardille and set designer Cletus Anderson and another track from film maker Roger Avery. The second disc contains all sorts of goodies. A 31 minute behind the scenes collection with images from Savini’s private files. An audio interview with Richard Liberty. The featurette THE MANY DAYS OF THE DAY OF THE DEAD, a 39 minute look back at the movie featuring the stars today recalling their experience on the film. Trailers, TV spots, pictures, poster and ad artwork, a Romero biography, make up photo gallery and more. This is one fully loaded package and more than worth the costs.

If you love horror films then your collection won’t be complete without this one. Add it today.

DAWN OF THE DEAD: JUST WHEN YOU THOUGHT IT COULDN'T GET ANY SCARIER

DAWN OF THE DEAD is a classic horror film although only a short time has passed since it was released. With a remake in the works it’s important to go back and take a look at the original. And it’s a horror film that loses nothing with time.

The story picks up where the original left off, a world where flesh eating zombies are roaming the countryside in search of fresh kill. This plague, which is never explained as to how it began, has multiplied and now the ratio of zombies to live humans is about equal.

Enter a pair of S.W.A.T. members (Ken Foree and Scott Reiniger) who have tired of hunting down these zombies. Reiniger plans on escaping the city with a friend and his girlfriend (David Emgee and Gaylen Ross), a pilot and a producer for the local TV station.

They four set off to find a safe haven and discover a world gone mad along the way, with order destroyed and hunting parties roaming the countryside.

As they fly, they come across an abandoned mall and land on the roof. Noticing the obvious pluses of taking the mall over, blocking the entranceways and staying put, they make their play. But taking out a mall filled with these creatures is not an easy task.

Blocking the doors with trucks from a nearby freight company and then dispensing of the zombies within, the four find it a home away from home. One casualty in their conquest leaves the other three enjoying the spoils of war and soon finding themselves bored.

The three reinvigorate their will to live, as Ross learns to fly the helicopter and they monitor the radio in the hopes that there are other survivors. When a call comes in they almost invite the callers, but then discover that it’s only a band of marauding bikers on the move, raiding any and everything in their path. A battle ensues in which not only the bikers but the zombies reinvade the mall as well.

What has been most talked about with this film is the fact that it is more than a straight on piece of gore filled horror. Director George Romero has used the mall and the creatures as a metaphor for the mindless zombie like shoppers seen everywhere in this country, evident in today’s malls as much as it was in 1978 when this film was made.  Go to any mall in the land today and walk around looking at the shoppers after seeing this flick and you will be sure to see one or more characters come to life before your eyes.

While a horror movie doesn’t have to rely on gore, this movie was one of the first to utilize it, garnering it an X rating had it actually been submitted. Relegated to midnight showing across the country and no newspaper advertising, it still gathered a cult following that included the likes of Roger Ebert and Gene Siskel.

The movie takes the day to day spots that we all go to each week and turns them into the most horrific of locations. With this in mind, we are put upon not in a castle or haunted house, but a shopping center that contains all that we feel we need or want. It is a well lit and mundane location, a spot where we are offered muzak and water fountains, only to have it tainted by the horrors of these creatures.

We are taken into a world filled with fear of the unknown, of a future that may not exist. And we are given a chance to look at ourselves in a different light. And at the same time, we scared to death by both what we may be and by what may happen.