Monday, November 18, 2013

A New Top Ten at John Kenneth Muir's Blog

My pal John is at it again! This month he asked for a rating of the top ten science fiction films from the 1970s. As usual he asked for opinions, was posting them all last week and compiled the results. 

You can check out those results here. There were some very surprising results in the mix, with some real classics in there, as well as a few people may find bizarre. Check it out!


This list certainly looks like it went boldly
where no list has gone before.

Friday, November 15, 2013

Ed Wood (1994)

Introduction:
Edward D. Wood Jr. often gets labeled as the worst director to ever come out of Hollywood (I’d dispute that little title, because I’ve seen the cinematic cannon of Coleman Francis). In the spirit of being contrary Tim Burton decides to do a biopic of a director that is often mocked and derided. The result may be one of Mr. Burton’s best films and a loving look at the less glamorous side of Hollywood in the 1950’s.

Summary:
Ed Wood (Johnny Depp) has big plans. He’s going to be a world famous director just like his idol, Orson Welles. Ed is going to do this by making the types of movies he wants to make. These tend to include mad scientists, monsters, and a huge helping of Angora. He just has to get his foot in the door. He joins forces with his girlfriend Dolores Fuller (Sarah Jessica Parker) and the infamous Bela Lugosi (Martin Landau). 

Unfortunately as enthusiastic as Ed is about his films, he just can't manage to make movies that resonate with the public. But Ed battles on, each film becoming larger and more complex then the last. After Glen or Glenda fails to find an audience, Ed finds himself trying to drum up cash for his new project Bride of the Monster. All this is leading toward his magnum opus Plan 9 from Outer Space. But even the Amazing Criswell (Jeffery Jones) might not be able to predict the fate the man we know as Ed Wood.

Good Points:
  • Great acting by just about everyone in the cast
  • The production design captures the dreamlike feel of 1950s Hollywood
  • A score balances 50’s style horror and sci-fi with bongos!
Bad Points:
  • The black and white cinematography might turn some viewers off
  • Ed and his pals may be a bit too colorful for some people
  • Burton romanticized Ed’s life - those looking for facts may want to look somewhere else
Overall:
For anyone who loves a good bad movie or at least appreciates the work that goes into making a movie (no matter how small or goofy it may be), Ed Wood is worth checking out. Burton’s film creates a likable character that does his best to follow his dreams no matter how bad things get. The mixture of fact and fantasy works well. The cast really gets into their parts. I’ll admit it’s not a film everyone can enjoy, and it helps if you’ve seen at least one of Mr. Wood’s works. For me, it’s one of Burton’s best films, and an overlooked gem of 1990’s cinema.

Scores (out of 5)
Visual: 5
Sound: 4
Acting: 5
Music: 5
Script: 4
Direction: 5
Entertainment: 4
Total: 5


In Depth Review:
Ed pitches his latest film idea: Bride... of the ATOM!
Edward D Wood Jr. just doesn’t seem like the type of guy you’d want to see a whole movie about. I mean he’s not a household name, and those that do know of him, may wish they didn’t. Yet, there are a lot of people out there who enjoy watching "bad" movies and are curious to know just what kind of mind is behind the process. Tim Burton has always been interested in the concept of “the outsider” and Ed Wood is just that. But rather than simply create a biography, Burton infuses the film with a layer of fantasy. It’s a world that seems to fit Ed and his off the wall friends perfectly. 

Visually Burton elected to film the movie in black and white. This may alienate some viewers, but I think it’s a masterstroke. I gives the film the feel of an actual 50’s horror or sci-fi film. It adds to the visual fantasy that Burton was trying to create. The visual design goes out of its way to evoke the type of films Ed made or inspired him. Film noir style lighting and framing are used in many of the scenes with Bela Lugosi. Lightning and thunder fill the air in key scenes. Even montages are set up in a way that fits perfectly in something like Bride of the Monster or Bert I. Gordon’s The Beginning of the End. The costumes, cars and set design all fit in the 50’s period. The sound work follows along with the visuals. The stormy sequences are particularly effective.

Ed directs his actors on the set of the renamed,
Bride of the Monster
Howard Shore who was best known for his moody and dark scores for director David Cronenberg seemed like an odd choice for Ed Wood at the time. Shore knew exactly what the film needed, creating a classic main title sequence including use of the Theremin (an early electronic music device used in classic sci-fi soundtracks like The Day the Earth Stood Still). Much of the score is actually low key, but uses a lot of bongos and Latin style beats that were popular in the 1950s. The fun stuff occurs when Ed is making his films. Shore goes full bore with the over the top horror or sci-fi music in the style of 50’s composers like Albert Glasser (who scored movies like The Amazing Colossal Man and Earth vs. the Spider). It is so different from his usual moody dark work and yet so well realized. It shows that Shore was capable of creating excellent music if given the chance. He got that chance a few years later with the Lord of the Rings trilogy.

The Amazing Criswell tells us the truth... from a
certain point of view.
The script of Ed Wood is a mixture of fact and fiction. You can feel Burton’s influence in some of the style of the story, but that’s not a bad thing. The movie opens with a slow pan into a creepy old house (obviously a model) and inside The Amazing Criswell appears from a coffin to tell us that what we are about to see is based on true testimony made by the individuals who lived the events. The setting, the music and Jeffery Jones acting combine to set the stage – and tell us that this isn’t true, even if Criswell is telling us otherwise. Would you believe a man in a sparkly tuxedo rising from a coffin? 

Later in the film we see Criswell telling Ed that all his predictions are bull, and the he makes all of them up. On top of that, we see nearly the exact same introduction by Criswell used for Plan 9 From Outer Space. Essentially, what we have here is Burton telling us that the film is not based on fact, but a wonderful mix of entertainment and truth. Ed Wood is primarily a fantasy film.

Ed deals with "studio" issues. The wig doesn't help
matters.
The focus of the script is Ed, but Bela Lugosi is a major part of the story. His friendship with Ed and the way that interaction is crafted provides the emotional core of the film. These two men are both outsiders, and Bela feels his star fading fast, Ed is filled with hope and optimism that things can only get better. These two losers need each other and the writing between the two is really excellent. Once Bela disappears from the film, Ed has met Kathy (Patricia Arquette), a woman who understands and accepts Ed and all his oddities. That relationship is really sidelined by the force of Ed’s will as he tries to get Plan 9 From Outer Space off the ground for his departed friend Bela. While the real Dolores Fuller did not behave as Parker portrayed her, it is important to the story that she leaves Ed. It take away the last support that he has. Unfortunately the movie tends to jump around quite a bit, but this is a problem common to many biopics.

Bela in full puppet-master mode.
A lot has been made of Martin Landau’s performance in Ed Wood, and it is really quite entertaining. He turns Lugosi into a real showman, but one who is crippled by drug addiction and depression. His accent seems a bit much, but it fits a lot of people’s memories of Lugosi. A combination of age make up and latex appliances add some of the features necessary to complete the image. Landau’s acting that completes the character. We feel sorry for him, but he entertains with his eccentricities and outbursts. It’s a top notch performance, for certain.

Johnny Depp is always very good at bringing oddballs to life, and this is a delightful performance. You like Ed for all his eccentricities and delusions. He loves movies. He loves making movies. He just wants to entertain people with his stories. He doesn’t see his ineptitude at all. Instead he sees many of his cost cutting measures as creative. His corny dialogue sounds like Shakespeare to his ears. His “one take” mentality is easily explained by lack of funds, money or a desire for realism. When Tor Johnson (George “The Animal” Steele) walks into a doorframe and shakes the entire plywood set, instead of doing another take Ed says, “No, it’s real. You know, Lobo would have to deal with that problem every day.” Depp’s performance sells the character.

"Now that's an alien!"
The supporting cast is all top notch. I’ve already mentioned a few of them but I can’t forget Lisa Marie looking sultry as an annoyed Vampira. Bill Murray steals quite a few scenes as Bunny Breckinridge, one of Ed’s close friends. Jeffrey Jones is also a lot of fun as Criswell, the television psychic who makes up all of his predictions making each one is more outlandish than the last. I also liked Mike Starr as George Weiss, a film producer who made some real duds. He hires Ed to direct Glen or Glenda. Check out Mystery Science theater 3000’s take on Racket Girls to see some of Weiss’ skills in action.

Burton’s direction of Ed Wood is spot on. It may not be as dark and gothic as some of his other films, but there is a spirit of fun that is present here. I also love the way that Burton captures what it must have been like to work on these horrible movies. When you these scenes, it’s obvious that Burton and the cast had to watch Ed’s films quite a few times to really capture the feel of an Ed Wood opus.  The montage of making Plan 9 From Outer Space is so funny because it exactly fits what the final film looked like. I admire is the way Burton really fuses all the elements of the film and makes them work as a whole. From the black and white visuals, to the use of gothic images and Shore’s over the top score, Burton creates a world that never existed, but we kind of wish it did. It is one of Burton’s best realized films.

Ed enjoys the fantasy he has brought to the screen.
I admit, it is a bit slow in a few places, and Bela’s storyline does move into some depressing territory, but for the most part this is a real movie lover’s movie. I enjoy this movie each time I watch it and often I’ll give it a spin after watching Plan 9 From Outer Space or Bride of the Monster or The Sinister Urge. I do recommend that you check out some of Ed’s films first, it makes some of the scenes especially humorous if you’ve got a point of comparison. For anyone who loves "bad" movies, this is one you must catch.

Friday, November 8, 2013

Score Sample - Ed Wood

When you think of director Tim Burton, then you can depend on a musical score by Danny Elfman. But in 1994 Burton and Elfman took a bit of a hiatus from each other (the reason for this is still a mystery). So when Burton was working on his film Ed Wood he turned to Howard Shore who is best known these days for his work on Lord of the Rings, but at that time Shore was the regular collaborator with David Cronenberg, so he seemed like a strange pick. Well there was no reason to fear, Shore nailed the score to the film providing some wonderful takes on the classic 1950s movie sound. Check out album version of the main theme with extra Theremin and bongos!



Tuesday, November 5, 2013

The Lost Skeleton of Cadavra (2001)


Introduction:
Some people take their love of bad movies and go onto the internet and write reviews about them. They want to share the wonder of the bad movie and drag others to witness its beauty. That is one of the reasons The Room has been inflicted on so many innocent people. But other people decide to take a crack at the bad movie piƱata with their own bat. Larry Blamire just stepped up to the plate. The result may be as bad as my mixed metaphors.

Summary:
Dr. Paul Armstrong (Larry Blamire) is a scientist who specializes in the field of science.  He and his wife Betty (Fay Masterson) are driving to a remote cabin to spend some time alone together and so he can study a meteorite made of the mysterious element atmospherium (which may be the dumbest name for an element since unobtanium). Meanwhile an evil scientist named Dr. Roger Fleming (Brian Howe) is searching for the Lost Skeleton of Cadavra in the same woodland area. When he finds the skeleton it demands atmospherium so that it can regain all of it’s evil powers.

Then a spaceship lands… no seriously, a spaceship lands. The husband and wife alien duo Kro-Bar (Andrew Parks) and Lattis (Susan McConnell) discover that their pet mutant (Darin Reed) has escaped! They need to capture the mutant, and then get some atmospherium to repair their ship and return to their planet. Before you can say Plan 9 From Outer Space wacky shenanigans ensue as the aliens, the evil doctor and the clueless scientist and his wife all collide. Will the mutant horribly mutilate our heroes? Will the aliens be able to pass as normal humans? Will we find out what kind of animals Animala (Jennifer Blaire) is made of? And who will be the first victim of The Lost Skeleton of Cadavra.

Good Points:
  • Manages to parody and capture the feel of a 1950s drive in flick
  • The dialogue is a perfect parody of Ed Wood’s best
  • Wears its love of bad black and white B movies on its sleeve

Bad Points:
  • It is so in on the joke that it can rub viewers the wrong way
  • A few scenes go on a little too long
  • If you don’t get why people love bad movies, then don’t bother with this one

Overall:
This is a dangerous balancing act: to make a fun schlocky movie while poking fun at schlocky movies. But Blamire and his cast and crew pull it off. They obviously love the movies they are spoofing, and they’ve watched plenty of them. The result is a very fun ride with some very quotable dialogue, hilarious characters and a spirit of fun around every corner. A few of the talky scenes go on a bit long, but in all honesty it could be part of the joke. I had a great time with this one and anyone who enjoys the genre of films (and those particular Mystery Science Theater 3000 episodes that feature those films) will probably enjoy this too.

Scores (out of 5)*
Visuals: 5
Sound: 3
Acting: 5
Script: 4
Music: 5
Direction: 5
Entertainment: 4
Total:  5

*Since the movie is attempting to be bad, I rated the elements on how well it succeeded in matching the schlocky movie vibe. For example, the camera work reminded me strongly of Ed Wood Jr. and Roger Corman camera framing – and so it gets high marks.

Curious about a full review, sent me an email and I’ll make additional thoughts to this review.   

Wednesday, October 30, 2013

Boogiepop Phantom (2000)


Introduction:

We are all afraid of something. Usually it connected to the unknown or death (the greatest unknown). But in high school you can end up with a whole host of additional fears. Will my peers turn against me? Are my grades ever going to be good enough? Will he ever notice me? Will she laugh in my face when I ask her out? Will the angel of death come for me in a dark, dank alleyway because I’ve been talking to something that may be a ghost but is more likely a creature spawned from hell? You know typical teenage stuff.

Summary:
In an unnamed Japanese city (not Tokyo because it appears as a destination later in the show) the high school aged teens are becoming prey to something dark. Some of them disappear without a trace. Others are found dead, sometimes by their own hand or other times brutally ripped apart. Rumors start spreading about an angel of death named Boogiepop (Debora Rabbai) that will take you away from the horrors of this world. Others say that Boogiepop is the killer and an unstoppable creature to boot.

Nagi Kirima (Rachael Lillis) isn’t sure what to think but dammit, she’s going to find out. So attempts to track down Boogiepop, discovering that magnetic waves are distorted whenever the spirit appears. In addition plants seem to accelerate growth and metal rusts quickly whenever Boogiepop appears. Can these phenomena hint at the true nature of this beast? Meanwhile student’s lives intersect, collide and end one by one. Nagi learns that the past may have come back to haunt the city. On top of all that, Boogiepop isn’t the only supernatural presence roaming this metropolis. There are others out there, including a thing calling itself Boogiepop Phantom. On her own, does Nagi have any hope of solving this puzzle, retaining her sanity and surviving the next night?

Good Points:
  • An amazing exercise in fractured non-linear storytelling
  • Oozing with dark atmosphere and dread
  • Some very strong performances by the English voice cast

Bad Points:
  • There are no main characters or obvious story threads
  • Revolves around the lives of high school kids, adults are few and far between
  • Relentlessly bleak and dower at times

Overall:
The non-linear storytelling will either be a puzzle you want to solve, or a headache you end up avoiding. Where the series really works is in creating it’s oppressive mood of dread. It’s style works wonderfully with its themes and the English voice cast does an excellent job with so many characters and scripts to work with. While I’m not fond of “teenagers only” it does end up working in the long run. I think this is one of those series that will just click perfectly for some viewers and leave others very cold. It is one of my favorites and highly recommended if you want a take a ride on a dark fractured rollercoaster.

Scores (out of 5)
Visuals: 5
Sound: 5
Acting: 4
Script: 4
Music: 4
Direction: 5
Entertainment: 5
Total:  5

In Depth Review
Lost in a hall of mirrors, Nagi isn't sure if the reflection
is harmless, or a deadly phantom she is hunting.
The world of Boogiepop Phantom is a dark and dangerous place filled with mysteries that turn into nightmares. It takes the insecurities all teenagers have and twists them into horrors. It takes pure ideals and hopes and tears them into bloody shreds. Memories, even good ones, can poison. Characters who actively fight and try to find some good often appear to be running circles and heading toward something that can’t be stopped – the dark angel Boogiepop. It is a bleak world with darkness literally in every corner. The final episode does offer some light, but the whistle in the air hints that the haunted aren’t quite at rest yet.

And I love this show for all those reasons and more. It takes a bold step in not presenting us with your typical happy anime teens running around getting in and out of trouble. There’s no hyper color hair, spazzy best friends or even super cool heroes to shake things up (although Nagi is pretty cool looking in her motorcycle leathers). Instead all the character designs are realistic, with natural colors for hair and hairstyles that you’d see at a high school in the year 2000. While supernatural powers exist in this world, they are rarely helpful. Most of them do harm to those who use them. Even kids who try to help others with their powers end up hurting others and realizing how much pain they are causing. There is a natural order to this world. When the supernatural appears, it is usually a force of horrible change that destroys and cripples. The world is only righted when those supernatural forces are defeated.

The supernatural forces gave her a big old shove,
but at least she went with a smile on her face.
Even the natural world is dangerous. Several of the protagonists in the episodes have serious emotional or mental problems. We see several characters that become obsessed with something only to end up destroying themselves and others. Insecurities lead to drastic actions. Some of the characters just can’t process what is happening to them and break in front of you. You get the feeling that some of these kids just needed a little push to go over the edge, and usually the series gives them a big old shove instead.

So Boogiepop Phantom is all darkness and despair, so why the hell would you want to watch that.  Because it is also a mystery, and the mystery is, why is this happening? The very first episode hints at a reason, a brilliant beam of light that shoots into the air and causes a kind of shockwave over the city. All the power goes out and then is restored. From that moment on, supernatural things start happening, kids end up dead or vanish, and Nagi Kirima is hunting for phantoms. But the structure of the story is where the genius is. Each episode is its own story, with it’s own protagonist and it’s own beginning middle and end. For the most part the main character of the episode is never a main player in the big story. Instead you are viewing the story of a supporting cast member as the huge events go on around them. In a way this is a horror version of Rosencrantz and Guildenstern are Dead, but with 12 episodes and nightmare creatures.
 
Little tip, you see this woman, you run and hope
she isn't floating behind you.
But each story ends up intersecting another. Sometimes it only does it in a brief moment. For example in episode four, two girls walk by a crazy man the police are trying to restrain. They pause in their conversation to watch for a moment, and then move on, to keep talking about the recent killings. In the next episode we follow the crazed young man, building his story until he is being hauled out of his home by police officers. And guess what, one of those police officers ends up appearing in several stories. He has a direct connection to the overall story of what happened the night the light shot into the sky. But you never follow him directly, only watch as he appears time and again giving you a new piece of information by his actions or inactions.

Nagi plays detective but finds only more questions.
Each episode gives you a mini-horror story, and then gives you something about the larger story at hand. You begin to see some characters over and over again. Sometimes you see the same scenes but from different points of view. One of the returning characters is Nagi Kirima. You hear kids talk about her for the first couple episodes. Then you see her hunting, but you don’t know that is her yet. Later on that same scene plays again from a different point of view and you realize – hey I saw that in episode two.

For me, this is the real draw of Boogiepop Phantom. I love how all the pieces fall into place. How there are hints of other stories going on, but we never know all the details. I love how some characters appear to be helpful and kind in one episode, but when we meet them later we see them as horrible fiends that are causing pain wherever they go. I’m sure a huge amount of planning and scripting and rewriting went into making this whole thing work so well. It isn’t perfect. There are a few questions that are never answered, but I actually think that works to the advantage. We never do know all the answers to anything, but we have enough to understand how all the darkness can finally be battled. I find it amazing every time I watch the series how so many puzzles can be developed over the entire series and even as the last moment of the last episode plays out we are still putting things into place. It really is an amazing work of non-linear storytelling.

The darkness literally engulfs one of the helpless
victims.
Key to all this is the atmosphere and mood of the series. Boogiepop Phantom is a visually dark series. It dwells in shadows and night. The primary colors are black, grey, dark brown and the deep crimson of blood. You rarely see any blue or green in the series, and when you do it is a visual shock. It is very much an autumn kind of feel visually. It is also a very soft looking show. The whole image seems lacks any sharp details. Things look foggy at times, or as if we are looking through some fog or mist. It is all by design of course. It fits the themes of perception that permeates the show. None of the characters ever see the whole picture. Many times what they believe is not even close to what the viewers know to be true. And even we are not seeing the actual image; everything is separated from us by that layer of softness. Finally there are the dark corners of the screen. Nearly every shot in the series literally has dark corners, shadows that seem to bleed into the visuals. It’s an oppressive look, as if the darkness is closing in on everyone on the screen.

Ok, which girl with glasses is this? Didn't she die? Is
this a flashback?
If there is a downside to the visuals it is the fact that this show didn’t have a large budget. So they had to work with some limited character designs. This is a huge cast of characters, and sometimes it can be very difficult to tell characters apart, especially since most of them go to the same school and therefore they are all wearing the same school uniforms. You have to rely on voice acting and small details. There are four different girls who wear glasses in the series. You can’t use that as an identifier, so you have to try to remember their names, or use their hair or personalities as your way to tell them apart. Even then it can be tough. One of them dies early on and in a later episode I thought we were seeing a flashback, until I realized it was a different girl. I figured out that one girl had her hair parted on one side and the other had hers parted in the middle. But both look nearly the same. It can be a bit of task; especially the first time you watch the show.

The sound design and music in Boogiepop Phantom are handled very well. For the most part the sound effects include atmospheric rumbles, winds blowing and of course the juicier sound effects when one of the characters meets a gruesome fate. The show also plays with volume levels, sometimes allowing a sound to blast unnaturally loud, or have conversations fluctuate in volume as a character shifts his or her attention to something else.

Boogiepop or Boogiepop Phantom? Either way,
someone is going to die.
The music is mostly a series of electronic and techno tracks. These are edited in ways that create propulsive rhythms during chase scenes, or add to the mood with minimalistic sound design. It all works fairly well, but not all of it is pleasant (it’s not supposed to be). There is use of white noise with electronic clicks that you might call music, but really it just creates an anxious feeling in the listener. And then there is the Overture by Wagner. It is taken from his work Die Meistersinger von Nuremberg. You hear it during the “teaser segments” at the end of the show. But then you hear Boogiepop whistling it. It becomes a theme for the entity, seeming to blow in on the wind. There is a hauntingly distorted and warped version of the tune used in the series, combining a full orchestra with some electronics and studio distortions. It’s amazingly creepy and used to great effect in the series. For opening and end credits you get a couple of songs that seem really odd choices. The first is a 70s styled jazz piece called Evening Showers. It’s a very groovy song, but seems a bit out of place with the show. The end theme is a rockin’ tune sung by a band called Kyoko. It’s called Mirai Seiki Maruhi Club and it ends the show with a nice punch.

Even characters that use their powers to help others
end up hurting people.
Last but not least is the acting. I’ve mentioned already that the English voice cast is really great. This must have been a real challenge to dub, but everyone is on his or her game here. Lots of familiar names from the old CPM dubs are present and some of these folks are given multiple roles to play. Some of these parts are very challenging; with conflicting emotions being played one minute followed by stark terror the next. The DVDs include some commentary tracks by the voice actors and director and nearly all of them talk about how the hardest part was finding the right tone of voice for key lines. The Japanese track is also very good, but the show is so complicated in story structure that reading subtitles becomes a bit of a chore on top of keeping up with the story. So for a first viewing I definitely recommend the English dub. Then try a revisit in Japanese.

I think this show flew under the radar for a lot of folks when it came out. I saw a few reviews, but some folks were frustrated by the style and storytelling. Others were writing off as just being weird to be weird. I can understand being frustrated by it, and if you want a simple scary story, then Boogiepop Phantom isn’t going to work for you. Some of the individual episodes are very creepy, but there is a lot more going on here. And that is why you can’t write it off as just being weird to be weird. It makes definite comments on how perceptions define reality. It dives into the power of urban legend and rumors. It shows how memories are both a blessing and horrible curse. It deals with obsession and how it corrupts even the most noble of endeavors. In its own twisted way it even shows that all of us need someone to understand us and accept us for who we are. In this case it may turn out to be a horrible monster, and angel of death or our own damaged psyche – but it is a need we all have. Those that find that acceptance and understanding achieve some measure of peace.

The beam of light that started it all, and yet it was the
end of another story...
When it comes to dark and twisted anime series I have a few on my list of favorites: Serial Experiments Lain and Paranoia Agent are certainly on there. But I have to say I find Boogiepop Phantom to be the most satisfying and exciting to revisit.  I’ve said it before and I’ll say it again – it is certainly the dark jewel of my anime collection.

Monday, October 28, 2013

Anime Juke Box - Evening Shower - Boogipop Phantom

When October rolls around I listen to a lot of horror movie and anime scores. Most of them have the same kind of tone, because I love huge gothic style scores with lots of evil chanting and bombastic power. But I throw a bunch of other stuff in the mix including music from Boogiepop Phantom, one of my favorite anime series. The music is mostly atmospheric electronica and techno, but there are some interesting deviations. One is the oh-so-groovy opening credits Evening Shower performed by Shikao Suga. While this may not say spooky Halloween fun to you, once you've seen the show, it certainly will.


Sunday, October 27, 2013

A New Top Ten at John Kenneth Muir's Blog

Just wanted to give a shout out to John for providing another opportunity to for readers to provide their top ten lists. As usual he will compile the results and post them on this site.

In honor of Halloween, he asked for the Top Ten Greatest Horror Films from 1960 to 2000. You can check out my list here. You may notice some cross over with my recent list of Alternative Horror Films I Watch Every October. Feel free to send John your favorites, and I'll post a link to the final results here as well.


Not a place you'd like to visit.