I’ve been privy to the details behind a massive storytelling archive built by the clean water champions at Lake Ontario Waterkeeper, and I’m delighted to see that the archive has now launched online. It’s called the Watermark project, and the concept is to collect stories of people’s connections to water-bodies all over the world. The site boasts written, photographic, and video submissions; I’ve already thrown in my two cents on the topic of Halifax Harbour, so please give the site a browse and feel free to contribute a water story of your own!
I’m very proud to be part of Chris Alexander’s revitalization of the shocktillyoudrop.com website. Along with the
occasional news item, I’ll be contributing a continuation of Fangoria’s “Dump Bin Diaries” column, called “The Disc That Wouldn’t Die!”. It’ll be further explorations into what cheap-o discs and package deal box sets can be had out there for a pittance, and the first installments can be found here and here.
Still recovering from the second annual Horror Rama festivities over the weekend, but happy to report I have video footage of my onstage interviews with gentleman of horror Mick Garris and the goddess of grue Linnea Quigley. I’ll be editing and posting the clips shortly!
The first part of my Fangoria interview with the exceedingly awesome David Hewlett, concerning his new directorial effort DEBUG, is now available right here. Mr. Hewlett is beloved for his role as Rodney McKay on the long-running series STARGATE:ATLANTIS, but I managed to get some reminiscences on his lesser-known lead roles in classic Canadian genre films like PIN and CUBE. Look for a Hewlett career retrospective soon, and in the meantime, don’t forget to check out DEBUG!
Fangoria issue #337 is now on stands, and it’s a doozy. The professor, Wes Craven, graces the cover, and inside is Brice McVicar’s brilliant series of interviews with key NIGHTMARE ON ELM street personnel– including Craven and stars Robert Englund and Heather Langenkamp. I felt like the comprehensive 2010 documentary NEVER SLEEP AGAIN was the final word on the ELM STREET phenomenon, but McVicar proves that there are always new tacks to take when addressing the series.
It also helps that there is a little more meat to ELM STREET than the typical slasher franchise. ELM STREET brought a dose of wild surrealism and daring, fantastical makeup designs to what could have been throwaway cheapjack episodes. Even the worst of the series (part six, in my opinion) at least attempted to do something visually interesting with its 3D gimmick. Not to mention Craven’s NEW NIGHTMARE, which is one of the most original sequels of all time and accomplished the impossible task of making the increasingly-cartoonish Freddy Krueger scary again.
My contribution to the issue comes as a new Dump Bin Diaries installment, this one discussing a sample of the weird succession of HOWLING sequels. That modest little werewolf flick inspired some sincerely nutty follow-ups, three of which show up in this column. To steal a word from the great Harlan Ellison, these movies typify xenogenesis: They look not a thing like their parents. I still give the set a middling recommendation: goofy, yes, but the HOWLING flicks sure aren’t boring.
The issue is available here.
Hot off the (digital) press is my new interview with author Joe R. Lansdale on Fangoria.com. For years now, I’ve been a fan of Grandmaster Lansdale and his writing both humorous and fearless, and I love any opportunity to spread around his proprietary East Texas olio of provocative violence, juicy comedic chops, and pounding down of prejudices (especially racial and sexual) with his verbal sledgehammer.
As discussed in the interview, Lansdale is just too damn popular these days to be any longer considered a “cult” writer, and I couldn’t be happier about that fact. Lansdale may be best known for writing the novella that spawned the 2002 movie BUBBA HO-TEP, in which an elderly, discredited Elvis Presley (Bruce Campbell) fights an undead Egyptian mummy in a Texas nursing home. For those who haven’t seen the film, the above log line reads like BUBBA would wedge in nicely alongside the current trend of ironic hipster ridiculousness that I loathe (think SHARKNADO and films of that ilk), but in the deft directorial hands of Don Coscarelli, BUBBA is a sincere and genuinely touching treatise on friendship, honour, and aging with grace… I promise!
An addendum: one of the upcoming film adaptations that Mr. Lansdale was not at liberty to comment upon at the time of our interview was THE THICKET, from Lansdale’s latest period-set novel. It’s slated to star and be produced by Peter Dinklage, best known for portraying Tyrion Lannister on the monumentally popular HBO series GAME OF THRONES. Dinklage is the natural choice to play THE THICKET’s Shorty, a bounty-hunting dwarf with a quick draw and an acid wit. Can’t wait to see this one—in the meantime, enjoy the interview with the modern-day Mark Twain, Mr. Joe R. Lansdale his ownself!
Even years later, Guillermo Del Toro remains my favorite interview subject. A jet-fuelled quote engine with a hilarious and self-effacing sense of humour, you’ll not lack for material when putting together a piece on whatever subject Del Toro expounds upon. Since Del Toro is pretty much a full-time Toronto resident these days (his last few projects as director and producer have all shot here in town), he’s done a number of public appearances at the TIFF Lightbox on King Street to present some of the films he admires, be they obscurities like Pupi Avati’s ARCANE ENCHANTER or exalted Hitchcock classics like NOTORIOUS.
I’ve been fortunate enough to catch a few of these screenings and their accompanying lectures by Del Toro (called ‘masterclasses’ by TIFF), and can’t recommend the experience highly enough. Del Toro, who has written a textbook on the films of Hitchcock in his native Mexico, is always an engaging and affable speaker, pointing out themes and techniques in the films while relating them to his own life and career.
Last week, TIFF announced a new Del Toro masterclass happening Monday, November 24th at seven P.M. The topic is the late Ken Russell’s controversial 1971 swing at the Catholic church, entitled THE DEVILS. The provocative DEVILS is notable for the various trimmed and censored versions that eventually hit the market, leading to speculation that a truly uncut version no longer exists. I’m not a huge fan of what I’ve seen from Russell’s admittedly daring but off-putting catalog, but I am eager to hear why Del Toro thinks this particular movie deserves our attention—and truth be told, I’d probably show up to a Wayans Brothers’ movie if Del Toro were hosting.
The Scream Factory DVD label is known and praised for rescuing neglected genre classics and releasing them with flawless hi-def transfers and impeccably curated extras. Yet the label always seems subject to a level of simmering online discontent and grumbling. Why, the layperson may be asking? A section of broke horror fans out there feel like Scream’s prices are too high, and this ignoble tribe are rarely satisfied with keeping their opinions to themselves. It bears repeating that Scream must charge a premium since they don’t own their product and have to pay hefty licensing fees to studios; this in addition to their own production and manufacturing costs for the discs. Think of Scream as a horror wholesaler, the type of business who needs to net a certain margin on every sale just to stay in business.
Now that we’ve settled that irritating non-criticism, let’s talk about my haul from Scream Factory’s Shocktober sale last month (free shipping to Canada!). Yes, there is a tinge of gloating in my voice as I shuffle through my lovely new blu-rays of Joe Dante’s werewolf caper THE HOWLING, Stan Winston and one of his greatest rod-puppet creations in PUMPKINHEAD, Sam Raimi and Liam Neeson’s proto-superhero (and PHANTOM OF THE OPERA riff) DARKMAN, and forgotten aquatic ALIEN rip-off LEVIATHAN. I also nabbed the two-pack of Ted Nicolau’s nutty comedy TERRORVISON and the disappointing zombie flick THE VIDEO DEAD. I picked up THE NEST, a mutant cockroach creeper, on a whim; I’m a bit sorry I did. The big-roach puppet effects are sparse and pretty pathetic when they do appear, especially when held up to the expressive and mobile animatronic demon central to PUMPKINHEAD.
I’m quite pleased with most of my picks, their discount prices, and the free fridge magnets Scream sent along with the bundle. I should mention that I did pay full retail price for the monumental HALLOWEEN fifteen-disc box set that Scream released in conjunction with Anchor Bay. I haven’t cracked this one open yet—waiting until I’m laid up with the flu or something. Fifteen discs is a substantial time investment!
There are still sports out there, ones tagged dismissively as “extreme”, that aren’t driven by overpaid athletes or dripping in gaudy sponsorship (though Red Bull is trying it’s best to change that). Alpinism, or climbing, is one of those sports—though perhaps ‘pursuit’ is more accurate. Though healthy competition most definitely thrives between climbers striving to put up new routes or shave minutes off of established lines, climbing’s heart is really man or woman versus themselves. It’s simply your guts and your gear, with everything on the line.
One of the sport’s most noble practitioners is Canada’s own Barry Blanchard, a gentleman climber and professional guide with decades of the world’s most perilous mountain ascents behind him. He’s seen Alpinism rise from the fringes, as something considered by most reasonable folks to be the domain of either the unbearably macho or innately suicidal, to a subject of public interest and admiration. He’s also been at the summit of Everest more times than I’ve been to a Tim Horton’s.
Mr. Blanchard has stories, a good chunk of which end up in his new memoir THE CALLING. He’ll be at the Toronto Patagonia store (500 King Street West) tomorrow, November the thirteenth at six-thirty P.M. to deliver a few of those adventure tales in person, as well as sign copies of his new book. If you’ve ever wondered about what it’s like to be suspended on a remote mountainside in the middle of a raging blizzard or how it feels to be slowly dying from oxygen deprivation at altitudes only inhabited by jetliners, come and check it out. Admission is free.