Author of Haunted Indianapolis, Indiana Ghost Folklore, Midwest Maniacs, Midwest UFOs and Beyond, Scary Urban Legends, 50 Famous Fables and Folk Tales, and Notorious Crimes of the Upper Midwest.: http://tombakerbooks.weebly.com
Devil Girl from Mars
Devil Girl from Mars is a 1954 British film about a flying saucer landing on the Scottish moors near a country inn. The residents are a professor, his assistant, an old couple that runs the place, another woman, some society dame, a young boy, a waitress, her escaped convict husband, and whew! I get tired just giving out that roster. Was there anyone I missed?
Turkey Bowl 2
I wrote "Turkey Bowl" to cover movies so bad they didn't really deserve whole articles dedicated to reviewing them. The first two, The Bat (1959) starring Vincent Price and Agnes Moorehead, and Children Shouldn't Play With Dead Things (1972), starring cult movie director Alan Ormsby, were indeed cinematic slop fit only for feeding to hogs (well, maybe they weren't that bad).
Friday the Thirteenth: The Series "Helloween"
Note: The following review contains spoilers. This morning I awoke, as per usual, at around five thirty, rolled out of bed, read for a few minutes, drank some decaffeinated coffee, and signed into my telephone job. While alternating between waiting for calls and drawing macabre faces with my charcoal pencils, I watched an episode of "Friday the Thirteenth: The Series" (which, by the way, has nothing to do with Friday the Thirteenth: The Movies) which was particularly memorable, as it was short on brains but high on shlock entertainment value.
I typically like to rewatch a film before writing about it, but I've seen Oliver Stone's JFK so many times in my life, that I don't really think it's necessary. I know the film like the back of my hand, having sat through it many times, exalting over its recreation of a historical period receding further and further away from us, as time moves on.
Pink Floyd - Live at Pompeii
Pink Floyd gathered in the amphitheater in the ruins of Pompeii in 1972 to film one of the greatest concert films and documentaries of a rock group of the psychedelic era. Set amid the ruins of the devastated ancient city, the camera slides up and down, panning left and right over the painted frescoes and grim mosaics that document the lives and loves of ancient people, providing a sort of glimpse into the fate of beings cut short through the sheer absurdity of catastrophic misfortune. Out of the mercurial swamp of the lave flow of Vesuvius, we have the stuff from which is born, from the burbling earth, a new and more magnificent ruin for which time will still have no pity, no mercy, or no remorse.
The AI Manifesto
Note: the following may or may not have been written as satire. Regardless, the author considers it public domain, and thus, it may be freely copied, pasted, distributed, recorded, stored in a retrieval system, or stuffed up the backside of any propaganda media hack, news presenter, pundit, priest, politician, or like-minded vulture.
"...Florence, I'll Meet You There."
I woke up one morning, nearly eight years ago, and a dead woman was goading me into writing a poem for her. I have no clue as to why she chose me. I even had the music to which to set said poem (in the manner of a 78 RPM from oh, maybe, 1916 or so). That woman was Florence Lawrence, the "Biograph Girl," the "World's First Movie Star."
- Top Story - November 2023
The Sleep of Reason Top Story - November 2023
The scene could be a selection from a feverish nightmare. It could simply be a metaphor for the callous "care" shown by the bourgeoisie toward the starving peoples of the Third World. Do they really get off on watching their victims twist in pangs of desire and hunger, while they dole out the literal equivalent of Marie Antoinette's famous cold-blooded quip?
Fellini's Amarcord is a film I had not seen in twenty-five years; suddenly, though, I had the urge to watch it again, and many other Fellini films I hadn't seen in years as well. Perhaps I'll spend a month or two getting reacquainted with masterpieces such as La Dolce Vita, 8 and 1/2, Satyricon (my personal favorite), La Strada, and City of Women. Amarcord may not trump them all, but it is quite a slice of life: an image of a historical time and place, the little circle of existence as the viewer peers deep into it giving them a glimpse of other little circles. It is a testament to the power of humans to celebrate and dream, to fantasize escape in the midst of struggle and turmoil. Like the fireworks set off during the opening festival in the little Italian village at the beginning, these pops and bangs of human beings enact their weird, seemingly absurd roles, trapped in their dream of who they are, and dreaming all the while of Who They Wish to Be.