by Melanie Reed
The theme of love gone wrong is one of the most popular themes in both film and literature, whether tragic or comic. Love bends our spirits in a new direction from which it may not be possible to return. Sometimes this happens literally, as in Romeo & Juliet. But what about the psychic damage of lost love? This takes a different kind of toll, and sometimes its sufferers are unable to return to themselves. The most vulnerable victims of this syndrome are those who have perceived the loved one as worthy of receiving the deepest, most personal parts of themselves. The loved one’s departure then renders these parts worthless, leaving the giver with a profound sense of the kind of emptiness, self-hatred, and despair that sometimes leads to madness. These stories are psychological portraits. In many, the ambition is merely to create a realistic and sympathetic character trajectory, with psychological elements only hinted at. But it’s worth examining these elements further, both generally and, by using extrapolation, specifically.
by Evan J Peterson
Tuesday will be our second-to-last night of SHRIEK: A Women of Horror Film and Discussion Class, located in the Scarecrow Video screening room. This week, we’ll watch The Fly, David Cronenberg’s radical body horror remake that established a rare female viewpoint in the horror genre.
by Greg Carlson
When the publishing industry and the movie/home entertainment business simultaneously had their business models shaken up by the ascension of mobile/streaming/online pirating culture that continues to grow to this very minute, there was one lovechild of the two mediums that literally disappeared from the bookshelves: the official novelizations of movies. These promotional tie-ins, generally in paperback form, were created to whet the appetites of young movie-goers growing up during the Reagan Administration (like yours truly) who longed to experience a movie a few more times after it left theaters, but couldn’t wait for the then-typical six to nine month window for the video release and didn’t have the $50-$100 to fork over for a VHS tape.
by Evan J Peterson
Tuesday will be our fifth night of SHRIEK: A Women of Horror Film and Discussion Class, located in the Scarecrow Video screening room. Last week, we filled nearly all seats for Alien. This week, we’ll watch Candyman, a gothic ghost story that moves the terror from a haunted castle to the place audiences dare not go: Cabrini Green, part of Chicago’s primarily black housing projects.
In honor of the release of SPECTRE, the 24th cinematic James Bond adventure, Matt and Kevin have inadvisably produced this full-length scene-specific audio commentary for 1979’s MOONRAKER, widely considered one of the very worst Bond films ever made.
Except it isn’t, not even close (correct answer: DIAMONDS ARE FOREVER). Made to cash in on the wild success of STAR WARS, MOONRAKER is a patently goofy cartoon aimed at kids and families, which doesn’t fit with most fans’ view of 007, especially in today’s climate of gritty realism and franchise continuity. But even though most Bond movies are campy to varying degrees, MOONRAKER takes that to extreme levels. This is one of the most absurdly silly spectacles of its time, bounding from one ridiculous sequence to the next. It’s also exceptionally well crafted, with special effects that slightly pre-date the analog technology invented and perfected by ILM (who were approached to do the FX but wanted too much money). We’re not trying to reclaim MOONRAKER as some hidden masterpiece, but we do think it’s underappreciated for what it is, a gloriously crazy collection of silly jokes, gorgeous location photography, and incredible sets, stunts, and special effects. Oh, and it has a giant astronaut space battle at the end, and if you can’t get behind that, there’s just no helping you.
You can right click here to save this mp3, then sync it up to any copy of the movie you wish to use.