The story of Joss Whedon’s “Buffy the Vampire Slayer” is about as classic a tale and about as old a tale as most other movies in development. Whedon had a vision for a new take on a horror story and Hollywood didn’t get it and kind of fucked it up. Everyone by now knows the tale of 1992’s “Buffy,” and how Joss Whedon initially wanted to make something of a darker more stern take on the vampire hunter that minced a coming of age tale with a story of a young woman coming to maturity. When Whedon was given the chance to finally bring his film in to development he kind of lost control of his creation.
It’s tough to find someone like Elvira who can squeeze in so many double entendres in to only a half hour of comedy. “The Elvira Show” was essentially like the movie from the late eighties, but extended in to a sitcom setting. It was “Bewitched” meets “Sabrina” meets “Married with Children” with Elvira dominating the screen as always with her sexuality and sharp delivery of one liners. There are so many great sexual puns squeezed in to the opening scenes of the pilot from replying to hunky officer Chip “I bet you can’t eat just one,” to explaining that she and her family will be like the Cleavers, with she, of course, being “The Beaver.”
It’s no surprise that, rather than a most established performer and actress like Scarlett Johannson or Christina Hendricks, director Steven Soderbergh sought out Sasha Grey for the lead role in “The Girlfriend Experience.” Grey had spent years making millions off building the fantasies of her male (and female) audience with dozens of notable porn movies, as well as building a humongous line of sex toys that promote fantasy fulfillment for an audience that want every piece of her. Much like Grey, “The Girlfriend Experience” is about the fantasy and the reality that we may not realize isn’t always enticing.
People usually laugh when I tell them I have a mortal fear of zombies, but for many years I did. I had a mortal fear of the walking dead, for reasons I can’t really explain. Fears are meant to be irrational. I can however pinpoint to where it may have all started, and it was with George Romero. One of my earliest memories as a kid was when my dad took a four year old moi to visit a friend of his, who watching this horror documentary on VHS. Mid-way through the footage there was the epic finale of “Day of the Dead” where the humongous horde of zombies is slowly descending in to the military bunker with light cast upon them.
I got started as a critic in 2004 when I covered the Fantasia film festival for Film Threat. At the time I was pretty active on the Film Threat web board and one of the moderators, I believe it was Eric Campos, asked if I could attend the festival and write something for the magazine since I lived nearby. I must have done a good job because he let me stick around to do more stuff, mostly review indie films and write a series called “Versus” where I compared remakes with the original.
It was fun, but eventually I had to slow down because I was burnt out. I realize that “watching movies” doesn’t sound exhausting, but I always felt a deep sense of responsibility to both the readers and the filmmakers. It felt wrong to just go “This film sucks!” or “This film rocks” without exploring every little detail on screen and analyzing every aspect of the production.
There’s been talk of remaking Suspiria for years. So much so that a lot of what I’m going to mention here are thoughts that have been bouncing around in my head for over a decade. The latest attempt at a remake, and the one most likely to happen, is supposed to star Dakota Johnson and Tilda Swinton, have music by Thom Yorke, and be directed by Luca Guadagnino. All of whom are above average artists in their respective fields. So I wish this attempt well and I genuinely hope it succeeds.
At the same time, I think it’ll fail.
Adam West was always one of those actors who was there popping in and out of my life, entertaining me since I was old enough to remember. Two of the main reasons why I formed such a humongous obsession with superheroes and comic books were because of “The Super Friends” and the Adam West version of “Batman.” Adam West had the classic movie idol looks with the chiseled features and swept back brown hair, and for such a very long time he was Batman. By day he was, of course, a millionaire and playboy known as Bruce Wayne who hung out with his ward Dick Grayson, but by night he’d slide down the pole alongside his sidekick and transform in to Batman. Batman was a crime fighter who wore spandex and a cape and cowl that bore penciled in eyebrows.
It’s hard to believe that “8 Mile” arrived in theaters fifteen years ago and took the world by surprise. That’s essentially what Eminem’s career has always been about: Surprising people who have always doubted him. After the stigma of white hip hop artists permeated music for years, Eminem stomped on to the world of hip hop. He didn’t just make a name for himself, but he challenged everything about the world he was in, the music he performed, and the people he ran across every single day of his life. Here was a man who kind of tore through the façade of fame, and also challenged the conventions of hip hop, which by the late nineties, was more about fame and wealth than hardships and confronting a harsh society.