Ultimately I am a big fan of the revenge picture, but “The Twisted Doll” is the victim of too much story and not enough run time. “The Twisted Doll” by director Andrew de Burgh feels like he had an initially larger scope story in hand and kind of reduced it for a nine minute movie. I wouldn’t say “The Twisted Doll” is a bad movie, as it’s a solidly written picture with some good performances, I just wished I knew more about the characters to understand their motivations.
100 years ago, Francis X. Bushman was one of the top stars of the movie industry. Today, he is either mostly forgotten or only remembered for his least characteristic role as the villainous Messala in the 1925 version of “Ben-Hur.” On this episode, film historian Lon Davis recalls Bushman’s turbulent film career – which was full of amazing scandals – and his late-life comeback on TV, including appearances on “You Bet Your Life” and “Batman.”
“The Online Movie Show” is produced at the Platinum Wolfe Studios.
Basically, “The Longest Daycare” is a much more advanced and intricate sequel to Maggie Simpson’s adventures in daycare that pays homage to Looney Tunes while also giving the character Maggie some depth. We only saw a portion of it in the episode “A Streetcar Named Marge,” where Maggie united her fellow babies to reclaim her pacifier in the spirit of “The Great Escape.”
Batman creator Bill Finger cites 1926’s silent crime thriller “The Bat” as one of the primary inspirations for Batman. And it’s easy to see where he draws his influences from. The Bat in this film is actually a criminal and a master one who steals from the rich. Like Batman he has a bat beacon, he brands all of his calling cards with a bat shaped symbol, The Bat dresses up like a giant bat with a cape and all, and rather than a utility belt, he wields a utility bag where he stores his tricks and supplies including a bat shaped grappling hook. The similarities just don’t stop there. The Bat climbs tall buildings with his ropes and uses the rooftops as his stalking grounds, lurking in the darkness.
With the release of “Vintage Erotica Anno 1960,” Cult Epics unleashes twelve underground 16mm short porn films that not only show the free wheeling fun loving of the early sixties but the evolution of the porno film before our very eyes. As the smut and taboo material of threesomes and orgies became ever more frequent in the underground smut circuit, we saw the beginnings of the classic porn formula where it was less about voyeurism and teasing the audience as it was about rough hardcore sex.
To say that “The Suicide Brothers” is something of a whimsical bit of surrealism is an understatement. “The Suicide Brothers” is an utter demonstration in absolute folklore that meshes urban legend, Tim Burton fantasy, and as an absolute demonstration of that classic tale of a figure seeking death and finding it when they’ve stopped searching. Rupert Friend’s “The Suicide Brothers” is a look at two brothers in the dark forest of Bavaria who take it upon themselves to engage in a ritual suicide attempt almost every single night.
The first bit of Erotica I ever reviewed for Cult Epics was “American Nudes,” a three disc compilation of erotica shorts that started in the mid-twenties and the silent era and ended in the late nineties where the production qualities were much better but the sex much more artificial. Never remiss to explore all facets of erotica in its truest forms, Cult Epics has compiled a two hour array of vintage lesbian erotica from the 1930’s to the 1960’s that’s both fascinating in its delving of photography and the lengths of innocence and horseplay among its female cast, and rather arousing if you’re in to the girl on girl fetish.
While I would have loved to adore “The Dragon Painter” and the story that unfolds, I can’t say that I did. For a movie made in 1919, Sessue Hayakawa’s film is a wonderful epic with some rather incredible splashes of stark color and sweeping landscapes. Even for a print that’s aged and was nearly lost the picture transfer for “The Dragon Painter” is awfully fantastic with crystal clarity, and an incredible score. Even those who dislike the movie will find some value in the backdrops and set pieces, including Hayakawa’s eagerness to break all stereotypes of the Asian culture.