#r.g. armstrong

[horrorme]

Children of the Corn (1984)

[countesspetofi]

Today in the Department of Before They Were Star Trek Stars, DeForest Kelley guest stars in "No Amnesty for Death," episode 25 of the third season of Bat Masterson (original air date March 30, 1961).

Kelley plays one of three men who are about to be hanged for their participation in the Lincoln County War when Bat Masterson arrives with a last-minute pardon, to the horror of the local sheriff, whose sons were killed in the conflict. As soon as the prisoners are released, they immediately rob a stagecoach and Kelley kills the driver. Masterson helps track them down, but instead of arresting them the sheriff starts a gunfight in which he and Kelley are both killed. Another perfectly good saloon floor ruined.

[dweemeister]

El Dorado (1966)

Pulp science fiction writer Leigh Brackett was an anomaly in the genre. Not only was she a woman, but she also crossed over into Hollywood sporadically. Alongside her novellas and serialized stories, her film credits are enviable: The Big Sleep (1946; okay, this film’s story never made sense, but its romantic dialogue is legendary), Rio Bravo (1959), and, posthumously, The Empire Strikes Back (1980). To Brackett, she deemed her script to 1966’s El Dorado, a loose adaptation of Harry Brown’s novel The Stars in Their Courses, as “the best script [she] had done in [her] life.” High praise for oneself, especially as one could easily interpret El Dorado as a lighter, slightly more comic version of Rio Bravo. El Dorado was Brackett’s fourth of five collaborations with director Howard Hawks (1938’s Bringing Up Baby; the four other Brackett-Hawks collaborations include The Big Sleep, 1948’s Red River, Rio Bravo, and 1970’s Rio Lobo). Brackett’s inventiveness and spiky dialogue makes even the more clichéd elements of the story more entertaining than they should be. Other than Hawks and the ensemble cast, it is Brackett who is most responsible for the film’s success.

Somewhere in the American West, cowboy Cole Thornton (John Wayne) rides into the town of El Dorado for a job offer from local landowner Bart Jason (Ed Asner). His longtime friend, Sheriff J.P. Harrah (Robert Mitchum) meets with him, quickly deduces the reason for Cole’s presence in town, and effortlessly persuades his friend to turn down the job (the mutual respect for each other – between the characters and between Mitchum and Wayne – is apparent from the moment they meet). Jason’s job for to Thornton included coercing, gently or otherwise, the MacDonald family to abandon their land and water rights. The MacDonalds are an honest family, Harrah says, and they have been the target of regular harassment from Bart Jason and his men. Over the rest of the film, Harrah, Thornton, elderly deputy Bull Harris (Arthur Hunnicutt), a youthful gunslinger named Mississippi (James Caan), and Dr. Miller (Paul Fix) find themselves further embroiled in Jason’s repeated attempts to violently force the MacDonalds out.

El Dorado’s large supporting cast also includes saloon owner Maudie (Charlene Holt, whose character has a hankering for Thornton); R.G. Armstrong, Christopher George, Johnny Crawford, and Adam Roarke as the MacDonald boys; and Michele Carey as the hot-tempered Josephine “Joey” MacDonald (Carey and Holt play two of the final examples of the “Hawksian woman”).

Comparisons to Rio Bravo are all but inevitable to cinephiles and fans of American Westerns. Where Rio Bravo is more of a movie where friends revel in each other’s’ vibes, El Dorado is squarely a story of aging cowboys whose foibles – Harrah’s alcoholism to drown his self-pity, Thornton’s first act spinal injury and free-roaming ways – may spell the difference between local tragedy and justice. Despite what she might say, Brackett’s script to Rio Bravo (co-written by Jules Furthman) is far tighter than El Dorado’s, which employs a momentum-killing six-month time skip just as its dramatic interest begins to pique (editor John Woodcock does not provide any assistance here). It takes just a tad too much time for El Dorado, which uses the time skip to introduce Mississippi and sideline Harrah due to his heavy drinking, to regain the dramatic interest it established in the opening third of the movie.

Both casts of Rio Bravo and El Dorado have advantages over the other. Rio Bravo boasts Walter Brennan and Ward Bond in supporting roles (yet I’ve never been too fond of Dean Martin’s performance). El Dorado has Mitchum (whose dynamic with Wayne is fantastic), Caan (miles better than a Ricky Nelson sticking out like a rock 'n' roll kid from the 1950s), and not enough Asner. The two films, to me, are similar in quality, and I vacillate between which is “better” (but, on a rewatch, I think I might prefer El Dorado)*.

The interplay between John Wayne and Robert Mitchum lies at the heart of El Dorado. In 2024, it remains fashionable to lambaste Wayne for not being able to act and “playing himself” – an accusation that has been around for decades. With more lightly comedic material than usual (I would not consider El Dorado a comedy, but there are good-hearted ribbings and wry situational observances that prevent this from being a pure dramatic Western), Wayne revives some of the comic timing from The Quiet Man (1952) to decent effect here, especially around Mitchum and Caan. But most compellingly, Howard Hawks directs Wayne in a way that acknowledges and plays against his on-screen persona as the accomplished Western hero. Thornton’s spinal injury in the film’s opening act sees him reckon with his mortality – in jest and in seriousness. Wayne’s delivery and his physical acting is striking to longtime viewers such as yours truly, as it is one of the first films in which Wayne must come to terms with aging and his growing fallibility, as well as his reputation for outgunning and outthinking his opponents. The seeds of what would be Wayne’s late career signature performances in The Cowboys (1972) and The Shootist (1976) begin to show themselves here.

Mitchum, perpetually sleepy-eyed and always my first choice to play a slovenly protagonist good with a revolver, is wonderful here as a sheriff with the romantic maturity of a teenager who unaccustomed to rejection. The duality of Mitchum’s Sheriff Harrah here – the fastest gun for miles around determined to uphold the law and the inebriated slob who retains a sense of humor that makes self-pitying and self-deprecation indistinguishable – is difficult to pull off, but Mitchum does exactly that. Mitchum and Wayne’s historical on-screen personas are not polar opposites, but there is nevertheless little overlap between the two aside for their marksmanship. In their only screen appearance together (the two both co-starred on 1962’s The Longest Day, but their scenes were filmed separately), it seems the two have known each other for ages. The subtle glances, the knowing facial expressions, and gentlemanly warmth in conversation bely the fact that this is their first film together. But for El Dorado, their rapport benefits the film magnificently.

Like his good friend Ernest Hemingway, Howard Hawks admired masculine competence, professionalism, and self-reliance. El Dorado rambles a little bit about duty, honor, and loyalty, but all of this surrounds the central tenants of male friendship found here and in Rio Bravo. It is the development of that friendship and simultaneous professional excellence, rather than any plot details, that concerns Hawks – and this is the frame through which he wants viewers to see this film. By his own self admission, Hawks stated that he was, “much more interested in the story of a friendship between two men” than anything else in El Dorado (including fidelity to the original novel). The range war between Jason and the MacDonald family lacks as much exposition as some might expect. Hawks and Brackett refuse to fully explain how the dispute started, as well as what the conflict has wrought during the film’s time skip.

Those who are not as competent or professional – in this film’s case, James Caan’s character of Mississippi – are simply comic relief until they can prove otherwise. For those aware of Hawks’ aversion to Fred Zinnemann’s High Noon (1952) – in which Gary Cooper’s Sheriff Will Kane spends almost ninety minutes going around town asking for help when he learns a few recently-released convicts are coming to murder him (Hawks, to my consternation, considered this cowardly and a disgrace to the Western genre) – El Dorado is yet another reaction against it.

Unlike Hemingway, Hawks (who was by no means a feminist) rejects Hemingway’s reductionist portrayals of women as “Dark” (submissive lovers) or “Light” (castrating man-killers). The female protagonists in Hawks’ films, too, demonstrate tremendous ability. The saloon keeper, Maudie, is perhaps the most keenly observant individual in the entire picture, and can pick out the psychology of a person whether she has known them for ages (such as our leads) or if they have just stumbled in for a drink. She may be the smartest person in town. Her fellow Hawksian Woman is the wild-haired Joey MacDonald (her hair feels at times like an anachronism airlifted from the 1960s, rather than a likelihood of the Old West), quick on a gun and with a quicker temper. There is not nearly enough attention on either character as previous Hawksian Women (nevertheless, we need to recall what Hawks wanted to concentrate on most here, and that’s male friendship), but what there is still improves El Dorado’s watchability aside from our two leads.

A worthy score from composer Nelson Riddle (1960’s Ocean’s 11, 1962’s Lolita) dials back the main theme more than one might expect from a midcentury Western, but it is still effective music for this film. Riddle is best known as an arranger and orchestrator for the likes of Frank Sinatra, Nat King Cole, and Linda Ronstadt, not a composer. Nevertheless, arrangers and orchestrators can learn composition through osmosis if they have not already been trained in music composition. Riddle’s liberal use of harmonica perfectly captures the setting, although his use of electric guitar/bass and discernible lack of harmonic identity (especially in the strings) feels too much like television scoring from this era – Riddle was the principal composer for the 1960s Batman television series starring Adam West. Instead, the score highlights revolve around uses of the main title song and its variations.

And what about that title song? Sung by George Alexander and the Mellomen, with lyrics by John Gabriel (Dr. Seneca Beaulac on ABC’s soap opera Ryan’s Hope), “El Dorado” fits the film perfectly, and Alexander’s rich baritone musically exemplifies the masculine themes of El Dorado. Strings double underneath the vocals, with the occasional woodwind and brass section and peaking out from the melodic doubling (again, one wishes for more harmonic interest here aside from doubling the melody). A snippet of the song’s lyrics reference to Edgar Allan Poe’s poem “Eldorado”; the poem itself is recited by Mississippi. “El Dorado” is nothing but an earworm, and I just wish it (and its variations) made more appearances in the film itself.

Though Rio Bravo had elements of a changing of the guard, El Dorado cannot help but feel, by its conclusion, as a generational marker, a near-last hurrah – intentionally or otherwise. This is not, like The Wild Bunch (1969) or Unforgiven (1992), a eulogy of the Old American West. In 1966, El Dorado came at a time when the great figures of Old Hollywood and the height of the American Western’s popularity (Wayne and Mitchum) were no longer the dominant forces in American cinema. The film’s title song even opens with oil paintings from Western artist Olaf Weighorst, of evocatively overcast vistas of the West, as if in reflection.

El Dorado would be Leigh Brackett and Howard Hawks’ penultimate collaboration and penultimate Western, with Rio Lobo a few years away. Their professional partnership, so unlikely given Hawks’ status in Hollywood and Brackett’s supposedly disreputable day job as a pulp science fiction writer, is maybe one of the most underrated and undermentioned in Old Hollywood history – one that spanned the height of Golden Age Hollywood to its final years. For El Dorado, Brackett, despite a few structural missteps, once again shows her gifts for dialogue and a keen understanding of Hawks’ directorial intentions. Hawks arguably improves upon his depiction of male camaraderie from Rio Bravo, allowing our protagonists to intuit their aging (some might say obsolescence). This is a sterling Western, if slightly out of time.

My rating: 8.5/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog. Half-points are always rounded down.

* As of this write-up’s publication, I have not seen Rio Lobo (1970), which forms an unofficial trilogy of Westerns with Rio Bravo and El Dorado.

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

[clemsfilmdiary]

Pat Garrett & Billy the Kid (1973, Sam Peckinpah)

8/6/23

[loveboatinsanity]

[porquevi]

"Corrida com o diabo" (race with the devil) - cinema.

Double feature no IMS! Esse era o primeiro, menos conhecido que eu não tinha assistido. Nem sabia da sua existência até aparecer na programação do IMS. Desavisados presenciam cerimômia diabólica e passam a ser perseguidos pela seita. Elenco com Peter Fonda e Warren Oates.

depois de ver: acredito que se não fosse a nudez, esse filme seria uma sessão da tarde clássica nos anos 1980. ótima cena com as cobras e perseguição final usando um motorhome (!).

[fridaythe13ththeseries]

Episode Recaps

Here is a quick list of each episode recap I wrote.

Season 1

1 - The Inheritance

2 - The Poison Pen

3 - Cupid's Quiver

4 - A Cup of Time

5 - Hellowe'en

6 - The Great Montarro

7 - Doctor Jack

8 - Shadow Boxer

9 - Root of All Evil

10 - Tales of the Undead

11 - Scarecrow

12 - Faith Healer

13 - The Baron's Bride

14 - Bedazzled

15 - Vanity's Mirror

16 - Tattoo

17 - The Electrocutioner

18 - Brain Drain

19 - The Quilt of Hathor (1)

20 - The Quilt of Hathor (2): The Awakening

21 - Double Exposure

22 - The Pirate's Promise

23 - Badge of Honor

24 - Pipe Dream

25 - What a Mother Wouldn't Do

26 - Bottle of Dreams

Season 2

1 - Doorway to Hell

2 - The Voodoo Mambo

3 - And Now the News

4 - Tails I Live, Heads You Die

5 - Symphony in B#

6 - Master of Disguise

7 - Wax Magic

8 - Read My Lips

9 - 13 O'Clock

10 - Night Hunger

11 - The Sweetest Sting

12 - The Playhouse

13 - Eye of Death

14 - Face of Evil

15 - Better Off Dead

16 - Scarlet Cinema

17 - The Mephisto Ring

18 - A Friend to the End

19 - The Butcher

20 - Mesmer's Bauble

21 - Wedding in Black

22 - Wedding Bell Blues

23 - The Maestro

24 - The Shaman's Apprentice

25 - The Prisoner

26 - Coven of Darkness

Season 3

1 - The Prophecies (1)

2 - The Prophecies (2)

3 - Demon Hunter

4 - Crippled Inside

5 - Stick It in Your Ear

6 - Bad Penny

7 - Hate on Your Dial

8 - Night Prey

9 - Femme Fatale

10 - Mightier Than the Sword

11 - Year of the Monkey

12 - Epitaph for a Lonely Soul

13 - Midnight Riders

14 - Repetition

15 - The Long Road Home

16 - My Wife as a Dog

17 - Jack-in-the-Box

18 - Spirit of Television

19 - The Tree of Life

20 - The Charnel Pit

[moviesandmania]

CHILDREN OF THE CORN (1984) Reviews and free on YouTube

‘An adult nightmare.’ Children of the Corn is a 1984 American horror feature film directed by Fritz Kiersch from a screenplay by George Goldsmith (Blue Monkey aka Insect), based on the 1977 short story of the same name by Stephen King. The Gatlin production stars Peter Horton, Linda Hamilton, R.G. Armstrong, John Franklin and Courtney Gains. Jonathan Elias (Leprechaun 2; Grave Secrets; Parents;…

[esonetwork]

Children Of The Corn 1984| Episode 432

New Post has been published on https://esonetwork.com/children-of-the-corn-1984/

Children Of The Corn 1984| Episode 432

Children Of The Corn 1984| Episode 432

The Earth Station DCU Episode 389 – Beyond the Sea

The Zombie Wedding with director Micah Khan – Monkeeing Around – Episode 59

Doctor Who: The Krotons Review | Earth Station Who

Subspace Radio – Earth Station Trek – Episode 186

Mrs. Roper Returns to Dragon Con

So Long and Thanks For All The Fish: The Final Episode

The 42cast Episode 208: Powered by the Apocalypse

Looking Back at My Dragon Con 2024

CATCH UP ON OUR LATEST PODCASTS, REVIEWS, BLOGS & STUFF

Children Of The Corn 1984| Episode 432

Jim looks back at a Stephen King short story adaption celebrating its 40th Anniversary – “Children Of the Corn,” starring Peter Horton, Linda Hamilton, Courtney

OOH, TELL ME MORE »

The Earth Station DCU Episode 389 – Beyond the Sea

This Week on Earth Station DCU! Drew Leiter and Cletus Jacobs go beyond the sea! Catwoman steals a Kryptonian ring and exchanges it for diamonds,

OOH, TELL ME MORE »

The Zombie Wedding with director Micah Khan – Monkeeing Around – Episode 59

This week we are MONKEEING AROUND with Micah Khan, the director of The Zombie Wedding, which features Micky Dolenz! We spoke to Micah about his

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Doctor Who: The Krotons Review | Earth Station Who

In this Earth Station Who Podcast episode, we dive into the classic Doctor Who story ‘The Krotons,’ featuring the Second Doctor, played by Patrick Troughton.

OOH, TELL ME MORE »

Subspace Radio – Earth Station Trek – Episode 186

This week the EARTH STATION TREK crew is joined by our good friend VANDY BETH GLENN for an investigation of the concept of subspace radio!

OOH, TELL ME MORE »

Mrs. Roper Returns to Dragon Con

by Jen “Lil’ Bit” Schleusner Come and knock on our door For the second year in a row, the Mrs. Roper Romp took over Sunday

OOH, TELL ME MORE »

So Long and Thanks For All The Fish: The Final Episode

So Long and Thanks For All The Fish is the final episode of the Soul Forge Podcast. While many of you out there didn’t bother

OOH, TELL ME MORE »

The 42cast Episode 208: Powered by the Apocalypse

In this episode we review the first three seasons of the popular Netflix series, The Umbrella Academy. We give our opinions on all aspects of

OOH, TELL ME MORE »

Looking Back at My Dragon Con 2024

by Courtney Goodrum Dragon Con 2024 has come and gone. This was my ninth year attending, and it was a bittersweet experience due to an unfortunate

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‘Death Waits in Shanghai’ Book Review By Ron Fortier

DEATH WAITS IN SHANGHAIBy Wayne CareyBold Venture Press236 pgs With “Death Waits in Shanghai,” New Pulp writer Wayne Carey introduces one of his most intriguing

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Modern Musicology #123 – INDIGO GIRLS Documentary

Indigo Girls Documentary This week Alan, Stephanie and Rob are joined by our good buddy Gerry Schramm (of the Something For Nothing podcast) to review the brand-new Indigo Girls documentary, It’s Only Life After

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Flopcast 647: The Super Dictionary – Dust the Tiger

With Dragon Con finally out of the way, we can have some real fun! Let’s read the dictionary! Specifically we’re diving back into The Super Dictionary,

OOH, TELL ME MORE »

Ghostbusters 1984 | Episode 431

Madeline and Shane return to help Jim launch the 2024 Halloween Season with a look at the 1984 classic film “Ghostbusters,” starring Dan Aykroyd, Bill

OOH, TELL ME MORE »

Asteroids, Armageddon and Star Trek with Kelly Fast

interview conducted August 31, 2024 Courtney Goodrum *edited for clarity On Saturday of Dragon Con I got the privilege to sit down along with the

OOH, TELL ME MORE »

The Earth Station DCU Episode 388 – The Pack

This Week on Earth Station DCU! Drew Leiter and Cletus Jacobs join the Pack as we search for more Sweet Tooth. The Bat-Family confronts Zur-En-Arrh

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[guiadeterror]

O Predador

O Predador (Predator) SINOPSE: Um grupo de soldados especiais americanos liderados pelo Major Alan “Dutch” Schaefer é enviado a uma selva na América Central para resgatar um ministro estrangeiro e funcionários do governo que estão sendo mantidos reféns por guerrilheiros. A missão é cumprida, mas o que Dutch e seus homens não sabem é que algo além dos guerrilheiros os espreita na…

[underafullmoon3]

The Beast Within Official Trailer #1 - R.G. Armstrong Movie (1982) HD

This has a 2024 remake with Kit Hariington from GOT, that's getting terrible reviews. Here's the trailer from the 1982 original

[docrotten]

EVILSPEAK (1981) – Episode 263 – Decades Of Horror 1980s

“By the four beasts before the throne. By the fire which is about the throne. By the most holy and glorious name, Satan. I, Stanley Coopersmith will return. I WILL RETURN!” Well, he’s Clint Howard. Of course, he will return! Join your faithful Grue Crew – Crystal Cleveland, Chad Hunt, Bill Mulligan, and Jeff Mohr – as they hang out in the church basement with young Cadet Coopersmith in Evilspeak (1981).

Decades of Horror 1980s Episode 263 – Evilspeak (1981)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! Click the alert to get notified of new content! https://youtube.com/gruesomemagazine

An outcast military cadet taps into a way to summon demons and cast spells on his tormentors through his computer.

  Directed by: Eric Weston

Writing Credits: Joseph Garofalo, Eric Weston

Cinematography by: Irv Goodnoff

Selected Cast:

Clint Howard as Stanley Coopersmith

R.G. Armstrong as Sarge

Joe Cortese as Reverend Jameson (as Joseph Cortese)

Claude Earl Jones as Coach

Haywood Nelson as Kowalski

Don Stark as Bubba Caldwell

Charles Tyner as Colonel Kincaid

Hamilton Camp as Hauptman

Louie Gravance as Jo Jo

Jim Greenleaf as Ox

Lynn Hancock as Miss Friedemeyer

Loren Lester as Charlie Boy

Kathy McCullen as Kelly

Lenny Montana as Jake

Leonard D’John as Tony

Bennett James as Captain Merrill (credited as Bennett Liss)

Katherine Kelly Lang as Susie Baker

Richard Moll as Father Esteban

Robert Tafur as Old Priest

Sue Casey as Mrs. Caldwell

Evilspeak answers the question, “What happens when a bullied, military school cadet finds a Satanic tome written in Latin in the basement of the academy chapel?” Of course — with a helping hand from an early Apple PC — shenanigans ensue! Heads are lost, hearts are ripped out, and worst of all… the hogs are released! Yikes! Clint Howard, as Stanley Coopersmith, plays the bullied cadet transformed into a possessed Satanic priest with gusto and is expertly supported by a cast of experienced character actors. The story starts a bit slow, but the Grue-Crew promises you will be rewarded during the final act of Evilspeak. And never fear. The bullies get their just deserts.

At the time of this writing, Evilspeak is available to stream from Shudder, AMC+, and Plex. 

Every two weeks, Gruesome Magazine’s Decades of Horror 1980s podcast will cover another horror film from the 1980s. The next episode’s film, chosen by Crystal, will be Parents (1989), a horror comedy featuring Randy Quaid, Mary Beth Hurt, and young Bryan Madorsky as the Laemles. The question is, what do Mr. And Mrs. Laemle serve for dinner?

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans – so leave them a message or comment on the Gruesome Magazine Youtube channel, on the Gruesome Magazine website, or email the Decades of Horror 1980s podcast hosts at feedback@gruesomemagazine.com.

Check out this episode!

[brokehorrorfan]

Scream Factory has revealed the specs for its The Pack Blu-ray, which releases on September 12 via Scream Factory. The 1977 natural horror movie is based on the 1976 novel by David Fisher.

Robert Clouse (Enter the Dragon, Deadly Eyes) writes and directs. Joe Don Baker, Hope Alexander-Willis, Richard B. Shull, and R.G. Armstrong star.

The Pack has been newly scanned in 2K from a color reversal intermediate. Special features are listed below.

Special features:

Audio commentary by film historian Lee Gambin (new)

Interview with actress Hope Alexander (new)

Audio interview with actress Sherry Deboeur (new)

Audio interview with first assistant director Thomas Lofaro (new)

Audio interview with composer Lee Holdridge (new)

The Pack preview clip

Trailer

Still gallery

Set on a remote island where vacationers have senselessly abandoned their unwanted pet dogs, The Pack shows man’s inhumanity coming back to haunt him with fanged fury. The confused, starving pets form a rampaging pack – and man’s best friend becomes his worst fiend. Joe Don Baker stars as the heroic marine biologist who comes up with a do-or-die scheme that will either reestablish man as top dog – or turn him into a tasty tidbit. The suspense is ferocious.

Pre-order The Pack.

[kwebtv]

LBJ: The Early Years - NBC - February 1, 1987

Drama

Running Time: 155 minutes

Stars:

Randy Quaid as Lyndon B. Johnson

Patti LuPone as Lady Bird Johnson

Morgan Brittany as Alice Glass

Pat Hingle as Sam Rayburn

R.G. Armstrong as Samuel Ealy Johnson Jr.

Barry Corbin as Alvin J. Wirtz

Robin Curtis as Jacqueline Kennedy

Charles Frank as John F. Kennedy

James F. Kelly as Robert F. Kennedy

Kevin McCarthy as Joseph P. Kennedy Sr.

Jack Blessing as Billy Bob

Anne Haney as Rebekah Baines Johnson

Don Moss as Hubert Humphrey

Sandy Ward as Thomas Jefferson Taylor

Michael Greene as Coke R. Stevenson

[clemsfilmdiary]

Devil Dog: The Hound of Hell (1978, Curtis Harrington)

5/21/24

[skooodles]

Lewis Vendredi