#Garn Stephens

[horrorwaveofgrain00000]

Halloween 3 Season of the witch🎃🎃🎃🎃 Sliver Shamrock ☘️🍀☘️🍀

[flashfuckingflesh]

Happy, EVIL Halloween, Halloween, Halloween. Happy, EVIL Halloween, Silver Shamrock! "Halloween III: Season of the Witch" reviewed! (Via Vision / Limited Edition Blu-ray)

“Halloween III: Season of the Witch” Available on Limited Edition Blu-ray from Via Vision! Just days before Halloween, a man stumbles hurt and delusional rantings into the hospital of Dr. Daniel Challis.  Clutching a Halloween mask to his chest, Challis figures the man to be crazy before stabilizing his vitals for rest but when the man is heinously murdered in his hospital room and the murderer…

[perfettamentechic]

14 aprile … ricordiamo …

14 aprile … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic

2023: Garn Stephens, è stata un’attrice cinematografica, televisiva, teatrale e musicale americana e, in seguito, una sceneggiatrice. Era nota per i suoi ruoli nella serie televisiva Phyllis e nel film horror del 1982 Halloween III: Season of the Witch. Debuttò a Broadway nel 1971 nella pièce Father’s Day e nel 1973 ha cantato il ruolo di Jan nella produzione originale del musical Grease a New…

[therealmrpositive]

Halloween III: Season of the Witch (1982)

#TomAtkins #StaceyNelkin #DanOHerlihy #MichaelCurrie #RalphStrait #JadeenBarbor #BradSchacter #GarnStephens #NancyKyes #JonathanTerry #AlBerry #WendyWessberg #EssexSmith #MaidieNorman

Change is often good, and sometimes it can never be too late to change, even if it means stepping out of your comfort zone to do so, no matter what anybody thinks. In 1982, offering audiences a little respite from the relentless attack of The Shape, got the third franchise instalment that was a lot different from the first two. In Halloween III: Season of the Witch. The film finds fresh ground…

[classichorror]

Halloween III: Season of the Witch (1982)

[crafblr]

so how bout that Stephen West MKAL.. guess I picked an interesting first year to participate >.> I've mostly just been hanging out in a discord group though rather than Ravelry, so it's still been reasonably chill besides reknitting half my first clue

anyways! I'm using Holst Garn in Cool, Pea Green, Larkspur, and Space:

(yes I misread the swatch instructions and did 4 rows instead of 4 garter ridges. w/e)

I finished a modified Clue 1 last night, and am currently dodging spoilers for Clue 2 until I get a little further on it :)

For the first clue, I originally started with a version of the v1 instructions with color order shuffled around. But then I stumbled on this mod by missblane on Ravelry, and then SW ditched v1 completely, and I just really liked how .. mod it looks:

(bad lighting because I took it indoors at 1:30am lol)

tbh I like this layout better than the v1 changes I was doing anyways. but that was still good experience; I've never knit a SW pattern and nothing with that sort of construction before. gets the gears turning! we're ~embracing the MKAL spirit~

[stewblog]

The Black Phone

The Black Phone is like ordering a bacon cheeseburger that you thought might have some special sauce on it but doesn’t.

What you ate is really pretty good! All the ingredients are balanced well. The burger is grilled the way you like it. The bacon could probably have been cooked just a little better but it’s fine. It’s a tasty burger. You’re happy you ordered it. Everyone who went to the burger joint with you really seemed to love it too! But it needs a little something extra under the bun.

I’m not really a horror guy. It’s just never been my favorite genre and I really only get something out of certain segments of the genre. I feel like this should be made known simply for the sake of context, both for people who are big horror fans, as well as those who share my lack of exuberance for the genre. It just so happens, though, that The Black Phone is precisely the kind of horror movie that I gravitate toward: A clever concept wrapped around a plot and scenarios that are moody and more psychologically or supernaturally focused than something grisly and visceral.

We follow Finney (Mason Thames), a floundering 13-year-old boy who seems terminally incapable of standing up for himself, to the point where even his kid sister, Gwen (Madeleine McGraw) is more successful at fending off his bullies. Life is hard enough for most teens, but it’s especially difficult in this small Colorado suburb that’s struggling to deal with a rash of disappearances, all boys around Finney’s age. Gossip among the kids is that an abductor nicknamed The Grabber is responsible, but even the police are thus far stumped as to who or what is responsible for these disappearances. However, Finney soon finds out The Grabber isn’t just some school yard urban legend when he’s abducted and trapped inside a soundproofed basement containing little more than a mattress and a disconnected black rotary telephone.

Just what does The Grabber want from him? It’s unclear. But the only way Finney stands a chance of surviving is with the help of the mysterious voices that speak to him over the phone.

What ensues is a delightful exercise in ratcheted tension, measured progression and fostering a perpetual sense that anything could happen next. Director Scott Derrickson does a remarkable job of keeping things lively and engaging despite nearly half the movie taking place inside a bleak, concrete basement with his lead character talking to disembodied voices. He wisely knows how to best split the time between Finney and Gwen (who keeps having dreams related to the abductions), never letting us spend too much time sequestered in the basement. And while jump scares often feel lazy, Derrickson deploys a hat trick of them here that manage to at least feel superbly placed as a release valve for a scene and not just a cheap bit of punctuation.

Thames isn’t quite up to the task of shouldering the weight such a demanding scenario brings, but for a young actor he does well enough given the constraints. Though thankfully he has a superbly creepy antagonist to interact with in The Grabber, played to off-kilter perfection by Ethan Hawke. Hawke is one of my favorite working actors and it’s always a delight seeing superb actors play against type. Hawke’s face is hidden behind a segmented mask (one that should rightly become iconic in its own right) but he uses that obfuscation to fuel the unease with his measured voice and eerily calm demeanor.

Special praise must also be given to McGraw who turns Gwen into a little firecracker of a character, garnering some of the best laughs in the movie as well as providing a big part of its emotional backbone in some ways.

The true backbone of the film, though, is found in its script, penned by Derrickson and his longtime collaborator, C. Robert Cargill, based on a short story by none other than Stephen King’s son, Joe Hill. It moves with clockwork precision, never wasting a scene. Every moment that matters is set up for a satisfactory payoff that often garnered literal cheers from the audience. Gasps. Yelps. Applause. This delivers everything you’d want in an audience reaction from this sort of movie.

What makes the quality of the script so frustrating, though, is that it ends up highlighting how a very good movie could have been great. Because for as satisfying as The Black Phone is, it’s still lacking that extra punch from that special sauce, something to give it extra texture or depth of flavor. Everything that makes this movie satisfying is entirely on the surface. That makes it an easy watch, but it leaves you hungry for something a little bit more substantial later. This isn’t to say that Cargill or Derrickson are incapable of saying something through the movie, but it does feel like there wasn’t much of an attempt at doing so. The Black Phone feels like it’s lacking some larger subtext or even a deeper emotional payoff that simply never surfaces or arrives, respectively.

That said, the movie never feels like a too-slight experience despite this and is almost certainly one I look forward to revisiting, something I rarely do with horror films.

[trendfilmsetter]

Rest in Peace to some of the talented individuals we lost in the film industry this year 2023.

🙏🙏🙏🙏

- Lisa Marie Presley

- Richard Roundtree

- Lance Reddick

- Bob Barker

- Matthew Perry

- Andre Braugher

- Ron Cephas Jones

- Tony Bennett

- Sinead O’Connor

- Miiko Evans

- Tim Barlow

- Annie Wersching

- Lisa Loring

- Cindy Williams

- Cody Anthony

- Raquel Welch

- Earl Boen

- Adam Rich

- Dorothy Tristan

- Annette McCarthy

- Ben Masters

- Carole Cook

- Richard Belzer

- Lee Whitlock

- Tom Sizemore

- Peter Hardy

- Garn Stephens

- Harry Belafonte

- Jerry Springer

- Giovanni Lombardo Radice

- Helmut Berger

- Ray Stevenson

- Marlene Clark

- John Beasley

- Paul Geoffrey

- Lew Palter

- Andrea Evans

- Phyllis Applegate

- Arthur Schmidt

- Darren Kent

- Burt Young

- Tyler Christopher

- Conny Van Dyke

- Norman Lear

- James McCaffrey

- Mike Nussbaum

- Richard Franklin

- Selma Archerd

[badmovieihave]

Bad movie I have Halloween III:Season of the Witch 1982

[frankenpagie]

9.26.18

(5)

[justfilms]

Halloween III: Season of the Witch - Tommy Lee Wallace 1982

[badgaymovies]

Today's review on MyOldAddiction.com, Halloween III: Season Of The Witch by #TommyLeeWallace, "There's a few creepy moments and sometimes it's fun, but for the most part it barely knows where to go next" TOMMY LEE WALLACE Bil's rating (out of 5): BB.  USA, 1982.  Dino De Laurentiis Company…

[strickerike]

Und morgen wird das nächste Tuch fertig. Mein 2. Dotted Rays von Stephen West. Heute konnte man den Balkon schon gut nutzen, auch wenn die Luft ziemlich frisch war. Eine Decke tat mir da sehr gut.

[fordlibrarymuseum]

President Ford signed the Equal Credit Opportunity Act Amendments and the Consumer Leasing Act into law on March 23, 1976.

“This is a very, very important day for all American consumers of every persuasion, of every race, of all ages,” President Ford said at the signing ceremony. “The Equal Opportunity amendments and the Consumer Leasing Act reflect our joint determination to achieve goals of fairness and equality in a broad range of business transactions, transactions which millions of American consumers engage in every day of every year.”

When it was originally enacted in 1974, the Equal Credit Opportunity Act prohibited discrimination in credit transactions because of gender or marital status. These amendments broadened the scope to bar creditor discrimination on the basis of race, color, religion, national origin, age, receipt of public assistance, or exercise of credit rights under law. The bill also required creditors to respond to credit applications within a set timeframe and to provide a statement of specific reasons when they refused an applicant.

The Consumer Leasing Act amended the Truth in Lending Act to cover leases for personal property items like cars or furniture. This legislation required lessors to disclose specific information about leasing terms to prospective lessees and included provisions to discourage “balloon” leases with large final payments. Providing meaningful details to consumers would help them to make better informed leasing decisions.

President Ford signed both bills in the Rose Garden. Virginia Knauer, Special Assistant for Consumer Affairs, joined him at the ceremony along with several members of the House of Representatives and Senate. “I am delighted to sign both bills today, and congratulate the Members of Congress, both Democrat and Republican, for their working with us on this project,” President Ford said. “The bills add to a growing list of steps that we have taken in the last year to help give all consumers a far fairer shake, to make our country far more equitable and a more just place for all Americans to live.”

Image: President Ford Signing H.R. 8835, Truth in Leasing Bill, and H.R. 6516, Equal Credit Opportunity Act, in the Rose Garden, 3/23/1976. The group standing behind him includes Virginia Knauer; Representatives Frank Annunzio, Les AuCoin, James J. Blanchard, Butler Derrick, David W. Evans, Millicent Fenwick, George Hansen, Henry J. Hyde, Richard Kelly, John J. LaFalce, Joseph G. Minish, Stephen L. Neal, Jerry M. Patterson, Thomas M. Rees, Richard T. Schulze, Gladys Noon Spellman, Robert G. Stephens, Chalmers P. Wylie; and Senators Joseph Biden and Jake Garn. (White House Photograph A8903-16)

[scifihorroradventure]

HALLOWEEN III: SEASON OF THE WITCH (1982)

When a man (Al Berry) clutching a Halloween mask is admitted to Dr. Challis (Tom Atkins)'s hospital, the man is soon killed by a mysterious stranger, who also kills himself shortly after. Meeting up with the victim's daughter Ellie (Stacey Nelkin), Challis decides to look into her father's death and find those responsible. Their search takes them to the headquarters of Silver Shamrock, a company currently selling a line of extremely popular Halloween masks. Challis and Ellie encounter a few other people, toy store owners who sell the masks in their stores, who have come to discuss their next shipments with Shamrock's president - Conal Cochran (Dan O'Herlihy). Ellie is soon kidnapped by Cochran's followers, which turn out to be robots. Capturing Challis as well, Cochran explains that he is a follower of the ancient ways of witchcraft and Halloween's original, darker origins, and is using ancient magicks to pull the ultimate prank - Sacrificing the children who have bought his masks, a sacrifice he demonstrates on the Kupfer family. Escaping his imprisonment, Challis rescues Ellie and the two use Cochran's own technology against him, killing him and burning Silver Shamrock to the ground. Unfortunately, the masks are still being worn by thousands of children and the commercial that activates their magic begins to play...

Halloween III: Season of the Witch is known by a lot of people as that Halloween movie. The unrelated one, the separate one, the one that has nothing to do with the saga of Michael Myers and Laurie Strode. Supposedly, the plan was to use Halloween III as a starting point to make the Halloween films a series of unrelated, anthology stories centered around the holiday. Unfortunately, with the original Halloween being an enormous hit and Halloween II only cementing the fact that the series was centered around the white-masked killer, Halloween III was doomed to failure no matter how good the film may or may not have been on its own. And how does it stand as its own film, a story of a believer in ancient magic using Halloween masks to slaughter children? Honestly, it has potential, but it's not perfect. It has a good premise and some genuinely creepy moments, but a lot of scenes are dedicated to Challis and Ellie simply sitting around and talking about how weird everything is. There are times where it almost doesn't even feel like a horror movie and comes across as more of a mystery/thriller type film.

The movie's most chilling sequence is easily when Cochran kills the Kupfer family, with Buddy Jr.'s mask apparently eating his head and releasing a torrent of snakes and insects to kill his parents. Unfortunately, while there are a few other gruesome kills throughout the movie (in fact, all the deaths in this film are surprisingly brutal, even for a horror movie), most of them don't really have the same unsettling supernatural feel as the Kupfer family's death, leaving the film without a lot of stand out horror sequences. Then there is the fact that Cochran's business suit minions are robots and his entire operation is so technology-heavy, with the masks even utilizing computer chips to activate their powers. Considering his plan is about dark magic and witchcraft and the ancient mystic power of Stonehenge, such a heavy emphasis on technology seems odd and out of place. Sure, a robot army can be creepy and all (the concept works perfectly in The Stepford Wives, among others), but why couldn't the henchmen simply be loyal followers of Cochran, or perhaps brainwashed by his power? Why do the masks need computer chips? Scrapings from Stonehenge (which has dark, supernatural properties) are already mixed into the latex, so why can't their death-dealing abilities simply be innate powers of the masks themselves? This doesn't ruin the film by any means, but it does succeed in making Cochran's scheme far more complicated than it needs to be.

Tom Atkins plays the heroic if not slightly sleazy Dr. Challis. A divorced man, he tries to be a good father for his kids but does not succeed, cancelling on them at the drop of a hat anytime something comes up. Though perhaps that isn't fair, as the film doesn't really give us a chance to become familiar with Challis and his family before we get thrust into the main plot. It's almost funny that he gets involved in Ellie's search for the truth so quickly and so heartily considering the police are still investigating her father's death and at the time he has no real reason to believe they won't solve it. Then, of course, there's his penchant for sleeping with a girl so young looking he actually has to ask her how old she is... After he's already had sex with her. This may have been an attempt by the movie to lampshade the age gap between Atkins and Stacey Nelkin, but it's not placed very well and either way it makes the hero a little more 'ew' than was no doubt intended. The aforementioned Nelkin plays Ellie - a pretty young woman looking for her father's killer - well enough, but sadly Ellie's fairly bland as a heroine. Being sad over her father's death is all we really get from her and she disappears for a good chunk of the movie once the final act begins. Once she's seemingly reunited with Challis, the twist that she's actually a robot is a good one, but it raises so many questions - Was she outright replaced by a robot duplicate? Was she turned into a robot? Was she a robot from the beginning (which could arguably be hinted at with "Aren't you just the least bit tired?" "No.")? If she was one of Cochran's robots, why did she help destroy Silver Shamrock, and why didn't she shut down once the control panel was destroyed like all the others? Such a huge twist might've worked better had it happened earlier in the film and was a little more clear as to exactly what the twist was. Irish actor Dan O'Herlihy brings us Conal Cochran, a good and very different villain from Michael Myers. Quiet and intense, he clearly finds joy in the idea of slaughtering untold numbers of innocent children. The scene where he monologues to Challis about the ancient ways of Halloween is captivating and one of the more memorable scenes. His death is a satisfying one, but the close up of his face turning into what looks like aluminum foil probably should've been cut and kept as simple as dying from the laser.

Thankfully, time has been kind to Halloween III. While it was panned upon initial release due to its lack of Michael Myers and overall connection to the first two films (aside from occasionally showing the original Halloween playing on TV...), people have since come to enjoy the film on its own merits. While not the most amazing horror movie, it does deserve this newfound love. The scares, while not plentiful, are effective; the special effects are done well and quite unsettling, and the Silver Shamrock commercial jingle is a tune that will never leave your head after you hear it. While Michael Myers has come back plenty of times, Conal Cochran and his malicious masks have yet to enjoy a revival of their own.

Rating: ★★★ ½

Cast: Tom Atkins ... Dr. Daniel Challis Stacey Nelkin ... Ellie Grimbridge Dan O'Herlihy ... Conal Cochran Ralph Strait ... Buddy Kupfer Jadeen Barbor ... Betty Kupfer Brad Schacter ... Little Buddy Garn Stephens ... Marge Guttman Michael Currie ... Mr. Rafferty Wendy Wessberg ... Teddy Al Berry ... Harry Grimbridge Essex Smith ... Walter Jones Nancy Kyes ... Linda Challis

Director: Tommy Lee Wallace. Prodicer: Barry Bernardi (associate producer), John Carpenter, Debra Hill, Joseph Wolf (executive producer), Irwin Yablans (executive producer), Moustapha Akkad (executive producer, uncredited), and Dino De Laurentiis (executive producer, uncredited). Writer: Tommy Lee Wallace, John Carpenter (uncredited), and Nigel Kneale (uncredited). Music: John Carpenter and Alan Howarth. Special Effects: William Aldridge (assistant), Jon G. Belyeu, Thomas R. Burman (special makeup), John Logan (special makeup effects artist, uncredited), and Don Post (Halloween mask creator).

[classichorror]

Halloween III: Season of the Witch (1982)