"The rest of the production lived up to the high expectations set by the pre-show experience. The story follows Max (Lior Burlin), a promiscuous gay man in Nazi Germany, as he flees Berlin from the Nazis, and is ultimately thrown into a concentration camp. Max is initially accompanied by his boyfriend, Rudy (Connor Pratt), and then meets another lover in his concentration camp, Horst (Blaze Robert Stow). Max lies about his sexuality, and wears a Jewish star instead of a pink triangle, since homosexuals are treated worst in camp than Jews.
Director Robert Hayman made very clear gritty choices with the production design. Color pallets consisted mainly of drab browns and greys. The set was minimal, largely due to the small space, but the lack of pieces didn't draw attention to itself. The audience was bombarded with many well-placed cacophonic sound cues that struck tense chords.
Lior Burlin (Max), Connor Pratt (Rudy), and Blaze Robert Stow (Horst) were standouts. All three actors employed a very film-esque naturalistic and believable style of acting and worked well off each other. It was really easy to forget that I was seeing a play when watching them perform. They were excellent choices to lead the show."
Harley Quinn #33 by Tini Howard and Sweeney Boo. Backup by Gretchen Felker-Martin and Hayden Sherman. Variant covers by (1) Jenny Frison, (2) Gabrielle Dell'Otto and (3) Caspar Wijngaard. Out in October.
"Big ears, even bigger feet, big cartoon peepers. I’d know this dame anywhere. It was me and I was dead and a dang ol’ bunny rabbit! Oh no, not again!!! As if moonlighting as a community college professor wasn’t time-consuming enough, I decide to dip my pinkie toes into the metaphysical private investigation game… all while babysitting a literal princess! Good thing I am not at all stressed out by my life.
PLUS: Get ready for a special Halloween story cooked up by my pals Gretchen Felker-Martin and Hayden Sherman that’s sure to make your skin crawl so hard it tears itself right off yer body."
Smoke Signals: The Birth of the Modern Native American Cinema
With Killers of the Flower Moon in theatres, now seems like an excellent time to revisit Smoke Signals, the first major studio film written and directed by a Native American. Check out the film and give this review a read!
While a lot of meaningful discourse has been opened by the release of Martin Scorsese’s recent movie Killers of the Flower Moon, one thing has become increasingly concerning about the film, i.e., it will soon become the most visible example of Native American representation in cinema. While the film is certainly sympathetic enough to the Osage characters that inhabit the World created by the…
«A SCREAMING SPECTACULAR! DOUBLE FRIGHT! DOUBLE TERROR! Raw Meat (shot in England but directed by Chicagoan Gary Sherman) plus Cannibal Girls (directed by Ivan Reitman and starring future comedy legends Eugene Levy and Andrea Martin) opened across Chicagoland theaters and drive-ins 50 years ago today.»
Master Bath in New York
A large transitional master bathroom with furniture-like cabinets, gray cabinets, a one-piece toilet, gray walls, an undermount sink, marble countertops, a hinged shower door, white countertops, and a freestanding vanity is an example of this style. The bathroom also has a multicolored floor, double sinks, and a vaulted ceiling.
While I didn't enjoy this film, that doesn't mean you won't. No matter what I say, the people involved in this project did it: they actually made a movie. That's something to be applauded. With that established...
Anyone who sits down and excitedly wonders what horrors await inside Dr. Tarr’s Torture Dungeon will be disappointed. The alternate title of The Mansion of Madness is far more suitable and more properly sets you up for a film that remains lackluster regardless of what you call it. This movie’s plot is too obvious and too badly written for you to care what happens in the end.
Reporter Gaston LeBlanc (Arthur Hansel) is writing an article about famed psychologist Dr. Maillard (Claudio Brook). Arriving at Maillard's asylum, LeBlanc finds the doctor’s methods unorthodox to say the least. Captivated by the beautiul Eugénie (Ellen Sherman), LeBlanc fails to realize the inmates are in charge of the facility.
Loosely based on Edgar Allan Poe's darkly comedic The System of Doctor Tarr and Professor Fether, the film has a good premise. Imagine visiting a place only to discover that the patients have taken over. You're surrounded by madmen and can't escape. That's scary. To make it work, you need two things. First, a slow-boil plot. If everyone comes out of the gates raving like lunatics, you’ll figure out the whole thing immediately. Second, you need an intelligent protagonist. If you want to make the audience laugh, they should be dumb but if your goal is to scare, Gaston needs to be sharp. Once the deception is revealed, he needs to fake his way through this ordeal and exploit every means of escape possible. That’s what the audience will be doing mentally. Unfortunately, director Juan López Moctezuma fails to do either.
The Mansion of Madness a.k.a. House of Madness a.k.a. Dr. Tarr's Torture Dungeon does nothing clever or new with its concept. As Gaston approaches the sanitarium, the friends traveling with him suddenly have to cut their journey short. Obviously. If they stuck around, they'd reveal that the man in charge of the asylum isn't Dr. Maillard at all. They're useless until captured by the lunatics. At this point, they become worse than useless and star in a subplot that has no impact on the main story, whatsoever. They prove that all of the sane people in this movie are complete idiots. At one point, one of them escapes. The man’s all tied up and hopping around in the middle of the forest, trying to elude the insane rapists who roam the grounds surrounding the mental institution. He should look for a way to untie himself. Instead, he screams for help, practically begging to be recaptured. Here's a free lesson for all the screenwriters out there: audiences want to see a part of themselves in the on-screen characters. Having them behave like they have no sense of self-preservation is a surefire way to make everyone hate your movie.
That subplot is ultimately nothing more than padding and it’s not the only example of director Juan López Moctezuma struggling to find a way to make his movie feature-length. At one point, Eugénie and Gaston become romantically involved. So involved they profess their love to each other. They’ve exchanged fewer than 5 lines of dialogue. It’s ludicrous and another reason for you to dismiss the movie entirely. It doesn't stop there: unnecessary bits of backstory, garish opening credits, unbelievable behavior from our heroes, mountains of coincidences, and so on and so forth. Dr. Tarr's Torture Dungeon is a complete misstep any way you look at it. (English version, January 15, 2021)
Saturday Night Showcase> Dean Martin Roasts Muhammad Ali
BW Media Spotlight's Saturday Night Showcase> Dean Martin Roasts Muhammad Ali
Born Cassius Clay before converting to Islam, Muhammad Ali would refer to himself as “the greatest” and he certainly worked hard to back that up. Olympic gold medalist, multiple time boxing champion, and once fought a depowered Superman in the comics, Ali could be controversial but it takes a lot of guts to say something bad about him to his face.
Or appear on Dean Martin’s Celebrity Roast.
Born…