#Tim Burton

[xtruss]

The people of California’s gold rush towns have brought new life to the area, inspite of wildfires and the pandemic. Photograph By Tanveer Badal

How California Dreaming Is Bringing New Life To Gold Rush Towns In The Sierra Nevada

In the foothills of the Sierra Nevada Mountains, Tuolumne County offers an introduction to the natural wonders of California, alongside a wealth of quirky Gold Rush towns and Hollywood film sets primed for a comeback.

— By Zoey Goto | Photographs By Tanveer Badal | August 31, 2023

At an age when most schoolkids are still learning to tie their shoelaces, Nathaniel Prebalick — AKA Gold Plate Nate — was teaching budding treasure hunters how to pan for gold. As a third-generation prospector, he was raised amid the sparkling streams of California’s Gold Country, in the foothills of the Sierra Nevada, getting to know its watery veins as well as the life lines of his own hands.

While this may sound like a sepia-tinged snapshot from another century, it’s anything but — as I discover when I meet Nate on a grassy riverbank one spring morning. He’s a thoroughly modern gold digger — a smiling twentysomething who uploads his gilded finds to Instagram — and he has a ready explanation for why Tuolumne County in eastern California is, once again, in the grip of a gold rush.

“We’ve had historic rains recently and all the gushing water has brought gold down from the hillside,” Nate says in a honeyed, Californian drawl, zipping his wetsuit up to his neck and wading into the cascading stream with a miner’s shovel in his hand. Nearby, his ponytailed father, who goes by the name of Nugget Nick, swirls a murky pan of sediment, locked into the eternal quest for a eureka moment.

Scenes like this were first witnessed in California 175 years ago, after the heady discovery of shimmering flakes attracted a stampede of 300,000 fortune-seekers who ended up reshaping the landscape of the American West. Fast forward to the present day and, once again, it seems there’s gold in them there hills. The focus for today’s prospectors are the foothills of the Sierra Nevada mountains, around two-and-a-half hours east of San Francisco. A combination of recent environmental factors, including Californian wildfires loosening the soil, coupled with pounding rains, has stirred up a bounty of precious metal in Tuolumne.

The locals are at the heart of bringing a new lease of life to these gold rush towns. Photograph By Tanveer Badal

Nate can be found most days sieving the brooks around the town of Jamestown, guiding groups of hobbyists and curious tourists as part of his family’s California Gold Panning business. In a state that’s long dangled the tantalising carrot of easy wealth — as dirt-poor miners who have struck it rich and the overnight tech billionaires of Silicon Valley will attest — Nate still holds onto a glimmer of hope each time he lays his shiny silver sluice box on the pebbled riverbed.

“I once found a nugget the size of my palm,” he enthuses, pushing ringlets of hair back from his damp forehead. He explains that only a fraction of the region’s gold was unearthed during the California Gold Rush of the mid-19th century, so there’s plenty of treasure still to be found — if you don’t mind a bit of hard physical graft. “Sure, most people aren’t getting rich doing this kind of work. But out here in nature, I’m guaranteed a lifetime of fun and a million dollars’ worth of experiences,” he says with an easy laugh and a gold-tinted glint in his eye.

Bidding Nate and his family farewell, I move on to Chinese Camp, a once-thriving stagecoach stop that was home to 5,000 Chinese miners during the Gold Rush and became a key hub for early Asian settlers in the US. Today, a handful of resilient residents remain, alongside a surreal ostentation of squawking peacocks, which parade like royalty through the near-deserted streets.

The tinkling bell above the door having announced my entry into the dinky Chinese Camp Store and Tavern, I browse shelves crammed with fizzy pop, noodles and gemstones. It’s a rare relic of a time when incense burnt outside Buddhist temples and children filed into the pagoda-roofed schoolhouse. Once the Gold Rush ended, China Camp emptied out, its buildings slowly surrendering to the creeping vines, leaving the town looking like the set of a Tim Burton gothic masterpiece.

Moving with the times: St Charles Saloon in Columbia State Historic Park was originally a provisions store. Photograph By Tanveer Badal

It’s a very different vibe at my next stop, further down the snaking Route 49 highway: Columbia State Historic Park, a quirky town founded in 1850. This perfectly preserved slice of Western whimsy is home to the largest collection of Gold Rush-era brick buildings in the state. Lining the main drag are higgledy-piggledy wooden boardwalks, vintage saloon bars with swinging doors that creak in the breeze, and old-timey store fronts, the workers inside dressed in period costume like a posse of extras from a John Wayne flick.

Tuolumne is a region that’s had more scene changes than the Wild West films that were once shot here, including mid-century cult classics such as The Legend of the Lone Ranger and High Noon. Originally, this rugged scenery was home to the Me-Wuk Indians, who were pushed off their land when the gold frenzy hit. After the rush had subsided, many once-prosperous towns dwindled into rickety old ghost towns, only to be given a second act when Hollywood came calling, transforming them into sets for rootin’, tootin’ cowboy films. It’s still up for debate what the grand finale for the frontier towns that stud California’s landscape will be, but in Columbia, at least, the answer seems to swing towards a fabulously kitschy re-enactment village.

Not all traces of California’s past have been forgotten. The Yosemite Pines RV resort has nods to history everywhere, such as these Conestoga wagons. Photograph By Tanveer Badal

Following intoxicating wafts of melting caramel, I arrive at the door of Nelson’s Columbia Candy Kitchen. There to greet me is fourth-generation owner Janice Nelson, dressed in a floor-skimming floral prairie dress and standing behind glass cases stacked high with a wobble of fruit jellies, like a maternal Willy Wonka. She tells me her 100-year-old family business provides something that resonates on a far deeper level with her customers than the colourful gobstoppers and aromatic clove drops being carefully weighed out on ornate scales. “This shop is our little gold mine. But what we’re really selling is a nostalgia for the Old West,” she says, leading me past a table where women with tattooed arms are delicately hand-dipping chocolates, through to a kitchen where the walls are lined with antique copper pans. “It’s the romantic sense of freedom, discovery and adventure that attracts people to this area,” she says, as a group of children stand on tiptoes outside, eyes wide and noses pressed up against the shop window as they watch a display of hot peanut butter brittle being slathered onto a marble slab to cool.

That evening, I drive 30 miles south east to Yosemite Pines RV Resort, in the midst of the type of wilderness that’s best described as ‘wide screen’. Under an inky sky, I bed down for the night in a covered Conestoga wagon, the kind that once brought trails of hopefuls to the mother lode, so the legend goes. But appearances can be deceptive, I discover, as I ease open the door of my canvas-covered glamping wagon to find all the mod cons of a smart hotel, from a double bed and air conditioning to a coffee machine. Drifting off to sleep, I realise that Tuolumne is the kind of place where the past and present constantly overlap, creating an endlessly entertaining guessing game of ‘spot the Wild West fake’.

Getting Wild Out West

Not all windfalls in Tuolumne involve precious metal, I find out the next morning when I meet adventure guide Bryant Burnette at the entrance of Hetch Hetchy Valley, tucked into the northwest corner of Yosemite National Park. When Yosemite became a national park in 1890, Bryant tells me, it kick-started a tourism boom and luxury cabin resorts such as nearby Evergreen Lodge sprang up around the fringes of the park to accommodate holidaymakers. Nowadays, compared with other Yosemite entry points, Hetch Hetchy offers a lesser-trodden route into the fifth-most-visited national park in the country.

We head on into Yosemite, hiking through shape-shifting scenery — fields of alpine wildflowers one moment, the next, granite mountains so high I try not to fall over as I crane my neck to take them in.

Like all epic landscapes, Yosemite holds multiple meanings, which are often at odds with each other, Bryant says as we skirt our way around the edges of Hetch Hetchy Reservoir, a sheet of ruler-flat water framed by soaring peaks. America’s third national park, Yosemite helped create a blueprint for the conservation and preservation of the natural world, but it was also at the centre of a fierce environmental battle. In the 1920s, a controversial dam was built at Hetch Hetchy to provide drinking water for the residents of San Francisco, flooding the valley floor. There’s talk of draining the reservoir and reclaiming the original landscape, but, Bryant explains, the mass of water does at least mean there’s a greater diversity in the flora and fauna here than elsewhere in Yosemite.

As we pick our way along rugged boulder trails, Bryant tells me that he first came to this neck of the woods with a backpack and 100 bucks in his pocket, determined to conquer the 2,308 hair-raising metres of sheer rock face that make El Capitan Yosemite’s superstar mountain. Having reached its summit, Bryant found something about this mythical landscape that he just couldn’t shake off, so he stayed on and set up Echo Adventures Cooperative with his wife, leading outdoorsy expeditions that include rafting, snowshoeing and campouts.

The reservoir at Yosemite was created in 1923. Photograph By Tanveer Badal

“I didn’t want to spend my life dragging my knuckles into an office. I wanted to wake up each morning and feel excited about going to work,” he reflects. We turn a corner and, like the outrageous flirt that it is, Yosemite wows us with the sight of a rainbow trapped inside a spectacular, sky-high, misty waterfall. It’s a view that makes it easy to understand why Bryant chose waterfalls in the park over watercooler moments in the office.

Determined to see for myself why Yosemite’s rocks had cast their lifelong spell on Bryant, the following morning it’s a bleary-eyed start as I buckle up for a sunrise trip with Yosemite Flights. My guide for the morning is Jason Johanson, a friendly commercial pilot who recently co-founded his own outfit offering aerial tours to visitors wanting a bird’s eye view of this climber’s playground. Such is his love for aviation, Jason lives with his young family in a converted hanger at the side of the airstrip, he tells me over a crackling microphone as we whizz along the runway in his light aircraft. “There’s my home. It makes for an easy walk to work,” he says, laughing, tapping a finger against the side window as we launch into the air.

Minutes later, we’re rising above smudgy clouds to look down upon a chequered patchwork of backcountry. From this giddy vantage point, it’s easier to make sense of the ripple effect that the Gold Rush had on Tuolumne’s landscape. There are the timber mills, frontier towns and railway tracks that once serviced the mining industry, and, in contrast, Yosemite National Park, designated a protected wilderness to halt the damage being inflicted on the valley’s ecosystem by the new settlers.

We glide on over the park, circling majestic El Capitan and neighbouring Half Dome like a hawk. Gazing down at the climbers currently hiking along the valley floor, looking like a trail of ants from above, it’s hard to believe that in a couple of hours they’ll be scrambling up these snow-capped cathedrals of stone. We complete a final glory lap before heading back to Pine Mountain Lake Airport, where, still bathed in the orange glow of sunrise, Jason contentedly makes the 20-step commute back to his home.

Boom to Bust and Back Again

As I arrive in the quaint cowboy town of Sonora, west of the park, the copper gleam of an urban brewery offers up the first clue of a renaissance. But it’s the beatnik coffeehouses filled with artfully exposed brick walls and freelancers tapping away on laptops that seal the deal. As I stroll the main street of the 150-year-old settlement, originally founded by Mexican miners and overlooked by a redwood church, I’m finally getting a glimpse into the future of Tuolumne’s Gold Rush towns — and it’s looking decidedly hipster.

The latest chapter in Sonora’s bust-to-boom script occurred during the pandemic, when many of the decades-old businesses that had occupied its retro buildings folded overnight. In their place, a fresh crop of indie boutiques, florists, juice bars and poke-bowl joints set up shop, as a new generation of Tuolumne residents took a punt on their start-up dreams.

In the heart of downtown Sonora, I make a pit stop at The Armory, a courtyard bar and restaurant festooned with strings of lights. Locals mill around the recycled-barrel tables waiting for the weekly country line dancing class to kick off. Dashing past on her way to do the school run, co-owner Rebecca Barrows stops at my table for a chat. She opened the place with her husband in 2022. To cater for the younger demographic of the area, there’s a cocktail bar hidden within a bourbon-barrel doorframe, and salsa and DJ nights.

The views on a scenic light aircraft ride with Yosemite Flights include Yosemite’s Half Dome. Photograph By Tanveer Badal

“Post-Covid, there’s been a real turnover of businesses around here,” Rebecca says. “It’s the green shoots of a new scene.” Running out, she calls over her shoulder, “Be sure to try the rodeo smash burger before you leave town.” I take her advice, tucking into a hot mess of beef patties, jalapeños and pepper jack cheese — a dish that’s earned The Armory a place on the Tuolumne County Craft Burger Trail, a network of 10 eateries that take the humble burger to new heights.

Thoroughly satisfied, I leave Sonora and head back to San Francisco through the swaggering scenery of Tuolumne, a landscape that I’d seen a thousand times before on lazy Sunday afternoons spent watching Westerns on the small screen at home. I take a peek inside the shadowy doorway of California’s oldest saloon bar, the Iron Door Saloon in Groveland, where cowboys in Stetsons are propping up the bar, looking like they haven’t budged an inch since the glory days. It suddenly all feels strangely familiar — the trail of riders on horseback, the cinematic frontiers, the flutter of star-spangled banners outside honky-tonks. Long before I arrived on Californian soil, pop culture had already graciously made the intros.

A couple of hours later, I’m back in the urban swell of San Francisco and Tuolumne’s Gold Rush towns are but a dusty memory. But I know where to find them for next time — out there where the highway ends, in a place where young gold diggers still splash in rivers and tourists drift off to sleep in reimagined cowboy wagons, that’s where you’ll find the new Old West.

[theotakufiles]

The Nightmare Before Christmas Manga

"The Nightmare Before Christmas" is a captivating and enchanting stop-motion animated series that takes viewers on a mesmerizing journey into the magical world where Halloween and Christmas collide. Set in the gothic town of Halloweentown, this charming fantasy follows Jack Skellington, the Pumpkin King, who becomes fascinated with the concept of Christmas after accidentally stumbling upon Christmastown.

Driven by his curiosity and desire for something new, Jack decides to take over Christmas and brings his own quirky flair to the festivities. However, as he orchestrates elaborate plans to make this holiday his own creation, chaos ensues when his spookier counterparts from Halloweentown get involved in their unique ways. As skeletons decorate trees, vampires deliver presents, and ghosts trim wreaths, both worlds blend together in a delightfully eerie mash-up.

Amidst all the unconventional chaos and unexpected twists, love blossoms between Sally Ragdoll - an endearing stitched-together creation desperate for freedom - and Jack himself. Together they face challenges that test not only their love but also their dedication to making this extraordinary fusion of holidays a harmonious success.

"The Nightmare Before Christmas" offers a vivid visual feast that combines whimsical animation with Tim Burton's signature dark charm. This imaginative series celebrates both the spooky allure of Halloween and the heartwarming spirit of Christmas while reminding us that sometimes finding one's true purpose means breaking free from tradition and embracing what makes us truly unique. Join Jack Skellington on an incredible adventure through two beloved holidays intertwined like never before in this captivating tale perfectly suited for all ages.

Dear manga enthusiasts, Are you a fan of the hauntingly beautiful world of 'The Nightmare Before Christmas'? If so, here's an amazing opportunity to support the talented manga author behind its captivating adaptation. Head over to gekimanga.com and grab your copy of 'The Nightmare Before Christmas Manga' today! Immerse yourself in this unique visual storytelling experience that merges Halloween and Christmas, while directly contributing to the success of the incredible artist behind it. Let's show our love for this enchanting masterpiece by purchasing this extraordinary manga now!

[batmannotes]

Batman: The 1989 Movie Adaptation is being re-released

Relive one of the greatest moments in cinematic history with this stunning adaptation of director Tim Burton’s masterpiece Batman, the 1989 film that redefined what comic book movies could be. Relive one of the greatest moments in cinematic history with this stunning adaptation of director Tim Burton’s masterpiece Batman, the 1989 film that redefined what comic book movies could be. This softcover version of the adaptation crafted by comics legends Dennis O’Neil and Jerry Ordway perfectly captures the moody atmosphere of Burton’s film and the gothic architecture of the late production designer Anton Furst in compelling graphic novel form that fans can “rewatch” again and again.

Preorder now at Amazon. Direct link here.

[the-film-feed]

MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN

Miss Peregrine’s Home for Peculiar Children isn’t exactly a masterpiece but it gives its audience what they  expect- gothic humour, flights of fantasy, ironic humour and juvenile whimsy. The Ransom Riggs novel is where from which this movie is adapted. It enhances its story, a little different from the book though.

Movies adopted from books are glorified and people seem to like it more.I guess, that’s what drew my interest to this spectecular movie.

An adventure fantasy, its just the right movie to watch when you are searching for a fantasy movie that includes travelling through time, monsters and peculiar children and additionally a movie directed by Tim Burton never disappoints.Like all his best works, the film is genuinely strange- creepy and endearing by turns.

The movie synopsis goes somewhat like this:

When his beloved beloved grandfather Jake clues to a mystery that spans different worlds and times, he finds a magical place known as Miss Peregrine’s School for Peculiar children. But the mystery and the danger deepens as he gets to know the residents and learns about their special powers- and their terrifying enemies.

RATING: 9/10

Miss Peregrine’s  Home for Peculiar Children is STREAMING ON NETFLIX.

[elvisdelvalle]

Wednesday Addams

ENGLISH:

Inspired by the Netflix series “Wednesday”, this album is a tribute to The Addams Family and Wednesday Addams. The making of this album started after watching Wednesday and as I enjoyed the show a lot, I decided to create this album. It consists in some cover versions of the iconic main theme composed by Vic Mizzy, some tracks from Wednesday soundtrack and some classic masterpieces from symphonic music. Midi files were used to create each track without trying to create each track by myself. This is the first time I used MIDI files to create the tracks and that's why this album was made fast. The tracks from Wednesday soundtrack included are the popular main theme composed by Danny Elfman, Paint It Black, Goo Go Muck and Bloody Mary. The classic pieces included are Toccata And Fugue In D Minor, Fur Elise, Moonlight Sonata and Danse Macabre. They were originally planned for a different symphony album, but I decided to include them here for their environment, making them perfect for a Halloween music album. The cover design was made inspired by Tim Burton's style. Like Halloween Rescored, it wasn't published in Spotify and other plataforms for copyright matters, so it was released on Audiomack along my previous records. With classical gothic style, this is another music work made for Halloween season.

ESPAÑOL:

Inspirado en la serie de Netflix “Merlina”, este álbum es un homenaje a La Familia Addams y Merlina Addams. La realización de este álbum comenzó después de ver Merlina y como disfruté mucho el programa, decidí crear este álbum. Consiste en algunas versiones del icónico tema principal compuesto por Vic Mizzy, algunas pistas de la banda sonora de Merlina y algunas obras maestras clásicas de la música sinfónica. Se utilizaron archivos midi para crear cada pista sin intentar crear cada pista yo mismo. Esta es la primera vez que utilizo archivos MIDI para crear las pistas y es por eso que este álbum se hizo rápido. Los temas de la banda sonora del miércoles incluidos son el popular tema principal compuesto por Danny Elfman, Paint It Black, Goo Go Muck y Bloody Mary. Las piezas clásicas incluidas son Toccata And Fugue In D Minor, Fur Elise, Moonlight Sonata y Danse Macabre. Originalmente fueron planeados para un álbum sinfónico diferente, pero decidí incluirlos aquí por su entorno, haciéndolos perfectos para un álbum de música de Halloween. El diseño de la portada se realizó inspirado en el estilo de Tim Burton. Al igual que Halloween Rescored, no fue publicado en Spotify y otras plataformas por cuestiones de derechos de autor, por lo que fue lanzado en Audiomack junto con mis discos anteriores. Con estilo gótico clásico, esta es otra obra musical realizada para la temporada de Halloween.

Tracklist:

1-The Addams Family

2-Wednesday

3-Toccata And Fugue In D Minor

4-Fur Elise

5-Paint It Black (Wednesday's Cello Version)

6-Moonlight Sonata

7-Goo Goo Muck (Gothic Dance Version)

8-Bloody Mary (Dark Cello Version)

9-Danse Macabre

10-The Addams Family (Instrumental)

11-Bloody Mary (Piano Concert Version)

12-Una Familia Muy Normal

Listen Full Album (Escuchar Album Completo):

Option 1

Option 2

[upyourgeek]

Inside 'The Nightmare Before Christmas': An Exclusive with Emily Zemler | Up Your Geek: Spotlight

Unveiling the Enchanting World: An Exclusive Interview with Author and Journalist Emily Zemler on 'Tim Burton's The Nightmare Before Christmas: Beyond Halloween Town. #TimBurton #TheNightmareBeforeChristmas #BeyondHalloweenTown #Interview #EmilyZemler

When it comes to cinematic masterpieces that have garnered a cult-like following, few stand as tall as The Nightmare Before Christmas. Tim Burton’s gothic animated vision has since become a cornerstone of pop culture, especially for those who adore the blend of Halloween spookiness and Christmas festivity. Recently, I had the privilege of interviewing the eminent Emily Zemler, a London-based…

[hipposfashion]

Friends The Nightmare Before Christmas Clogband Crocs Shoes Price From: 79.99$ | | [Buy it now at] : https://hipposfashion.com/product/friends-the-nightmare-before-christmas-clogband-crocs-shoes/ https://www.facebook.com/HipposFashion/✅ https://twitter.com/hipposfashion✅ https://www.instagram.com/hipposfashionstore/✅ https://www.tumblr.com/hipposfashion✅ The whimsical and enchanting "Friends The Nightmare Before Christmas Clogband Crocs Shoes" – a delightful collaboration between two beloved icons. These shoes beautifully amalgamate the comfort and versatility of Crocs with the dark, yet heartwarming world crafted by Tim Burton's gothic masterpiece. Inspired by Jack Skellington, Sally, and their extraordinary gang of misfits, these clogs showcas...

[forthegothicheroine]

american psycho, the company of wolves, beauty and the beast (og disney), beauty and the beast (disney remake), tim burton's sleepy hollow, the over the garden wall miniseries, disney's legend of sleepy hollow (lmao i want it to be fall so bad), sofia coppola's marie antoinette, sofia coppola's the beguiled, the innocents, fire walk with me, crimson peak, coppocula

Hoo boy! Stuffing this big series of answers below the cut.

American Psycho:

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

Love it! I don't think the book would do it for me (I don't do well with graphic torture) but I thought the movie did a good job of showing us the kind of things he was doing, while also leaving enough ambiguity even before the twist at the end, and letting us sympathize with his depression (even if he can't name it) while also making him deeply unpleasant.

The Company of Wolves:

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

Do I like it as a big feminist statement? Honestly, not really- there's no sympathy for any women who aren't Rosalie or maybe her mother, and I think we are supposed to be conflicted over whether the choice she makes at the end is the right one. Do I like it as an exploration of an adolescent female id? Absolutely. Sex and violence and terror and quests are all on her mind and are all equally awful and thrilling, and Rosalie wants what's bad for her and isn't sure it's actually bad for her and the balance of power is always see-sawing and the whole thing feels like the most amazing dream.

Beauty and the Beast (original):

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

I thought the Beast was too mean when I was a little kid and forming my Disney opinions- I might actually like it more now. This is probably why I like the Cocteau version, even though what he does is basically still just as bad, because at least he's not a dick about it (and Panna a nevtor, which plays it all for gothic horror.)

Sleepy Hollow:

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

In retrospect, this one shows a lot of the problems that would later kill my love for Tim Burton, but it's still a lot of fun. The Hessian is genuinely scary, Johnny Depp is mugging a bit but it's not as bad as it would eventually get, and I want all the dresses.

Over the Garden Wall:

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

Pure distilled autumn in its aspects of both harvest and death, fun and fear. It's a world based on vintage Halloween postcards and fairytales that don't actually exist but feel like they do. I love every character, and that momentary flash where we see what the Beast looks like haunts my nightmares. My only caveat is that I do sometimes have to tell other people to keep watching after Schoolyard Follies, there will be a plot I promise!

Disney's Legend of Sleepy Hollow:

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

I think this is one of those where I never saw the whole thing, just the main song on one of those Best of Disney compilation videos. I'll at least give it credit for preserving the original story rather than making the Headless Horseman actually real (which I think most adaptations do because frankly the original story isn't long enough for feature length.)

Marie Antoinette:

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

This seems like one of those movies where you've supposed to get into the mood of the music and the visuals more so than the plot or characters? I can get into that.

The Beguiled:

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

I still don't know if I want to see this or not! The concept sounds cool and creepy, but I don't like the idea that these ladies are the good guys. Or maybe I'm wrong and nobody's supposed to be a good guy? Or maybe I should watch the grimier original since I unfortunately find young Clint Eastwood hot?

The Innocents:

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

I'm personally of the opinion that the ghosts in The Turn of the Screw were real (it's just that screaming at a child is not a good way to exorcise them), but the deliberate ambiguity/unreliability of this version is also creepy in its own way. It's a much darker ghost story that you'd get from most big studio films of the time, certainly.

Fire Walk With Me:

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

This really did a good job of portraying its protagonist as a real person rather than just an object of clinical observation or perverse whimsy (which I think Twin Peaks the Return fell into.) It's just so heartbreakingly sensitive and Sheryl Lee does such a good job of portraying Laura as both kind and mean, loving and hateful, and absolutely the victim of someone she should have been able to trust. And then the end, where Cooper is smiling gently at her and the angel has come back and she's laughing in relief? Oh my god.

Crimson Peak

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

I didn't love this as much as I thought I would (maybe because I was spoiled about what was up with the Sharpes, or maybe because I didn't like the implication that Edith should have gone with the nice boy best friend she didn't love) but I'd still say it's a good entry in the gothic romance genre. Stunning clothes and scenery, great actors, scary ghosts, an ending open enough for fanfiction. If I picked this up as an Avon Satanic Gothic at a thrift store, I'd definitely be happy!

Coppocula (Bram Stoker's Dracula)

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

Oof. I don't want to be a snob about this. I've definitely liked Dracula movies that were wackier or dumber than this (looking at you, 2004 BBC version!) This one just breaks my heart because there's so much talent on display and I just. fucking. hate it! That soundtrack deserved a better movie. That red dress deserved a better movie. All the characters deserved better writing. Whenever someone tells me they love this movie, I have to nod and say that it's certainly beautiful looking, because I don't want to be a terrible gatekeeper, and if it was an original vampire story it might well be a guilty pleasure of mine. I just fucking hate it. On the bright side, it did give us Vlad the Poker in the What We Do in the Shadows movie, a pitch-fucking-perfect parody of Gary Oldman's Dracula, and the Nadja/Gregor plot in the What We Do in the Shadows tv show, a pitch-fucking-perfect deconstruction of the reincarnated wife trope.

[witchyfashion]

After a bizarre and disturbing incident at the funeral of matriarch Marian Savage, the McCray and Savage families look forward to a restful and relaxing summer at Beldame, on Alabama's Gulf Coast, where three Victorian houses loom over the shimmering beach. Two of the houses are habitable, while the third is slowly and mysteriously being buried beneath an enormous dune of blindingly white sand. But though long uninhabited, the third house is not empty. Inside, something deadly lies in wait. Something that has terrified Dauphin Savage and Luker McCray since they were boys and which still haunts their nightmares. Something horrific that may be responsible for several terrible and unexplained deaths years earlier - and is now ready to kill again . . . A haunted house story unlike any other, Michael McDowell's The Elementals (1981) was one of the finest novels to come out of the horror publishing explosion of the 1970s and '80s. Though best known for his screenplays for Tim Burton's Beetlejuice and The Nightmare Before Christmas, McDowell is now being rediscovered as one of the best modern horror writers and a master of Southern Gothic literature. This edition of McDowell's masterpiece of terror features a new introduction by award-winning horror author Michael Rowe. McDowell's first novel, the grisly and darkly comic The Amulet (1979), is also available from Valancourt Books.

https://amzn.to/3JDTmtO

[adiarosefandoms]

Today in Fandom History: December 14

Fandom: Movies

December 14, 1990, Edward Scissorhands was released. This is one of my personal, favorite films. It has Burton’s classic, original style (referred to as Burtonesque), an incredibly unique plot and remarkable, iconic characters. The film stars Johnny Depp as the title character, Winona Ryder as Kim, Dianne Weist as Peg, and Anthony Michael Hall, who you may know from Breakfast Club or Weird Science, as Jim. As a Tim Burton film, it was also scored by Danny Elfman who did a truly remarkable job on all movies he partakes in, but this one in particular has something magical built into every note.

The artistry of the film is notable for its direct contrast between the suburban and the peculiar. Burton gives pastels, straight lines and sharp angles, and simple, faded patterns to the suburbanites clothing and houses, while Edward and the mansion carry that gothic, German expressionism that Burton is so well known for. The divide is distinct and opaque, especially when Edward is in the neighborhood and placed in the mundane clothes.

You will be hard pressed to find a character as singularly identifiable as Edward Scissorhands. Based on an original sketch by a 13-year-old Burton, from initial conception to the masterful execution back in 1990, and now, 31 years later, it is revered by fans as being just as whimsical and wonderful.

This movie is so important to me on a personal level, and I know there are many out there who also look back on this movie with reverence, nostalgia, and boundless love. A true show of creativity in the film artform, this masterpiece is like taking a step into the very idea of Burtonesque. And it’s a joy everytime.

[k00249250]

My Project Statement:

Our given topic being “When Two Worlds Collide” I choose Tim Burton Meets 70s Disco genre, I choose these two because I felt it would be an interesting contrast from Burtons dark world to the flamboyant 70s, and as I am a a fan of both worlds and was excited for the outcome, I Have always admired Tim Burton’s work both as an artist and a Film Director, his gothic style and his movies are visual masterpieces, I researched Mark Making tools in ‘Burton style’ which would be the different swirls from ‘The Nightmare before Christmas’ the butterfly from ‘Corpse Bride’ and played around with them. The key elements for me In which I was mostly inspired by were Burtons colour, patterns, and significant characters from some of my favourite movies including ‘Corpse Bride’ and ‘Edward Scissorhands’.

When researching 70s disco fashion, Cher stood out to me as a fashion icon of the time and I loved her outfits, so I decided to research all her looks from the 70s. The colour, sequins, flares all her outfits are amazing with such vivid detail and purpose. I used her shape for many of my Croquis! The key elements from the 70s Disco era that I wanted to work with were colour, flares and Cher’s outfits were a significant part, in which I was inspired by.

I then combined the two worlds together. My looks are all different. With colour and goth elements from Burtons world. Character outfits that are iconic were important to me and colours from Burtons World. My final line up is a mix of both worlds in an enchanting exciting and bizarre way!

I wanted to hold onto the madness in Burtons world with the colour in the 70s Era. Both different from each other but work in a fascinating way.

[britesparc]

Weekend Top Ten #396

Top Ten Moments in the Dark Knight Trilogy

So this year is Batman’s 80th birthday. Happy birthday Bruce! You look great.

Anyway, what with that, and the fact that a few weeks ago was “Batman Day” (I missed it coz I was talking about The West Wing), and the fact that the uber-controversial Joker comes out round about now, I thought I'd finally do due diligence to the World’s Greatest Detective and give him a bit of a celebratory Top Ten.

But what to talk about? I've talked about Batman a few times now. Honestly, when you get to nearly 400 of these bloody lists, it starts to get really hard to find new angles on your favourite things! Well, I decided that one thing I hadn't really talked about all that much is what remains, in all probability, the best live-action depiction of Batman and his world: Christopher Nolan’s epic Dark Knight trilogy.

Nolan's Batman isn't my favourite Batman. Purely from a performance level I think I prefer Keaton, even if Tim Burton’s vision is miles away from my own. I even, honestly, prefer watching Adam West. That's not to say I don't love Christian Bale, scary voice and all, or Nolan's attempt to provide emotional context for Batting Up. His earthy, realistic depiction of Gotham is iconic and masterful, even if I tend to dismay at the rejection of some of the goofier aspects of Batdom. Personally, I think if you strip Batman of some of his wilder eccentricities – the sci-fi villains, the fatalistic, mythological overtones, the air of Gothic supernaturalism – he actually ends up looking sillier, less realistic. Pretty much everyone in Nolan's Gotham is straight from a normal crime movie, except this one weirdo in body armour and a cape. To be fair, Batman Begins does a very good job of explaining why those things are necessary, but despite the chaos of The Dark Knight, I don't think Nolan does enough to reinforce why Batman remains necessary.

What I'm saying is the films would have been better if Bat-Mite was in them.

Despite all that, I adore these films. I go back and forth over whether I prefer Dark Knight or Dark Knight Rises; the latter film has big logic flaws and smaller structural ones, but I think the first sequel suffers most from the disconnect between “realistic crime drama” and “crazy superhero smackdown”. But they’re great. Few superhero films soar to their heights of have as much to say.

So, here we go. My favourite moments from the Dark Knight trilogy. Enjoy.

“I'm going to make this pencil disappear” (The Dark Knight, 2008): we've already met the Joker, but his introduction to Gotham's gangland – theatrical, crazy, terrifying, murderous – cements him as something utterly new. We'd never seen anything like this before, and neither had Gotham. Perfect combo of fear and funny; love that Joker.

“Some men just want to watch the world burn” (TDK): Michael Cain’s Alfred is one of the highlights, his droll delivery offsetting some of the darkness. But his depiction of chaos and evil is both flinty advice and a cool tag-line.

“Is it the scars? You wanna know how I got ‘em?” (TDK): like the best Jokers, this one has a past that's multiple choice. His changing story deepens his freaky, nightmarish persona as well as the film’s themes of chaos. Plus the moment he breaks up Bruce's party is pretty flipping great.

“You merely adopted the dark. I was born in it” (The Dark Knight Rises, 2012): Nolan does a great job making Batman a scary presence. So by the time he fights Bane in Rises, it’s a shock to see him so well-lit; he looks small and pathetic against the man-mountain of a villain. It’s a brutal, well-shot fight, no-nonsense, spartan. It’s a shocking and scary moment.

“What s that, a bazooka?!” (TDK): the Knight car chase is a masterpiece. Its escalation, its choreography, its use of colour and sound; the moment the Joker hangs his head out the window; the bit where the Batpod sort of drives up a wall to turn around… and, of course, the reveal of the ‘pod itself, emerging from the ruins of the Batmobile. Wonderful toys indeed.

“You're not the devil. You're practice” (Batman Begins, 2005): the first Nolan Bat-flick (as opposed to a Batfleck) is fantastic in establishing the jigsaw puzzle of how Bruce Wayne built the Batman. But the very first real moment of this, when he’s clearly gotten himself arrested in some far-eastern gulag just to pick a fight with the biggest, baddest bastard in the place, is delightful.

“Oh, you wouldn't be interested in that...” (BB): Morgan Freeman’s Lucius Fox is a big part of the Nolan films, and his banter with Bruce is just a joy to behold. The sequence in Begins where Batman builds his arsenal is great, full of great comic beats, culminating in Bruce discovering the Tumbler. “Does it come in black?” is also a cool trailer line.

“Swear to me!” (BB): Bale’s Batman often comes in for a bit of stick for his gravelly voice, and fair enough. But deployed correctly it can be very effective. We really see the creepy, nasty, scary version of Batman as he terrorises a criminal. “Swear to me!” of course comes after the crim in question says “swear to God”, Bats assuming his place in the celestial pecking order.

“Perhaps he’s wondering why someone would shoot a man before throwing him out of a plane?” (TDKR): the Joker’s opening heist in Knight might be cleverer, but Bane’s midair abduction and murder is a technical tour-de-force, filmed (partly) for real in the middle of the frickin’ sky. We first glimpse Bane and his sinister, terrifying presence, as well as hear his iconic and slightly camp voice. “Eet wud be echstreemly painful… fo yoow!”

“Pretty generous, for a thief” (TDKR): Rises is often criticised for being sillier than the others (despite Begins literally ending with Batman chasing a microwave machine that boils water). And, yes, it is a bit camper and goofier than Knight, although I’d argue its less-defined plot carries no more holes than its predecessor films. Bruce Wayne miraculously making his way from the Middle East to Gotham, penniless, helpless, alone, with no equipment, despite Gotham being cut off and isolated, ringed with explosives; this is a bridge too far for some. For me, it’s the most Batman-y moment in all three films. How did he do that, you cry; because he’s Batman, I reply.

No time for another of my favourite moments, which - I'll be honest – suffered because I was looking for quotes. It's the very, very end of Rises, when Joseph Gordon-Levitt find the Batcave, and the elevator rises up, lifting him out of frame; literally the new Dark Knight rising. And who could forget the hospital explosion, or the money inferno, or the interrogation, all from Knight? Basically any moment with Heath Ledger. Also I like the gag about being at a party and people starting to pass around weaponised hallucinogens from Begins. And when Selina Kyle cons the cops, switching from savvy criminal to screaming girl to cool citizen. It's a good trilogy, you should check it out.

[dcarevu]

Batman TAS: Mad as a Hatter

“Why don’t you go do something useful like… Oh, go jump in the river.”

Episode: 27 Robin: No Writer: Paul Dini Director: Frank Paur Animator: Akom Airdate: October 12, 1992 Grade: B

I was in high school when Tim Burton’s version of Alice in Wonderland showed up in theaters, and like almost everyone I knew, I could not have been more excited. I really loved the Disney version, and considering that the man involved with Beetlejuice, The Nightmare Before Christmas, Batman, and more would be giving us his take on it right as I was starting to move toward my emo-scene phase, it was a dream come true. Even now, on paper, this seems like the perfect recipe, doesn’t it? But I think most of us can agree that it just didn’t meet expectations. The first time I watched it, I wouldn’t admit to myself that I wasn’t a fan. It was dark, and strange, and Tim Burton + Alice in Wonderland. Everything I wanted! As a developing emo kid, I was supposed to like it! The reason I bring this up is because Batman the Animated Series being fused with Alice in Wonderland seems like another fantasy-combination that would have no way to turn out subpar. Mad as a Hatter is an episode that, for the most part, actually gets a lot of praise. Alas (or, for the sake of the pun, Alice), maybe the idea seemed a little bit too easy, making it easier to over-shoot, missing the mark. This is another episode featuring a crazy set-piece at the end, but it is also another episode that was handed to Akom. Christ, why. Of all the episodes. All the episodes. Why is it some of the ones with the highest reliance on visuals? This episode involved not just complicated, creative visuals, but incredibly weird ones as well that needed to be animated just right to not look like subjects from one’s fever dreams. You wanna know how that turned out? Well, I heard an, “Oh my god!” from Char as the walrus and the carpenter made their appearances. While that did make me laugh quite hard, and Akom definitely got the weirdness down, it should have looked like intentional weirdness. Beyond the animation, the story is actually decent. It is Paul Dini, so what can you really expect. But even here, I would not call it A-level material. Some strange dialogue/delivery choices, and other leaps of logic/strains on the suspension of disbelief take away from it and leave me feeling extremely neutral.

Okay, so after that paragraph above was written, I went and took the screenshots from my DVD. I was surprised. The DVD looks so much better than the Blu Ray here. This was the case with The Clock King too, and I fear it is starting to seem like a pattern. I think it all comes down to the Blu Ray release looking too clean, and way too bright at times. Because of course, the DVD is in lower definition. Shadows are lightened so that we can see all of the imperfections of Akom’s drawings. Smudges and dirt are removed, giving the people a plastic look at times. It’s not the way the show was meant to be watched (as I said, probably VHS would be my preferred way of viewing if that were feasible). This puts me in an interesting spot, because I paid near $100 for the set, and also, some episodes look absolutely phenomenal. But is it worth it when some look like absolute crap? The great-looking shows look godly. The mediocre-looking ones look horrible. I was ready to tear into how Mad as a Hatter looked and rip it a new one, but now I do not think that would be fair. No, the animation here isn’t perfect. But it’s passable. And I think that’s worth something given the frequency at which I complain about Akom. At this point, I have watched up to Robin’s Reckoning. From here, I honestly might start using the ol’ dvd’s again. It’s unfortunate, but if I go back to specific episodes that I love later on, then I’ll use the Blu Ray. Remember, I am watching these with Char who has never seen the DCAU before. I want the series to make the best possible impression, and even with the best plot ever, a bad-looking episode can make a disappointing episode. Merely getting the episodes at a higher definition, but leaving them dirty and dark would have been my preferred solution. Anyway, back to talking about the episode itself (and yes, this does slightly affect how I see the episode. At first I was giving it a C. But I think I’ll have to bump it up to B territory).

We start with episode with some cute-ass mice, only to then be introduced to a face that a mother would have a hard time loving. Jervis Tetch, aka The Mad Hatter, is a character-design, alright. I think I know what they were going for, though. He has this kooky look that makes him stand out from every other character. He certainly looks like he could play someone from Wonderland. But the problem I think comes from Akom (ironic given that last paragraph, huh?). This design could probably work, but he has such an odd model, so I think they had a tough time animating him. Or maybe he simply does not translate to movement very well in general, and there was a problem the moment his model sheet was created. Regardless, he can be pretty tough to look at sometimes. Other times, though, he does have that level of whacky which I would hope would be in an episode based on Alice in Wonderland. But we see that Jervis is working on some mind-control technology while also being smitten for a girl that works in his office named Alice. Unfortunately, Alice has a boyfriend, and like many sociopaths in real life, Jervis is not okay with this, taking matters into his own hands. First of all, her name being Alice is kinda stupid, and Char agrees. It takes parallels a little bit too far, and Char noted that it would have been more subtle if her name were something like Alycia. Alice is one of the only people that Jervis feels is nice to him, so if we follow the most sound of incel-logic, she owes him her heart, mind, and body. Not only is she nice to him, but, again, her name is Alice. And it would not surprise me if this were a main factor of why Jervis is into her. He has an Alice in Wonderland poster in his office, he takes her to a theme park of sorts that has a section which is themed after the book, he owns a Mad Hatter costume (or perhaps he obtained this from the park), he quotes the book regularly, etc. He is clearly obsessed. When we reach the point where he mentions that it is one of his favorite stories, it’s like, “Wow! No kidding!” He is not quite wired into reality, likely developing this obsession at an early age to escape from life’s burdens. But Wonderland has burdens of its own.

Jervis ends up using these mind-control cards that he created (another Alice in Wonderland-related thing) to make people basically do his bidding. He first uses them on two thugs attempting to rob him and Alice, forcing them to climb up on top of a bridge and jump into the river. Batman catches notice of this through a police broadcast, and to my surprise, the show mentions a possible suicide in progress. How often do you hear a family cartoon like this use the word “suicide”? I think this is the only time I have ever heard it, despite references occasionally popping up in shows like Spongebob. He then uses more cards on his coworkers, Alice’s fiancé, and Alice herself, creating an army of Alice in Wonderland-themed warriors to defend him from Batman when Batman finds out what’s going on and sets after him. He wants Alice all to himself, and is willing to do whatever possible to obtain her. The final battle takes place in the theme park, the big set-piece of the episode. It’s got some great looking background paintings that 100% capture the tone of the book. It is a shame that the animation done by Akom couldn’t hold up to Radomski’s work. We have moments such as Batman balancing on top of the walls of a playing card maze that I wish stressed me out a little bit more. But because of how stilted the movement is, Batman never really seems like he is having a tough time keeping balance, even though we clearly see him struggling. The fight scenes could also be much better, with more impact felt. The odd costumes that most everyone is wearing makes for some really distorted-looking characters, and it’s clear that not a lot of time was spent making them look quite right. At the same time, though, between the subject material, the gimmicks, the overall surreal nature, and the background art, it is still a lot of fun to watch, even if it is in a more campy way. It is not an episode to be taken extremely seriously. This can be a problem with Batman. The tone can fluctuate greatly from episode to episode. At the beginning, it did not matter as much. Right away we had varying quality and seriousness. I mean, we went from On Leather Wings to Christmas With the Joker. But now we are getting gothic masterpieces like Two-Face, so episodes like Mad as a Hatter feel jarring as hell. It is an episode I enjoyed more on second watch as I gathered screenshots. I loosened up and let myself have fun with it.

The Mad Hatter fails to be a sympathetic villain like I feel they might have been going for, but I do enjoy him being so delusional and sociopathic. When Alice mentions her boyfriend, he gets this scary scowl, and you know at that moment that this is no character you want to root for. When Alice’s boyfriend temporarily breaks up with her, rather than attempting to comfort her and being upset over her sorrow, he jumps for joy because he has a chance to finally swoop in (the epitome of an Internet “nice guy”). When she gets back together with her boyfriend, turned fiancé, he squeezes a bouquet of roses in frustration so hard that he bleeds. I think they were able to get away with this portion because maybe the blood could have passed off as liquid from the flowers? Which doesn’t really make a lot of sense, but for the sake of the blood being included, um, sure. It was definitely rose-goo, guys. Not blood at all… And he also blames Batman for why things ended up the way they did, even though Batman had virtually nothing to do with anything until the very end. He decided to mind-control everyone because he was being a spoiled little piss-baby who could not let the girl he supposedly loves be happy. Char did not care for the character, and jokingly mentioned that he was appropriating the Mad Hatter, doing things that he would never do. Like some batshit crazy super-fan who feels sooo connected with a character, but actually doesn’t understand them at all.

Not a perfect episode, but a grower.

See? Cute-ass mice!

Wow, I didn’t realize that we were watching Attack on Titan. (Joke inspired by Char).

The poster on the wall matches the title card/an actual illustration from the book. It’s actually a pretty dope poster.

A variety of shots showing Jervis’ face. See how inconsistent it is? It is a little similar to the Pokémon Drilbur, where it only works 2D. Adding an element of 3D illusion (such as movement) causes it to fall apart.

Oh, sure, go and rob them right after you see Batman drive by. That’s always smart.

“Please, Mr. Hat. Go easy on us.” The delivery here was wicked funny. It was so monotone, and sounded like he was faking.

I quite like this facial expression. His smile reminds me of the Cheshire Cat.

Batman + Taco Bell

I love the panic in Batman’s voice as he tries to stop them from jumping off of the bridge. It shows how concerned he is with keeping them safe.

They were able to animate this shimmer pretty damn well. Then again, how hard could it be?

A very subtle recreation of the illustration/title card.

I don’t think the background here quite comes together, the composition is off. Still neat to look at.

A close-up of the illustration.

Now this is an ugly facial expression. Gross! And it’s not like this was a quick frame. It was there long enough to notice.

This shot has a lovely glow to it. It looks quite nice. 

One of the only times they were able to get away with blood. Um. Oops. I meant flower-goo! It’s flower-goo, guys! The blood drips right onto Billy’s face. As if a hit were put on him. Awesome detail.

“Oh, do be quiet!”

Bruce whispers “Congratulations.” in such a goobery way. I love it. 

The shadow of the plants shifted in some wonky-looking ways. Also, when the Mad Hatter and Batman both arrive on the scene, she says, “This is getting too weird.” But she says it so nonchalantly. Not the best delivery.

Very sloppy-looking drawings of their faces. These costumes, though. 

Cool impact here. He just decimates that wood. I’m not sure if Storybook Land has the safest costumes. 

This is some enjoyable stuff right here. I had a lot of fun with this portion.

“Off with his head!” I should have counted how many times this line was said.

Perfect example if how cool the painted visuals are paired with some mediocre animation. Hell, I’m pretty sure Batman’s run was recycled for two of these stills.

Gee, I wonder which cards are going to move. Great Mad Hatter, pose, though. This is what I wish he looked like all the time!

The looming Jabberwock ends up falling on him, ending the adventure through Wonderland. 

There’s no reversing the damage, Jervis. You’ll never talk with her again. Was it worth it? Also, his hair totally changed color at one point. Um... Maybe he dyed it?

Char’s grade: D Next time: Dreams in Darkness

Full episode list here!

[giallofever2]

New by Arrow Video

RELEASE DATE 23/09/2019

MACABRE VISIONS: THE FILMS OF MARIO BAVA (BLU-RAY)

Mario Bava BOX LIMITED EDITION CONTENTS:

High Definition Blu-ray (1080p) presentations of all nine films

Original lossless mono Italian and English soundtracks

English subtitles for the Italian soundtracks

Optional English subtitles for the deaf and hard of hearing for the English soundtracks

Alternative cuts of Black Sunday, The Girl Who Knew Too Much, Black Sabbath, A Bay of Blood, Baron Blood, Lisa and the Devil and Rabid Dogs

Audio commentaries on every film by Bava biographer and expert Tim Lucas

Numerous interviews with critics, cast and crew members

Mario Bava: Maestro of the Macabre, a documentary profile of the director, hosted by Mark Kermode and featuring interviews with Joe Dante, John Carpenter and Tim Burton

The Devil’s Daughter, a video essay by critic Kat Ellinger

Multiple introductions by author and critic Alan Jones

Yellow, Semih Tareen’s short film homage to Bava’s cinema

Multiple theatrical trailers and TV spots

Limited edition packaging featuring original theatrical artwork

Collector’s souvenir hardcover book featuring writing by Matt Bailey, Alan Jones, Kier-La Janisse, David Cairns, Tim Lucas, Travis Crawford, Glenn Kenny, Adrian Smith, Jay Slater, Oliver James, Stephen Thrower, Peter Blumenstock, Michael J. Carroll and Helen Mullane

And much, much more!

Production Year: 1960

Region Code: B

UK Rating: 18

Running Time: 806

Number of Discs: 9

Language: Italian / English

Subtitles: English / English SDH

Audio: 1.0 mono

Aspect Ratio: 1.66:1 / 1.85:1

Colour: 1.0 mono

The legendary Mario Bava has inspired generations of filmmakers, including names as wide-ranging as Martin Scorsese, Tim Burton and Guillermo Del Toro. With their virtuoso photography and budget-belying visual effects, his films transcend their unassuming origins and played a vital role in shaping the horror movie as we think of it today. This exclusive collection from Arrow Video gathers together nine films from Bava’s diverse catalogue – including gothic horrors, giallo thrillers and even a real-time crime drama.

Our journey through the maestro’s output begins with Black Sunday, the ground-breaking gothic shocker that defined the Italian horror film, before launching the “giallo” phenomenon with the twisty The Girl Who Knew Too Much. Up next is a triple bill of terror with the gruesome anthology Black Sabbath, followed by a further slice of the macabre with the spine-tingling Kill, Baby… Kill! Next, Bava channels his inner Agatha Christie with the Ten Little Indians-inspired Five Dolls for an August Moon, followed by the proto-Friday the 13th slasher A Bay of Blood (aka Twitch of the Death Nerve). Bava then returns to his horror stomping ground with the twisted and atmospheric Baron Blood and his surreal classic Lisa and the Devil – widely considered to be his masterpiece. The collection concludes with Rabid Dogs (aka Kidnapped), a gritty, frenetic crime thriller that grabs the viewer by the throat and refuses to let go.

This stunning collection represents one of Italian cinema’s unsung heroes at the height of his creativity, ably assisted by a diverse and talented cast of cult actors, including Barbara Steele (The Pit and the Pendulum), Telly Savalas (Kojak), John Saxon (Tenebrae), Edwige Fenech (Strip Nude For Your Killer), Erika Blanc (The Night Evelyn Came Out of the Grave) and Boris Karloff (The Comedy of Terrors). Whether you’re a newcomer to these films or experiencing them for the umpteenth time, Macabre Visions: The Films of Mario Bava is a must-have addition to your library.

[weaselbeaselpants]

Why I Hate Tim Burton’s Sweeney Todd

Hate is a strong word but, yes, I really don’t like the 2007 Sweeney Todd. I didn’t like it when it came out (and I was already a big Burton fan girl AND my family is made up of theater people. Don’t you dare try to Burton-splain or Theater-splain me). The musical fan in me dislikes it for overshadowing the story which I think is much better on stage, while the Burton fan in me hates it for being the “best thing Burton’s made since the 90s” according to some. More on that later.

Let me dissect the two things that irk me most about this adaptation:

1) Johnny Depp’s Sweeney Todd

Let’s get something straight about stage shows: every actor is gonna play a role a little differently. Every (good) actor brings a new dimension to a character or portrays them in a way that brings something new to the audience, be it people who’ve seen the show hundreds of times or those watching the musical for the first time. This is even more complicated when you have a movie adaptation of the play. The movie is likely gonna be seen more than the stage musical, so you have to get used to that version being the only one people know and thus being an interpretation of character people will like the best. You CAN’T expect Johnny Depp to play Sweeney like Len Cariou or George Hearn. Johnny is not only NOT those actors, his portrayal of the character follows a very different characterization and mannerisms than them. 

Personally - I like my Sweeney being this angry person ready to burst with rage at the drop of the hat, someone who seethes hate everywhere he goes but doesn’t seem to turn heads, yet he still has a sense of humor about a situation, possibly as a way to adjust to his new philosophy. That doesn’t mean he shouldn’t be sad or solemn though. He’s clearly in pain on the inside, and like a real psychopath is trying his best to feel something again while trying not to return to the pain of loosing his wife and child. I also like Sweeney trying - possibly failing - to put on this air or everything being okay like he’s still just a humble barber and not a nihilistic serial killer. Basically, I like my Sweeney being highly emotional. I like my baritone-bass, Cariou/Hearn type Sweeneys.

Depp and/or Burton is going for a “lost all emotion and joy, never smiles, empty shell, cold and clearly brooding”-type Sweeney. Whatevs. The problem isn’t that you CAN’T play Sweeney that way. Sweeney’s only requirement as a character is that he be a psychotic, revenge-driven, deeply heartbroken man that’s so bent on revenge he ends up destroying the very thing he set out to avenge. You can play up his emotions or lack there of as much as you want.

My problem is that I don’t think Depp plays that well.

I don’t know whether it was his choice, Burton’s choice, or both to have Sweeney sneer more than a 1st grader at a teacher who told him he has to spend recess doing homework- but seriously THAT’S ALL I SEE. Depp looks like he’s trying too hard to look angry and super serious. He’s so edgy looking and his dryness doesn’t come off as engaging to me. His emotionless performance feels lazy. It doesn’t help that he can’t sing either. Like, seriously, Johnny Depp can’t sing. Helena Bonham Carter can sing better than him. I suppose Sweeney Todd isn’t the kind of musical where characters are supposed to sound ‘pretty’, but they could at least sound like they’re hitting a note.

Speaking of Helena-Bonham-Lovett, while I don’t like her performance, I think it’s way more solid than Depp’s. That’s because - again - while this Lovett is very different from the much preferred Landsbury-type, it’s still a version of Mrs. Lovett and gets the most of what her character should be down: desperate, sick and twisted, in-Love with Sweeney and dubious in nature, leaving your to wonder how much worse she is compared to him. Landsbury Lovett is a nasty hag pretending to be a warm grandma; Carter’s Lovett is a worn-out prostitute; whichever way you go you have a desperate, delusional monster cook. It’s not my Mrs. Lovett, but it is a Mrs. Lovett.

Depp’s Todd is sooooooooooo broody you guyz that he doesn’t even feel like Sweeney anymore. He just feels like a generic heartless killer DONUT STEELE GUYS! The character is lost beneath the over-under-acted performance and star power.

2) Tim Burton’s super emo-phase directing

Prepare for the Burton-hipster in me to come out.

I hated Tim Burton’s visual storytelling and mood as a director in the 2000s. For starters, everything has a super dark, shadowy (ugly) filter. It ruined Charlie and the Chocolate Factory, it ruined Alice and Wonderland and it ruined this to some extant. IT’S A TIM BURTON FILM. We don’t need a grey, hazy, deluded color scheme to show that it’s gothic. Actually I think Burton benefited a lot in his earlier movies by having lots of scenes shot in sunny environments with good color schemes to better compliment when things got melancholic, gross, weird, or messed up. Beetlejuice and Edward Scissorhands are the shining examples of this trope. Not every scene looks super deep or grim, so they stand out from the rest of the scenes in the film and establish tone.

Of course, if there’s one story that could benefit from a washed out, dry color scheme I think it IS this film, and I do like the contrast for how bright the blood is. I just wish the lighting wasn’t so overbearing in EVERY scene, no matter what the intended mood. Also it looks kinda bluish. Like it’s an Evanescence music video, probably not helped by the overabundance of CGi. Also, Victorian London is muggy and gross. Burton’s film makes even London at it’s dirtiest feel kinda polished through his lighting and set design. Les Mis did a better job at showing you the grungy side of it’s environment.

More important than visuals is the way in which Burton directed his actors and wrote characters at this time. No matter what the film he was making at the time, every character and every actor looks like they just got punched in the gut and act super dry. The only film that benefited from this ‘charisma’ was Corpse Bride: the story is bleak, melancholic, and at times cynical, it’s characters should emanate that for the sake of the story.

Much like Depp’s Sweeney, everyone whose not Helena Bonham Carter looks emo, angry, emotionless or sad, which by the way doesn’t help Sweeney stand out. Everyone looks like or feels like they’re serial killers. This is a cast of mostly deplorable characters but very few true-blue killers like Sweeney and Lovett. And if they’re supposed to be characters pushed to becoming Sweeney 2.0, like Joanna or Toby, the movie doesn’t do a good job at portraying that. Anthony gets it the worst since he’s the starry-eyed idealist who is too good for this or any world, but instead comes off as a creepo with weird hair. His plans for Joanna are supposed to be alarming, but you’re never supposed to feel like he’d do something bad to her. Movie!Anthony is so much of a crazed stalker that you really don’t want to spend ANYTIME with him or Joanna.

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I find this adaptation overrated.

In the world of theater, you have to put up with the fact that not everyone can afford to see Broadway shows or take leap of faith and jump at a college or community theater production hoping it’s somewhat decent. Some people are gonna stick to the movie versions and that’s fine (Grease and Chicago are way better movies than they are stage-shows, in my opinion). So if someone prefers the Depp film to the show there’s not much you can do. That’s their opinion and that’s what they were introduced to first.

But then you get these movie critics and film buffs who say things like “this is the best Tim Burton film since (insert pre-1995 Burton film here)” and “it’s so well written, why doesn’t he make stuff like this anymore?”...I kinda wanna scream.

TIM BURTON DIDN’T WRITE SWEENEY TODD. The story is good cause he’s adapting an already existing story to the screen. Frankly, I think his flavor of gothic hinders the story. And the whole “this is the only good new Burton movie”-thing is also really annoying. Big Eyes is great. Heck, if you’re big on Tim Burton’s tropes being used to better affect, Frankenweenie is a better example than this film.

The thing about Tim Burton is, I think he’s better at working with small-scale stories, conflicts and themes than he is at tackling “deep” stuff, which Sweeney Todd is. Burton’s movies are simple in their complexity. That’s why when he tries to write war-based movies or “chosen one” stories like Alice in Wonderland or Planet of the Apes, it falls on it’s face. A Burton movie is more entertaining when he’s obviously just having fun with the stuff he likes and isn’t trying to present himself or his film as some auteur-masterpiece. In fact, if there’s any gothic musical more fit in Tim Burton’s hands than Sweeney Todd, I would say it’s Phantom of the Opera. That musical is ALL melodrama. It feels more at home with Burton than the moral- character driven bloodbath horror of Sweeney Todd. But hey, I guess that’s indicative of people thinking ‘well it’s goffik, so it’s perfect for so-and-so regardless of what their style is and what story we’re trying to tell’.

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Rant done. Been waiting to get that off my chest since forever.

[wazafam]

Both surreal and oddly absurd, Yorgos Lanthimos' The Lobster creates an image of a dystopian society where everybody is forced to find someone to pair with. Nobody can stay single, and if they choose to do so, the only way to be safe is by joining those hiding from authorities and the unavoidable probability of either being hunted down and killed or being turned into an animal.

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And yet, at the core of The Lobster lies a dark, twisted romance which perfectly fits the kind of tone the movie is going for. Luckily for the fans of the picture, there are other movies to check out that also feature unusual, dark romances.

10 Swiss Army Man (2016)

If someone started explaining Swiss Army Man by saying it is full of farts, the listener would probably think that it is a stupid comedy with an abundance of fart jokes. But even though the farts are indeed played for laughs here, there is a much deeper meaning to this black comedy.

As the story progresses, the protagonist, who was left on an abandoned island and found an unusual dead man's body, starts developing genuine feelings towards the corpse. At some point, their relationship even looks more like a romance.

9 The One I Love (2014)

A very unusual thriller about doppelgangers, The One I Love cleverly combines the wicked with the romantic and the frightening with the dramatic.

In the movie, a married couple finds themselves visiting a therapist to help them keep their marriage intact. The therapist tells them to visit an estate where they can rest and try to fix their relationship. There, they encounter their own doppelgangers who play tricks on them.

8 Thirst (2009)

Park Chan-wook's Thirst is a dark romance movie both in its story and in its look. A lot of the events take place at night, creating the kind of atmosphere perfect for a horror romance like this.

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The story follows a Catholic priest in South Korea who is secretly in love with his friend's wife. He undergoes a medical experiment, but something goes wrong and he starts turning into a vampire.

7 Corpse Bride (2005)

Tim Burton's Corpse Bride is one of the many collaborations between the director and his two favorite actors - Johnny Depp and Helena Bonham Carter (who voice the lead characters in this stop-motion masterpiece).

Having the kind of Gothic aesthetic Burton is known for, the movie tells the story of a young man named Victor who goes into the woods to practice his wedding vows. Unbeknownst to him, a deceased young woman hears him doing so and now considers herself his bride.

6 Dogtooth (2009)

Another one of Yorgos Lanthimos' works, Dogtooth is very similar in tone to The Lobster with its absurdist black humor and a way of bringing out the terrifying aspect in something mundane and "normal".

Though it doesn't focus on its romantic storyline as much, it still has one and combines it with its dramatic elements. The story focuses on a married couple who keep their children inside their home for their entire lifetime, so even as they become adults, they are ignorant of the world outside.

5 Only Lovers Left Alive (2013)

Jim Jarmusch's Only Lovers Left Alive is both similar to The Lobster and to Thirst. It has a slow-paced, somewhat removed-from-this-world narrative that expertly integrates horror and supernatural elements into its storyline.

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The story follows two vampires named Adam and Eve who have been married for years but have parted for some time. Adam is a famous musician currently depressed and extremely happy to see Eve returning to him after their time apart.

4 Dracula (1992)

Francis Ford Coppola's Dracula is yet another vampire story that is the perfect kind of dark romance movie to watch for fans of the genre. Gorgeous visuals, stylish costumes, and historical elements elevate this Gothic horror movie.

Based on Bram Stoker's classic novel Dracula, it follows the ancient vampire Count Dracula who arrives to England with the goal to seduce his barrister's fiancée and pursue his personal goals.

3 Blue Velvet (1986)

David Lynch's Blue Velvet is rightfully considered a classic like no other, perfectly capturing the image of the small American town its story takes place in. Its neo-noir atmosphere enhances its mystery storyline providing a firm ground for a dark romance to develop.

The story follows a young student who finds a severed human ear lying in the field. As he investigates where the ear came from, he uncovers a criminal network and develops a romance with an unusual lounge singer.

2 Mr. Nobody (2009)

Starring Jared Leto in the lead role, Mr. Nobody can be confusing at times with its narrative jumping from one possibility to another, but its weird romantic storyline is always at the center of it all.

In a not-so-distant future, people have found a way to stay immortal. The only mortal man left on Earth is the 118-year-old Nemo Nobody whose past is unknown. Before he dies, he is asked to tell his life story, so Nemo recounts his life in the different ways it could have happened by focusing on the three most important moments in his past - at age nine, fifteen, and thirty-four.

1 Eternal Sunshine Of The Spotless Mind (2004)

Starring Jim Carrey and Kate Winslet, Eternal Sunshine of the Spotless Mind also has a non-linear narrative which allows the audience to fully immerse themselves into the relationship happening between the two main characters.

The story follows a couple who decide to erase memories of each other after falling out. As the memories get erased, the person to whom they belong has to experience the memories all over again.

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