Sunday, November 27, 2022

We Are The Sprocket Holes vol. 566

 stand-out viewing for the dysentery bathwater snow cone that was November 

(October)  



DRACULA VS. FRANKENSTEIN (1971, dir. Al Adamson)

was actually more interested in the bat-shirt carniesploitation film happening around the Dracula vs. Frankenstein stuff. 


FAUST (1994, dir. Jan Svankmajer)

i remember cutting that above image out of a Fangoria magazine when i was in the 6th or 7th grade and putting it on a collage for one of my art classes. i blacked out how well it went over. 


FUCK THE DEVIL (1990, dir. Michael Polklesner)

not a film; a confession. 



not a confession: a brag. 


I, MADMAN (1989, dir. Tibor Takacs)

almost loved it. 



feel like this has the same cinematic spirit of homage and reference as the aforementioned Fuck the Devil films.   


THE OTHER SIDE OF THE UNDERNEATH (1972, dir. Jane Arden)

takes me back to when i started devouring strange cinema, becoming so gorged and gaseous that i actually thought i could write a screenplay / direct a film. 



this shit varnished my portable blu-ray screen with grime. 



fuck i love Australian genre cinema. 



i think 94 is more consistent, but this has some of the best segments in the whole series. 



We Are The Sprocket Holes vol. 565

 

Albert Pyun Dies: Director Of ‘Cyborg‘ And ’Captain America’ Was 69

GO. OUT. SIDE. vol. 78

 Yes, we’ve got more adaptations than we can count, and that means that Hollywood needs to find new ways to spin the same old tale. This has left filmmakers to ask themselves a question uttered by their predecessors for decades: “What’s our current version of Ebenezer Scrooge?” For whatever reason, the bright minds behind two new films have both decided to replace the miserly old coot with the trope for privileged white women, who arm themselves with actual intent to harm: Karens.

It’s okay to shudder along with me. The “Karen” joke has been around for years, but it came to particular cultural significance in summer 2020, following a slew of viral incidents where Karen figures threatened police retaliation against people of color for simply living their lives. Since then, it has been co-opted by white people and devolved into Facebook memes and “comedy” videos posted by multi-billionaires. Needless to say, the Karen joke has not just lost its significance, but its humor too.

And that’s when Hollywood comes a-knockin’!


Two Karens Face Off in Their Own ‘Christmas Carol’ Spins

U.S.A.! U.S.A.! vol. 298

 

Donald Trump dined with white nationalist, Holocaust denier Nick Fuentes

The former president hosted Fuentes and Kanye West at Mar-a-Lago. He said it was “quick and uneventful.”

We Are The Sprocket Holes vol. 564

the team behind the Hundred Acre Woods-set exploitation film are preparing to repeat that formula with another childhood classic: “Bambi.” Felix Salten’s 1923 novel “Bambi, A Life in the Woods” has entered the public domain, and Frake-Waterfield is set to produce a horrifying take on the story titled “Bambi: The Reckoning.”


‘Bambi’ Horror Movie in the Works from ‘Winnie the Pooh: Blood and Honey’ Team

As Felix Salten's original book enters the public domain, a reimagining titled "Bambi: The Reckoning" hopes to terrify audiences.



Monday, November 21, 2022

We Are The Sprocket Holes vol. 561

 

Director Abel Ferrara, co-writer Zoë Lund, and star Harvey Keitel exorcised their personal demons in this story of a corrupt cop succumbing to his 


No one can kill me, I'm blessed: Abel Ferrara's Bad Lieutenant At 30

Sunday, November 20, 2022

GO. OUT. SIDE. vol. 76

 

‘The Walking Dead’ Was Bad Years Before Its Whimper of a Series Finale


long story short: a bunch of insufferably over-entitled normie asshole fake idiots who don't understand or appreciate the extreme horror genre (or indeed any creative mediums dependent on a conflict-driven narrative taking place in a harsh, unforgiving world) whined like bitches when their favorite toys weren't being played with "their" way, so the producers/writers scrambled to cater to their porcelain-delicate sensitivities, buttressing its edges with omni-layered foam rubber, creating a mediocre product that no one can feel for or relate to. 

who killed the Walking Dead

you did. 

Sunday, November 13, 2022

#gorenoise vol. 167 / #truecrimepowerelectronics vol. 66

 “The Post has consistently, historically covered crime in New York City,” a spokesperson said. “When the crimes are particularly newsworthy — like people getting shoved onto subway tracks, joggers being raped, teenage girls being killed in gang battle crossfire, a woman being killed by an abusive husband when he is released hours after beating her — we will, of course, run them on the front page.”

Indeed, major crime is up 29 percent in New York City over last year — having risen since 2020, statistics show. Much of this year’s rise is driven by increases in property crime, such as grand larceny. Murders and shootings that dominate local news coverage are down by about 14 percent each this year, though they still haven’t dipped to pre-pandemic levels. At the same time, Republican-run states crowd the top-10 list for murder rates.


In New York, coverage of crime has outpaced its rise. New York news outlets have run 58,131 stories about crime so far this year — a 42-percent spike over the 40,665 such stories published in the same period last year, according to data from the tracking service Media Cloud. There were just 28,638 for the period in 2020.

“The coverage of crime hasn’t always been commensurate with how much crime is actually happening,” said Ravi Mangla, communications manager for the liberal Working Families Party, who said he was sharing his own views not speaking on behalf of the party. “There’s no denying that we have seen more media coverage, relative to the amount of crime, than we were seeing even just relative to a year or two years ago.”

And New York City’s media market stretches well into its populated suburbs, meaning voters on Long Island and in the Hudson Valley see many of city’s news casts. Local media has long lived by the mantra “if it bleeds, it leads,” but crime has been a particular focus in light of state bail reform enacted in 2020.

While the data doesn’t bear out their assertions, Republicans have blamed the New York’s rising crime — which mirrors national trends — on the elimination of cash bail for most non-violent state crimes. It’s been litigated in the press for years, and bail has become a de facto campaign issue for many on the right.

How blood-and-guts headlines propelled Republicans in New York

In New York, voters consistently ranked crime among their top concerns in polls, while voters nationally did not.

Friday, November 11, 2022

We Are The Sprocket Holes vol. 560

 What began as a depiction of Robert Crumb's family cat Fred, Fritz eventually evolved into a self-assured beatnik who roamed (and slept) his way through the counterculture of 1960s US and the anthropomorphised "supercity" he inhabited. Crumb's creation was part of the underground "comix" movement, the 1960s DIY illustration scene that challenged what comics and illustration could do and say. His stories had a sometimes meandering, conversational social focus that, whether the characters were animals or not, leaned closer to life in the US than the likes of Captain America. It was partly this that drew Bakshi to admire, and seek to animate, Fritz. But Crumb was reluctant to hand over the copyright. In a bargain with details that remain somewhat murky, co-producer Steve Krantz eventually produced a contract that was signed by Crumb's wife, Dana, who held power of attorney. Crumb mostly kept his distance from the production and, on its release, was so appalled by the film that he responded by writing the very last Fritz comic, Fritz the Cat – Superstar, where the character had become a sleazy sell-out and movie star who meets with Bakshi and Krantz, before meeting his Leon Trotsky-style fate of murder by ice-pick.

Fritz the Cat at 50: The X-rated cartoon that shocked the US