Come Spring (Vogelvrij) is based on an encounter between Robert C. Hansen and Kitty Larson that took place in 1981. Two years later Hansen confessed to the murder of 17 women.
The story is embedded in a flow of surrealism and horror embedded in the beauty of nature.
Robert enjoys a little hunt, just like with the big-game animals. As long as a woman goes along with what he wants out there, he lets her go home and that’s it. But his obsessive mind and his growing need to get emotional thrills has gotten stronger then these good intentions. And that means taking risks, seeking out women that can face up to him. He chooses to invite Lisa to his hunting ground. Their arrival awakens the spirits of his former victims. They come to her aid to make his blood run cold.
Dinosaurs Attack! was a trading card series produced by Topps in the late 80s. designed to invoke their previous cult series Mars Attacks!, as well as capitalizing on the Dinosaur craze (i remember that fondly), Topps went ahead and produced this bizarrely violent card series.
the story starts out simple enough. Through a rift in time, the Dinosaurs find themselves in Regan's America, where they proceed to maim, mutilate, and mangle just about every living thing they come in contact with. The series pulled no punches, and never missed an opportunity to show the goriest of demises, be the victims men, women, children, hair metal bands, dogs, lions...yes, i said LIONS. here are some choice cuts; at some point, the plot reveals that the Dinosaurs are actually being controlled by "the Supreme Monstrosity". essentially, the Supreme Monstrosity is Dinosaur Satan, and he wants to use the dinosaurs to control the world for some reason. around this point, the humans start fighting back (as illustrated in the "Little Girl Fights Back" and "Cat Lady's Revenge" cards), and the human scientist discovers a way to send the dinosaurs back to their time. naturally, this angers the Supreme Monstrosity, and he comes for the scientist; as the scientist is being reduced to a cinder in the palm of the Supreme Monstrosity, he tells his wife to activate...whatever the hell it is that will send the Dinosaurs back. she does, and the Dinosaurs are ripped back through the time portal in tornadoes of gore; the scientist, now close to death; leaves these parting images and words; keep in mind, these cards were aimed at CHILDREN. and that's what i fucking love about them.
the people who made Dinosaurs Attack! knew their audience; blood thirsty young boys who like big monsters killing shit. i know i was like that (still am to a degree). all Dinosaurs Attack! did was go where no toy line dared go; right into the guts. I remember the dinosaur craze...the cuddly creatures of the Land Before Time, the super-heroics of the Dinosaucers...Dinosaurs Attack! went for the Horror/Sci-Fi/Scare Tactics....and also latent religious themes;
Dinosaurs are from a Godless Time, and their higher power (the Supreme Monstrosity) only wishes to manipulate them for his own means. our higher power, granted us a soul...a conscious...which grants us the ability to rationalize, clarify, and love. Our higher power does not wish to exploit us. but the Dinosaurs are just tools for the Supreme Monstrosity. Satan found a race of creatures that did not know of God, thus they were more susceptible to his influence. if these creatures took over God's earth, than God would no longer have Power, and the Supreme Monstrosity would have won.
so we have ultra-violence, giant lizards, Dinosaur Satan, and perhaps most monstrous of all; Christian Undertones. How could you not love it? i dunno...just a thought.
Erick Lee Purkhiser (October 21, 1946 – February 4, 2009), better known as Lux Interior, was an American singer and a founding member of the legendary garage punk band The Cramps from 1976 until his sudden death in February 2009 aged 62.
Born in Akron, Ohio, he grew up in its nearby suburb of Stow and graduated from Stow-Munroe Falls High School.[1] He met his wife Kristy Wallace, better known as Poison Ivy, a.k.a. Ivy Rorschach, in Sacramento in 1972, when he and a friend picked her up when she was hitchhiking.[2][3] The couple founded the band and moved from California to Ohio in 1973 and then to New York in 1975 where they became part of the flourishing punk scene.[2]
Lux Interior's name came "from an old car commercial", having previously flirted with the names Vip Vop and Raven Beauty,[4] while his wife's name change was inspired by "a vision she received in a dream".[2] The couple called their musical style psychobilly, originally claiming it to have been inspired by a Johnny Cash song, (One Piece at a Time), and later saying that they were just using the phrase as "carny terms to drum up business."
Lux Interior died at 4:30 a.m. on February 4, 2009, in Glendale, California. The cause of death was aortic dissection. He is survived by his wife Ivy and two brothers, Michael Purkhiser [5] and Ronald "Skip" Purkhiser. The memorial service for Lux was held on February 21st at the Windmill Chapel of the Self-Realization Fellowship Lake Shrine. This was a very private ceremony but a report of it, agreed to by Ivy, was posted for fans by long time friend Jonny Whiteside on the blog of LA Weekly and later in the print edition.[3] Lux's brother, Mike, also provided insight into his relationship with Lux in a newspaper article.[6]
Interior was also a visual artist, in particular he was a 3D camera collector and enthusiast with which he created artworks and collages. [7]
The Cramps gave their last show in November 2006.[8] When asked why he continued to play live well into his middle age, he told the LA Times:
"It's a little bit like asking a junkie how he's been able to keep on dope all these years, It's just so much fun. You pull in to one town and people scream, 'I love you, I love you, I love you.' And you go to a bar and have a great rock 'n' roll show and go to the next town and people scream, 'I love you, I love you, I love you, I love you.' It's hard to walk away from all that."[8]
In 2002 Lux Interior performed the voice of a character on SpongeBob SquarePants - the lead singer of an all-bird rock band called the Bird Brains.[9] Sponge Bob voice Tom Kenny attended his memorial ceremony. [3]
During a 1978 tour, psychobilly punk band The Cramps created one of the strangest moments in the history of both rock n' roll and psychiatry when they played a gig inside Napa State Mental Hospital. It's hard to believe it actually happened. The story sounds more like an exaggerated rock legend than an account of a real concert, but no suspension of disbelief is needed. Someone filmed the gig. We can only guess how the band got permission to play inside one of California's biggest mental institutions, but play they did, to a few supporters and a fired-up crowd of psychiatric inpatients. The footage is grainy, black and white, and chaotic, and we immediately see the band launch into a high-energy version of Mystery Plane. The onlookers look bemused at first, a few start dancing, a few just wander.
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TOP TEN RECORDS OF THE DECADE according to asshole with no credentials # 34657687682168754763754
Now this one was way more challenging than the movie list, cause i'm waaaaaaaaay pickier with movies than with music, but i think out of a list of 30-40 records i thought of while i couldn't sleep i've compiled the ones i feel best represent the decade. Not genre specific... just the stuff i found myself revisiting the most frequently.
once again, fuck honorable mentions.
here we go;
#10
SLEEPYTIME GORILLA MUSEUM - Of Natural History
Sincere... almost deadly in its absurdity, Experimental Prog Gypsy Mutants playing twisted odes to Ted Kaczynski. Puzzling, ugly, strangely transcendent.
#9
PG. 99 - Document #8
The death rattle of a generation spreading like a zombie plague. Every song on here is a killer. The last word on one of the most severely passionate bands to ever emerge from hardcore.
#8
GOLDFRAPP - Felt Mountain
Sensuously cinematic and precociously artistic, Goldfrapp's debut has been overshadowed by the glitter electro of later releases, but this remains their most intriguing work to date.
#7
KAYO DOT - Choirs of the Eye
A stunning feat that even they have been unable to duplicate (though their efforts of more than worth it), Maudlin of the Well's Toby Driver reemerged with this beautifully hellish curiosity that bridges the earlier groups progressive doom/death with later Dot's surreal art rock.
#6
CIRCLE OF DEAD CHILDREN - the Genocide Machine
Dense, dark, and absolutely hateful. The DNA drenched savagery of the most subterranean gore/porn deathgrind with the paranoid poetic outrage of the best hardcore and punk.
#5
WOVENHAND - Consider the Birds
Graceful, Tasteful, and chillingly elegant, David Eugene Edwards built upon 16 Horsepower, presenting something even more blissfully otherworldly. We should only dream of hearing songs this incredible.
#4
WHITEHOUSE - Bird Seed
The electric popes of shameless perversity once again offer blatant hatred and no apologies, delivering their most brutal record of all time.
#3
STARKWEATHER - Croatoan
it is absolutley criminal that this record was so overlooked, but something tells me they don't mind. The best band in America delivered in spades with this collection of long gestating and gloriously hideous progressive metallic hardcore. Nightmarish Isolationist odes of everything awful and powerful about the self.
#2
OXBOW - An Evil Heat
Finally transcending their influences and creating something more than the sum of its parts, Oxbow created perhaps the most challenging, galvanizing record of the decade with An Evil Heat. Whether you hail them as genius or hate them for their eccentricities, it is impossible to be emotionally or psychologically idle during the duration of this record.
and finally... #1
PIG DESTROYER - Prowler in the Yard
breaking free of the limited musical and conceptual confines of grindcore, Virgina's Pig Destroyer came into their own with this frighteningly metallic blast of loss, regret, and self destruction, showing the scenes that there is more you can do than just copy Napalm Death/Repulsion (in style and ideas). The fragmented thrash riffs that at times owe more to Vio-Lence and Dark Angel than any grind act combined with cryptic lyrics howled in the most beastly of hardcore vocals (think YDI, not Converge), the madness bookended by an eerie speak-n-say narration of a gory modern gothic short story, made this a record no one could ever forget.
Top Ten Film of the Decade by something that has two thumbs and no life.... THIS GUY!!!1@!
yeah, so this is fairly self explanatory. Decade is over in a couple of weeks, and everyone's doing their big decade's end list of assorted media. you'll find that most of my films... pretty much all of them... are from out of the country as usual.
fuck "honorable mentions".
alright, here they are... starting from the bottom;
David Lynch arguably outdid himself with this consistently mysterious dreaming film. it was like the last 15 minutes of the final episode of TWIN PEAKS stretched to a near 4-hour run time, making perhaps the most confrontational film Lynch has ever made. This is Lynch Unbound.
Let the LAGUNA BEACH enthusiasts have their bloodless TWILIGHT SAGA. this is for the rest of us. Lyrical. Heart breaking. Death never has been so alive.
A bug fucked nightmare composite of scissor mutilation, involuntary abortion, improvised tracheotomy, and a final shot so grotesquely poetic that Beksinki would shiver with night terror chills.
to me, this is easily the sexiest film of the decade, and one of the very very best of Shinya Tsukamoto's flawless filmography. lead actress Asuka Kurosawa earned comparisons to Audrey Hepburn, but she goes above and beyond the call of any angeneux i can remember. let's see Megan Fox or Scarlett Johansen get down like this in one of their films.... please?
director Christopher Nolan and his brother writer Johnathan Nolan burst out of obscurity with this experimental (by now much copied) amnesiac revenge thriller. Demanding repeat viewings and your undivided attention, this is a cinematic puzzle you're never quite sure is ever really solved.
Andrey Iskanov has not only cemented his reputation as one of the best directors in the genre cinema medium, but he took that cement and with it cracked open all our skulls. Part docudrama, part surrealist splatter; a scrap book of unfathomable atrocity that proves once again that mankind is a truly more horrifying killer than any zombie plague or haunted house.
Jan Svankmajer's maniacal blend of Edgar Allen Poe, DeSade, and his own trademarks (ie stop motion meat puppetry) made for the most joyfully blasphemous film of the decade. makes QUILLS look like GIRL, INTERRUPTED.
Hell inside a Heaven = Heaven inside a Hell. Gasper Noe's film is perhaps the most artfully assaulting (if not the most arresting) film of the past ten years. even the soundtrack wants to make you squirm. But beyond the intense physical violence, there is some real moments of sadness and beauty that often get overlooked. and yes, Monica Bellucci is not only the sexiest actress alive, but perhaps the most fearless.
Anyone who is a movie fan should watch this one. It has everything that makes cinema great. It's funny, touching, violent, well acted, well written, beautifully shot, and will leave you speechless. if you don't like OLDBOY, i really have nothing to say to you. This is a movie whose appeal is instantaneous. I'd say you either have no taste, or are simple, or you're just not doing it right. Oh Dae-Su FTW.
Attention cult splatter hounds: Going in to production on Monday for a two week shoot is Gothic And Lolita Psycho. Beyond the core concept of a Loli-Goth killer, why pay attention? The producer is Jyun Nakajima, whose recent credits include Vampire Girl Versus Frankenstein Girl. Special effects? Those come courtesy of Tokyo Gore Police helmer Yoshihiro Nishimura. Direction? That's from Go Ohara, the Chanbara Beauty and Death Trance action choreographer who first stepped into the director's chair for Geisha Versus Ninja. They've got a well known fashion designer on board, too.
Gothic and Lolita...the fashion reflects her dark and childish mentality . YUKI, the heroine, saw her mother killed by cruel gangs. She vows revenge! Knock off the enemies with her transformable umbrella. So gorgeous and so savage...
Who killed mother? What the hell are the gangs? What is the truth and purpose that father knows?
Her coming terrible destiny is going with the dead bodies...
OBSESSED - Blue Balls / should've gone to Pornhub - "Hey, let's make an Erotic Thriller featuring two of the most beautiful women in the business today.... but there can't be any sex, nudity, violence, or bad language". This was a fail right out the gate. it doesn't even give you enough time to get turned on. it's worse than back in the 90s when the only free internet porn available was the 15 second clips compiled from assorted paysites. this movie is worse than a prick tease.... it's sort of like when you're out somewhere, and you see this stunner at the bar. she's giving you coy glances, and for a brief second you think to yourself "hey, she's pretty hot, maybe something can come of this". so you walk up to her and before you can will a "can i buy you a drink?" from your trembling throat, her big frizzy haired moo-burger fat girl friend sticks her buttered gunt between you two, smearing any visions of sexual heaven with chicken skin and waffle batter. so yeah... this movie's editor is that very same big fat cunt.
HECKLER - 6/10: Why do i get the feeling that this movie is mad at me? this is hack asshole Jamie Kennedy's woe-is-me-LOL vanity/revenge project. it operates under the pretense that it is a documentary on the nature of harsh criticism, but in reality this is for the most part a bunch of c-list and d-list comedians and celebrities attacking those (online and off) who dare question their talents. Most of them (especially centerpiece Kennedy) come off as comically petty (the only time you'll see Kennedy described by me as "comical"), childishly insecure, shamelessly myopic, and bafflingly ungrateful. You make a lot of money for something that isn't really that hard, something that you're not even very good at (or even trying to improve at). When he confronts his critics, they are relatively unmoved by Kennedy's neediness, sticking to their guns, saying "dude... it's the INTERNET" without really saying it. If Kennedy really is the comedic talent he believes himself to be, he would see the humor in all of this and laugh it off. to quote Christopher Titus: Why don't you come down off the cross, use the wood to build a bridge, and GET OVER IT.
