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by Bill Gibron

13 Nov 2013


We all have them—parents, that is. Someone decided to have sex with someone else and when biology could and would take over, a tiny life (or two…or three…or…) was eventually created. From this point forward, everything else becomes a crapshoot. You could be born into poverty. Your Mommy and Daddy could be obnoxiously old money. You could be catered too and loved. You can also be abandoned and left to the State to support. Nothing is set in the world of children and their legal guardians. Everyone’s life is different and everyone’s experience is individualized…and yet, there’s no denying a connection between how your Mother and Father choose to raise you (or not) and how you turn out in your older years. Just ask an FBI profiler or Dr. Phil - they’ll attest to the power parents have over their offspring. For many, it’s minimal. For others, it’s part of a lifelong struggle that sees the sins of the past (and those who commit them) visited on the circumstances of the present.

by Bill Gibron

5 Nov 2013


Musicals are once again off the radar, though this month we will see its limited return with an update of the “classic” Langston Hughes piece, Black Nativity. Naturally, the original gospel themed show has been given an urban update by director Kasi Lemmons, and one imagines a new soundtrack thanks to a need to feed the demo, but the truth is that, outside of Disney’s upcoming Frozen, we’re back to where we were pre-Chicago. Singing and dancing on film is being relegated to gang-like standoffs ala Step Up and Pitch Perfect or refashioned standards with new material included to make the supposed stars (contractually) happy. While there are rumors of new projects (we’ve already got a take on Stephen Sondheim’s revisionist fairy tale, Into the Woods, in the works, featuring Johnny Depp and Meryl Streep) are abundant, few in film can see the forest of available material from the trees of ticket sales.

by Bill Gibron

29 Oct 2013


Every film genre takes skill to realize. A good drama is just as hard to make as a good comedy, convincing sci-fi as difficult as exciting action. Nowhere is this more true than in the realm of horror. Frightening people, like making them laugh or sing along, is an individualized and rare commodity. Doing it consistently means you’ve not only cracked that particularly difficult nut, but you’ve found that elusive skill of worming your way into people’s exceedingly jaded and cynical psyche time and time again. It is only then when you can be called a true horror maestro, one of the few fear manufacturers who the devoted rely on to deliver the goods time and time again. Sure, there are anomalies here and there, but for the most part, their reliability overcomes the occasional lapse.

by Bill Gibron

22 Oct 2013


Whenever the calendar rolls over to a certain 31 October, fright fans break out their opinions and wax poetic about the best and worst horror films ever made. While it may seem like nothing more than a rabid fanboy pastime, that fact is that it’s not an easy task. Like comedy, terror is in the heart of the beholder, too personal to be easily agreed upon. What some find frightening gives others a case of the uncontrollable giggles and it’s rare when fear can be universally applied. As a result, making any list of yeas and nays allows for lots of second guessing and subjective stipulations, especially in the arena of b-a-d. Many can’t get past the numerous nonsensical sequels that endlessly pour out of the studio system, pointing to franchises gone god-awful as their primary examples of tepid terror. For others, the offerings of the past, the low budget efforts of dollar driven distributors that did little except waste 80 minutes of the drive-in owners or matinee movie audience’s running time.

by Bill Gibron

15 Oct 2013


Hollywood loves a remake. From the earliest days of the artform, studios have sifted through previous hits (and a few near misses) to reformulate and resell the same stuff to audiences who don’t seem to care about the subterfuge. Over and over again, similarity has struggled against individuality for celluloid recognition. For example, Love Affair, the 1994 Warren Beatty/Annette Bening vehicle was actually an update of the Cary Grant/Deborah Kerr weeper An Affair to Remember, which itself was a take on 1939’s Love Affair. There have been several A Star Is Borns and dozens of Draculas. In fact, horror seems to stoke the fires of reconfiguration more than any other genre. Go down a list of classic fright films and you’ll see a smattering of originals and a whole lot of reduxes.

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