When I started watching all the zombie films I could get my hands, I stumbled into the realm of Nazi zombies, a.k.a. Nazisploitation. I started with Zombie Lake (which looked great but is not a good film) and then I watched Oasis Of The Zombies (I’m thankful I didn’t slit my wrists during that viewing). Needless to say, when Shock Waves came into my hands I looked away, rolled my eyes, and took a step back. After a year or so, I finally gave it a shot because I found out Ken Wiederhorn directed it and I loved Return Of The Living Dead Part 2, Meatballs 2, Eyes Of A Stranger, and a lesser-known film called Dark Tower.
I don’t know if I would be the same person today if not for Italian cinema. My film school was watching Italian action and horror movies; they taught me everything I know. Some people have a beef with the stories, while others can’t stand the dubbing, but that’s just how it is. Some of the original Italian tracks were lost and some were made for America with Italian actors who were then dubbed over during post-production with audio that was never meant to be released. Even if the dubbing is bad, I try to overlook that because it can’t be helped. I’m just thankful I can actually see the films because some weren’t preserved very well. Luckily, there are still some companies keeping these films alive by exposing the world to them.
People say the 1990s was the worst decade for horror films. I wouldn’t use the word “worst,” but I will say out of all the recent decades it wasn’t the strongest. Calling it the worst just makes it sound like all the films from that decade are terrible, but ‘90s horror is special to me. I love it and I always will.
It’s been 20 years since the Old 97’s released their debut album Hitchhike To Rhome. Listening to Omnivore’s reissue, I’m struck by how it sounds like The Old 97’s are a seemingly impossible creation: the bastard son of Merle Haggard and Roger McGuinn. Ken Bethea’s jangly guitar is there and Rhett Miller’s boozy, yelpy delivery is too, along with his witty lyrics that are chock full of wordplay. They’ve refined their sound, only just, over the years, but there’s something remarkable about a band that knew who they were and what their sound was from the get go.
Our very own Brad Henderson has been unusually busy these last few months. When he’s not writing reviews for Popshifter, he’s also working on movie scripts, and producing a podcast called The ScreamCast, along with Sean Duregger and Brian Saur (a.k.a. Bob Freelander and Rupert Pupkin).
Although The Screamcast was initially created to review horror and other genre releases from Shout Factory, they have expanded the scope to cover releases from labels like Synapse, Vinegar Syndrome, Cult Epics, and others. The podcast also includes special guests, celebrity interviews, top ten lists, and more.
Now on Episode 36, The ScreamCast is something you really should be listening to. We’ll be updating you every time they put up a new podcast, so stay tuned!
Here are the most recent episodes:
Episode 36 – Soultangler (1987): Podcast includes Joe and Zach from Bleeding Skull Video who brought the movie back from VHS hell.
Episode 35 – Nekromantik (1987): Podcast includes Nico B. founder of Cult Epics.
(Check out Brad’s Popshifter review of Nekromantik, too.)
Stuart Gordon was one of the first directors I fell in love with. It started when I saw Robot Jox and then continued from there. Gordon’s films have had a huge impact on the horror industry and he still rocks people to this day. He hit it big with Re-Animator and From Beyond at the start of his career and pretty much everything that followed is considered a classic and loved by almost every horror fan. With Re-Animator and From Beyond we have films that blend sci-fi and horror, but both tell ambitious stories. I’ve always thought that Stuart Gordon was diverse because of his multiple styles, as seen in films like Space Truckers, Fortress, and of course, Dolls.
Hot & Saucy Pizza Girls has taught me two things: Bob Chinn is a great porno director and Desireé Cousteau exists and she is gorgeous.
Vinegar Syndrome knocks it out of the park with their vintage hardcore pornography line because they are releasing some truly interesting films. Yes, it is porn (like I always say), but the stories behind them are tremendously captivating.
Aldo Lado has made some intense films in his day, including Short Night Of Glass Dolls, Who Saw Her Die?, The Humanoid, and Night Train Murders. Lado’s films look incredible: he has a great eye for using just the right amount of light in his shots, always giving a heavy, giallo, neo-noir look to his films.
By Hanna
With Lynsey de Paul having passed away and Noosha Fox now running a restaurant, we only have Suzi Quatro to keep the flame of female Anglo glamrock alive, and I can think of no one who deserves to be its queen more than her. For all the acknowledgement that mainstream music criticism has given her, acknowledgement which is so often denied to female artists, she barely seems to care that she has it. In Performing Glam Rock, Philip Auslander’s analysis of her subversion of the authenticity and masculinity of rock in both her gender performance and musical performance seemed almost too good to be true to me the first time I read it, and difficult to parse based on the German TV performances I knew of her. Only now, after hearing The Girl From Detroit City, do I realize that she’s really even beyond what he describes.
Years ago I came across a VHS bootleg of Nekromantik. All these years later, I thought I had seen Nekromantik in its entirety. I was wrong.