ATLRetro

The Mothership lands in Atlanta this weekend. No, it’s not a Funkadelic concert, but the first annual State of Black Science Fiction Convention (SOSBFC) at the Southwest Arts Center Saturday June 11 and Sunday June 12. For all the talk about accepting the diversity of the alien, science fiction’s early history is peopled by white super-men protagonists, and some today seem to want to keep it that way if recent controversies in fandom  are any indication. But black writers, artists and filmmakers have been emerging to create some of the most dynamic and innovative speculative fiction today, pushing boundaries and re-imaging earth’s future and space as diverse, complex, uncomfortable, beautiful and inspiring.

SOSBFC aims to bring together the most comprehensive celebration of black creators of science fiction, fantasy, horror and comics to date. Just a glance at the programming schedule is sure to cause sensory overload with the mix of panels, speakers, workshops, presentations and kids’ activities to nurture the next generation of creators and fans–something most cons neglect. There’s also a dealers room and art show, cosplay is encouraged, and there’s even going to be onsite food that’s more than pizza or burgers, we hear – something most cons neglect! Whether you’re into Afrofuturism, steamfunk, cyberfunk, dieselfunk, sword and soul, rococoa, Afrikan martial arts, or just what the find out what the funk is happening, SOSBFC is the place.

Needless to say, our choice of Kool Kat this week was easy. ATLRetro caught up with Atlanta-based writer Balogun Ojetade, co-founder with writer/editor/publisher Milton Davis, to find out more about how Atlanta’s newest spec-lit convention got launched, what’s planned and what’s next.

ATLRetro: To many, Samuel R. Delany and Octavia E. Butler lit the fuse on an African-American SF perspective, yet W.E.B. DuBois published an SF story back in 1908. Which SF/spec-lit authors were early favorites/inspirations for you?

Balogun Ojetade: My early inspirations were Charles R. Saunders, the Father of Sword and Soul and creator of the Imaro series of novels and the brilliant master storyteller and poet, Henry Dumas, whose short stories “Fon,” “Will the Circle Be Unbroken” and “Ark of Bones” were the greatest influences on my horror and fantasy writing style as a young man.

Atlanta’s been characterized as a center for Afrofuturism. Can you talk a little about the local community of black writers and publishers? Do you feel like you were part of a movement?

Atlanta is where the now worldwide State of Black Science Fiction author, publisher, artist, filmmaker, game designer and cosplayers collective was founded. As one of the founders of this collective and one of its most active members, I am certainly part of a movement, which is still very much alive. I am also one of the people who founded the Steamfunk Movement, along with author and publisher Milton Davis, who also resides in Atlanta.

What’s the specific origin story of SOBSFC?

The origin of the State of Black Science Fiction Convention, or SOBSF Con, began about four years ago. In the State of Black Science Fiction Facebook Group we had a lively discussion about the need for a convention that would not only showcase comic books by creators of African descent, but would also showcase novels, films, artwork, fashion design, cosplay, African martial arts and much more. We wanted to give con goers a full and enriching experience.

It was originally decided that each region would host a convention – one would be in Atlanta, one in the DC / Maryland / Baltimore area, one in New York City, one in Chicago and so on – on the same days and times. We would call this mega event Diaspora Con. Well, certain things happened that let Milton Davis and I know that Diaspora Con was not to be, so we scrapped the idea, but the desire to give the world a convention that showcased black speculative works continued to burn.

In early 2015, Milton and I decided we would host a con that would draw fans and creators of black speculative fiction, film, fashion and fabrication from around the country. We agreed on the name State of Black Science Fiction Convention and then started making plans. By mid-2015, we made our plans public and received positive feedback from hundreds of people who said they would attend such a con in Atlanta and here we are.

Do you think SOBSFC and a greater push for diversity in SF publishing is especially needed right now in light of the Sad and Rabid Puppies Hugo Awards controversy and Internet outrage about a black lead in the recent Star Wars movie?

These controversies and the outrage is nothing new. You have always had and will always have ignorant and fearful people in all walks of life. The science fiction and fantasy community is not exempt from this. There has always been a need for a SOBSF Con and for a constant push for diversity in SFF publishing. The more we push, the more people know we are here. The more people know we are here, the more that know there are alternatives to the racist, sexist rubbish they have had to endure for so long.

SOBSFC is billed as the “most comprehensive presentation of black speculative fiction ever.” There’s a lot going on for just $25 for both days (a bargain compared to DragonCon, most cons).  I know this is a hard question but what 3-5 pieces of programming should con attendees be sure not to miss and why?  

Yes, it is a hard question because the programming is so Blacktastic, but I will share a few that I know people will absolutely be blown away by.

1. The YOU are the Hero Cosplay Contest: Imagine hordes of black cosplayers of all ages and body types presenting mainstream, independent AND original characters from film, comic books, anime, manga, or of their own design. TOO cool!
2. The Future is Stupid Art Show: Dozens of Afrofuturistic pieces of artwork by Atlanta’s favorite artists will be found all over the exterior and interior of the convention facility.
3. The Big, Beautiful, Black Roundtable: At this “Town Meeting” we will present, discuss, listen to and put into effect strategies and collaborations to take black speculative fiction/film/fashion/fabrication to the next level!
4. The Charles R. Saunders Tribute: We will share stories about how this great man has influenced our writing, his history and great contribution to the advancement of speculative fiction and we will read excerpts from his works, all before presenting Charles with a much deserved award.

 Can you talk a little about the writer guests and how they reflect the variety and scope of black spec-lit today?

We have some great guests at SOBSF Con and the authors represent the entire spectrum of speculative fiction. Here are a few:

1. Valjeanne Jeffers: Writes horror, Steamfunk and Sword and Soul.
2. Zig Zag Claybourne: Writes action and adventure, Rococoa and Cyberfunk.
3. Derrick Ferguson: New pulp icon. Creator of black pulp heroes Dillon and Fortune McCall.
4. Cerece Rennie Murphy: Writes urban fantasy for adult, young adult and middle grade readers.
5. Brandon Massey: Master of horror and suspense.
6. Hannibal Tabu: Comic book writer and critic.

We also have authors of Cyberfunk, Dieselfunk, Dark Universe (Space Opera) Afrofuturistic fusions of hip-hop, jazz, blues, time travel, magic realism and urban fantasy and much more. Black speculative fiction is very broad and very deep. Con-goers are in for a powerful experience.

This is a really exciting time for black filmmakers in SF and horror. Can you talk a little about that and how that will be reflected in SOBSFC’s programming?

As a lifelong fan and creator of science fiction and fantasy with strong horror elements and straight up horror, too, I am very excited. The digital age has allowed filmmakers who would have otherwise been unable to tell their stories – stories in which the Black character doesn’t die within the first 10 minutes or die sacrificing himself or herself so the white hero can live on to save the day – to now tell stories in which Black people are the heroes, sheroes and even mastermind villains.

Many great independent films and web series have been developed, screened and gained massive followings and Hollywood has been paying attention, so now you have the Black Panther stealing the show in CAPTAIN AMERICA: CIVIL WAR and even getting his own movie. You have Idris Elba playing Roland in the film adaptation of Stephen King’s THE DARK TOWER and Adewale Akinnuoye-Agbaje, Will Smith and Viola Davis starring in SUICIDE SQUAD as Killer Croc, Deadshot and Amanda Waller, respectively.

And television is even more progressive, giving starring roles to black people in several Science Fiction, Fantasy and Horror-themed series and having very diverse casts on these shows.

But again, this all began with black indie filmmakers. To reflect this, SOBSF Con is featuring our Black Science Fiction, Fantasy and Horror Film Festival, which showcases short and feature films by independent creators. Many of the films creators will also be on hand to share their creative process and answer questions from the audience. Just a few of the films screening at the film festival are: PUMZI (award-winning science fiction short from Africa),  DAYBLACK (horror), BLACK PANTHER: STORMS OF CARNAGE Parts 1 & 2 (superhero / fantasy), REIGN OF DEATH (dieselfunk), DANGER WORD (horror; written and produced by master horror author Tananarive Due and science fiction icon Steven Barnes), RITE OF PASSAGE: INITIATION (steamfunk), and a special screening of the science fiction film RETURNED.

What about comics at SOBSFC? 

You cannot have a science fiction and fantasy convention without comic books! While comic books are not the focus at SOBSF Con – our focus is on all aspects of black speculative creation – most of the creators and fans at SOBSF Con were heavily influenced and inspired to “do” Science Fiction and Fantasy from our love of comic books, manga, animation and anime. Thus, there will be comic book vendors at SOBSF Con and some giants in the industry are distinguished guests, including Dawud Anyabwile, the co-creator and artist of the iconic blockbuster comic book series BROTHERMAN; Marvel Comics artist Afua Richardson, best known for her work in the award-winning and politically potent Image / Top Cow miniseries GENIUS; Tony Cade, comic book publisher and owner of comic book company, Terminus Media; and TUSKEGEE HEIRS creators Marcus Williams and Greg Burnham, just to name a few. The creators and publishers will share their knowledge and experience with con-goers on the Create Your Own Comic Book and Black Craft and Consciousness in Comic Books panels.

Atlanta is known for its cosplay community. Are you encouraging costuming and will there be activities for cosplayers?

We highly encourage cosplay and invite all the cosplayers in Atlanta to come out and join us! We are very excited about our YOU are the Hero Cosplay Contest I mentioned above, and we also have the Cosplay in Non-Canon Bodies panel, facilitated by popular cosplayers, TaLynn Kel, who will be joined by popular cosplayers, JaBarr Lasley and Dru Phillips.

Balogun Ojetade.

What else would you like people to know about SOBSFC?

While SOBSF Con offers all the great things you expect from a great fan convention – awesome panels, cosplayers, genre films, a dealers’ room with all kinds of cool stuff for sale – we also have offerings you probably have never seen at any con before, such as Tiny Yogis, a yoga class for children; 5P1N0K10 (SPINOKIO), an Afrofuturistic, hip-hop puppet show by a master puppeteer named Jeghetto; Traditional Arms, Armor and Martial Arts of Afrika; Afrikan Martial Arts for Youth Workshop; traditional African artifacts and soaps, oils and fabrics sold in the dealers’ room; your questions answered through traditional Afrikan casting of lots by the Amazing Identical Ojetade Twins (one is a 13-year-old boy; the other a 6-year-old girl); gourmet pot pies; and, most importantly, a place where you can be yourself without judgment, without rude comments, but with love and appreciation. This is a fun event for the entire family you do NOT want to miss!

Finally, would you like to take a moment to talk about your own writing? What’s your latest work and what are you up to next? Feel free to add where we can find you at SOBSFC!

I am always happy to talk about my writing. For those who don’t know me, I write fiction, nonfiction and screenplays. I also direct films and choreograph stunts and fights for films. As a fiction writer, I am most known for my Steamfunk novels, MOSES: THE CHRONICLES OF HARRIET TUBMAN and THE CHRONICLES OF HARRIET TUBMAN: FREEDONIA; my Sword and Soul novel, ONCE UPON A TIME IN AFRICA; and for the STEAMFUNK anthology, which I co-edited with author Milton Davis. However, my novels cover the spectrum of black speculative fiction: Dieselfunk, Rococoa, Afrofuturism; urban fantasy; action-adventure and horror.

My latest work is BENEATH THE SHINING JEWEL, a horror novel set in Ki Khanga, a Sword and Soul world created by Milton Davis and me for our upcoming tabletop role-playing game, KI KHANGA. I am finishing up a Dark Universe (space opera) novel and have a horror short film I wrote slated to begin production in the fall. Finally, in August, comic book artist Chris Miller (Chris Crazyhouse) and I begin work on a graphic novel that is going to blow away fans of manga, comic books and black speculative fiction!

Thanks, so much, for this opportunity and I look forward to seeing everyone at the State of Black Science Fiction Convention June 11 and 12!

By Andrew Kemp
Contributing Writer

For some poor souls, the term “monster kid” means nothing more than a particularly destructive toddler, or one of those teens raising hell on daytime talk show stages.

For the enlightened, however, there’s Monsterama.

Monster kids of all ages will soon descend onto Monsterama, a new horror and fantasy convention launching this weekend under the care of some of Atlanta’s most stalwart champions of the horrific and the macabre. And although the city may at times seem infested with horror-themed gatherings, Monsterama is aiming to capture more than just a piece of the action. “Though there were conventions that had horror-related programming, there wasn’t a show here that fully embraced the ‘monster kid’ aesthetic,” says Monsterama co-founder Anthony Taylor. Shane Morton, another key voice behind the convention and alter-ego of con guest Professor Morte, agrees. “Having attended the greatest cons ever conceived—Forry’s [Fantastic Monster] Cons of the mid-90s—I find it hard to be impressed by any recent horror, sci-fi, or fantasy shows. We have tried very hard to capture the feel of those shows, albeit on a smaller scale, and to provide a family friendly alternative to the current debauched cons.”

“Forry,” for the uninitiated, is Forrest J. Ackerman, the late founder of the seminal monster movie magazine Famous Monsters of Filmland. Ackerman’s impact on American horror and science-fiction fandom is surprisingly easy to quantify—it wouldn’t be out of line to say he’s the father of it all. Ackerman and his partner James Warren created Famous Monsters in 1958 in response to a glut of horror movies beaming into American living rooms. Because horror and sci-fi films were considered disposable and unimportant in the shadow of studio prestige pictures, these old programmers were cheap to acquire and broadcast for television stations, exposing them an entire generation of new fans. Through the magazine, conventions and other outreach, Ackerman helped these kids find one another in the days before chat rooms and sub-reddits, when the world was truly a lonely place for a kid who knew more about rubber suits than car engines or home economics.

But what really made Ackerman’s brand of horror fandom so special was his unabashed, undiminishing love of the genre and all of its tropes. No matter how many monsters wreaked havoc on the screen, Ackerman and his monster kids never lost their “gee-whiz” enthusiasm, which in turn bred more enthusiasm. It’s this atmosphere in particular that Taylor and Morton hope to recreate.

“I’ve been a monster fan all my life, and I knew Atlanta was full of folks like me,” writes Taylor. “I’d see them at Silver Scream Spook Show screenings, DragonCon and other events.” Monsterama aims to capture that audience by filling the con with irresistible programming for the monster-initiated. The guest list is populated with names from all eras of horror cinema, including Veronica Carlson of Hammer Films fame; Larry Blamire, creator of the contemporary throwback cult favorite THE LOST SKELETON OF CADAVRA, and author and public speaker Victoria Price, daughter of Hollywood icon Vincent Price. On the literature side, writers like Brian Keene (THE RISING), James R. Tuck (DEACON CHALK) and comics author Dan Jolley (FIRESTORM) will shed some light on the author’s process. Rounding out the guest list are filmmakers like this week’s Kool Kat Daniel Griffith (LET THERE BE LIGHT), Atlanta voice talent C. Martin Croker (Adult Swim), artist Mark Maddox and professional ghost hunter Scott Tepperman. Check out the full guest list here.

[Full disclosure: ATL Retro editor Anya Martin is also a writer guest and may be found on a number of spooky panels throughout the con.]

For classic movie buffs, the events are possibly even more compelling. The convention boasts a selection of horror films screening in—oh, happy day!—16mm, which is where you’ll be likely to find this author if you need him at any point during the weekend. Other events include author Gordon Shriver performing his one-man show as Boris Karloff, local comedy troupe Cineprov riffing on the cult oddity EQUINOX, and the glorious return of the Silver Scream Spook Show as Professor Morte and his crew introduce the cowboys vs. dinosaurs classic, THE VALLEY OF GWANGI. And that’s in addition to a museum of “rare monster and kaiju artifacts,” filmmaking panels, and photo ops. The full schedule of panels and events can be yours by clicking here.

Monsterama hasn’t forgotten that “gee-whiz” spirit that lies at the heart of every monster kid. Even Taylor himself can’t help but name some genre cornerstones when describing the show. “I hope that everyone who grew up loving KING KONG, GODZILLA, FRANKENSTEIN or the CREATURE FROM THE BLACK LAGOON will come out and have a grand time celebrating with us,” says Taylor. Morton chooses to invoke another iconic figure. “I can guarantee that you will feel the ghost of Uncle Forry hovering over our haunted hotel this weekend! Don’t miss this show, it’s gonna be legendary!!!”

Monsterama begins on August 1 at 4:00 at the Holiday Inn Perimeter. Three day badges are $55. Single day badges for Friday or Sunday are $25, and Saturday single-day badges are $30. CHILDREN 12 AND UNDER ARE FREE.

Andrew Kemp is a screenwriter and game designer who started talking about movies in 1984 and got stuck that way. He can be seen around town wherever there are movies, cheap beer and little else.

by Melanie Crew
Contributing Writer

Carmie McDonald, Community Engagement Manager at the Fox Theatre Institute (FTI), an outreach division of Atlanta’s Fabulous FoxTheatre, immerses herself in Georgia’s rich and glorious history of magical movie palaces and theatres along with the communities that have stood by them. What’s even better is that she gets the opportunity to join the communities the FTI has served while celebrating their successes during their free Second Annual Theatre Revival Tour, coming to a theatre near you, May 1 through May 3, 2014!

The Revival Tour will make stops at The President Theatre in nearby Manchester, Ga. on May 1, followed by a stop at Atlanta’s own, The PlazaTheatre, ranked as one of the world’s top 20 movie theatres [Men’sJournal, April 2014] on May 2 and lastly, the tour will come to a halt in Athens, Ga., showcasing The Morton Theatre on May 3! Each stop on the tour includes a community festival, helping raise awareness of the importance of historic preservation and showcasing all three restoration project venues funded by their highly competitive FTI grants. Atlanta’s own legendary blues chanteuse, Francine Reed, will take the stage and woo the crowds at each stop along the way!

Before jumping head first into her dream job, McDonald hailed from Savannah where she earned graduate degrees in Historic Preservation and Architectural History at Savannah College of Art & Design. She worked her preservation magic with the Historic SavannahFoundation and was the perfect candidate for the Community Engagement Manager at the FTI.

The FTI is the Fox Theatre’s way of giving back to the community that rescued it from its near demolition back in the ‘70s. In an effort to draw the public into the realm of its glory days while raising awareness of the importance of historic preservation, the Fox Theatre began hosting their Fox Theatre Tours in the spring of 2013 [Herald-Journal, May 2013]. These 60-minute guided tours expose audiences to the behind-the-scenes details and illustrious history of the extravagant and palace-like venue which remains just as magnificent as it did when their doors opened in 1929. And as an added bonus, you’ll have the opportunity to meet our very own Kool Kat Scott Hardin, projectionist at the Fox Theatre since 1978 [July 2013; see ATLRetro’s Kool Kat feature on Scott Hardin, here].

ATLRetro caught up with Carmie McDonald for a quick interview about the FTI, the importance of historic preservation in Georgia’s communities and her love of the Fabulous Fox Theatre, which excitedly celebrates its 85th birthday this year!

Community Engagement Manager for the Fox Theatre Institute (FTI) sounds like such a cool job! Tell our readers how you landed such an envious gig and what’s your favorite aspect of the job?

I’ve been with the Fox Theatre Institute (FTI) since 2008 and not a day goes by that I don’t pause to think about what a privilege it is to work here. It is rewarding to be part of an organization that has meant so much to the Atlanta community for 85 years. I love seeing someone experience the Fox Theatre for the first time.  You’re never too old to be swept away by the magic of this place!

Has being in the historic preservation field always been a dream of yours? Anything interesting you can tell our readers on what drew you to such a fascinating field?

I’ve always appreciated old buildings and the stories they tell about our past, so historic preservation was a natural fit as a career choice. But, historic preservation is not just a movement about buildings and the past. It is also about the people in the community and the future. I love helping ensure that our historic theatres will be here for future generations to enjoy.

What is the Fox Theatre Institute (FTI) and what does it do for the community? Why do you think it is important to preserve Georgia’s theatres?

The Fox Theatre Institute (FTI) is the community engagement division of the Fox Theatre. We provide support to historic theatres throughout the region in the form of preservation and operations assistance. There are more than 260 historic theatres throughout the state and each one is a significant part of the community it serves. Preserving these theaters is an important part of community-wide revitalization.

What can you tell us about the two restoration projects that were completed this year?  The President Theatre in nearby Manchester and The Plaza Theatre located right here in Atlanta?

The Fox Theatre Institute provided The President Theatre with funding to complete the restoration of their façade, from the marquee to the top of the tower and spire, both being in disrepair for more than thirty years. Through the support of FTI and other granting organizations, this theatre is being restored to its original Art Deco splendor. FTI also provided grant funding for the restoration of The Plaza Theatre’s landmark marquee. The restoration process at The Plaza involved removing rust and repainting the sign to its original colors.  In addition, new LED lighting was added to create a more sustainable and eco-friendly marquee.

And what can you tell us about Athens’ Morton Theatre which received their grant in 2011 and is also spotlighted on this tour?

The Morton Theatre holds a special place in Athens’ history. It was built as a Vaudeville theatre in 1910 by Pink Morton, a prominent African-American businessman. Since then it has served the community as an anchor on Athens’ ‘Hot Corner,’ the historic African-American business district at the intersection of Hull and Washington streets. FTI provided funding for restoration of the theatre’s original wood flooring system in 2011.

How does the FTI choose which theatre receives a grant? Is it a competitive process?

FTI accepts applications from historic theatres that are owned by a public agency or non-profit organization. Applications are reviewed by a panel of arts and preservation professionals. Funding is awarded to theatres that will create significant economic and cultural impact to the communities they serve.

Why do you think it is important to preserve art and culture? What is the goal of the FTI and their desire to, “Revitalize Georgia’s communities, one theatre at a time?”

Arts and culture contribute to Georgia’s communities by creating jobs and providing tax revenue. They are essential to education because they facilitate critical-thinking and communication skills. Furthermore, arts and culture are integral components of vibrant, creative and livable cities. FTI believes that the revitalization of a historic theatre can provide a focal point for the economic and cultural development of a community.

Tell our readers a little bit about the Second Annual Theatre Revival Tour kicking off on May 1, 2014? What sort of exciting things do you have in store for attendees?

FTI will showcase three of its theatre restoration projects during the Second Annual Theatre Revival Tour. The three-day tour, taking place May 1 – 3, aims to raise awareness for each of the historic venues by embracing local community efforts surrounding the preservation of these theatres. Each destination on the Tour will host a community festival, featuring Atlanta resident and legendary blues songstress, Francine Reed.

Tell us a little bit about FTI’s relationship with the celebrated blues chanteuse, Francine Reed and how she was chosen to headline the community festivals attached to the tour.

FTI believes in supporting local talent whenever possible. Whether working with preservation contractors or musicians, FTI strives to partner with people that are connected with their communities. Francine Reed has an amazing voice and a deep connection with the music scene in Atlanta, so selecting her to headline our Theatre Revival Tour was an easy decision!

Anything exciting in the works for future FTI projects?  How about anything new happening with the Fox Theatre Tours you’d like to tell our readers?

Forty years ago, the people of Atlanta rallied to save the Fox Theatre from demolition. Since that time, the Fox Theatre has been deeply committed to giving back to the community that saved us. Be on the lookout for some exciting events during this special anniversary year!

All photographs are courtesy of the Fox Theatre Institute (unless otherwise noted) and used with permission.

Ashley Thorpe. Photo courtesy of Carrion Films.

British filmmaker Ashley Thorpe’s trilogy of terror, SCAYRECROW, THE SCREAMING SKULL and THE HAIRY HANDS, earned a Visionary Award at Atlanta’s Buried Alive Film Festival in 2010. All three shorts produced by Ashley’s Carrion Films were set in the fascinating mythos of Dartmoor in Devon, a place so layered in fog and legend that people literally were known to disappear into its mists and never be seen again until they returned as ghosts. But it wasn’t just the rich subject matter that turned heads here in Atlanta, it was the unique look achieved through rotoscope animation, which particularly in SCAYRECROW, the tale of a haunted highwayman who rises from the dead to avenge his lover, also evoked Hammer Films’ horror movies of the ‘60s and ‘70s in its texture.

Ashley wasn’t able to attend the last Buried Alive but sent a trailer for his next film BORLEY RECTORY, a documentary short on a Suffolk manor that has a reputation as the “Most Haunted House in England.” Since then, he’s attached veteran actor Julian Sands (WARLOCK, GOTHIC and a guest at DragonCon 2013 next week) as the narrator and Steven Severin, one of the founding members of Siouxsie and the Banshees and now an acclaimed composer/accompaniest for silent films, to create the score, and is in the midst of an Indiegogo crowd-source campaign to fund the project which has the potential to launch Ashley to the next level. Meanwhile he’s also writing and painting some cool covers for Fangoria magazine, and yes, he has several features in preproduction as well – HELL-TOR, an Amicus-inspired portmanteau, and SPRING HEELED JACK, based on the Victorian London legend.

Beyond his talent as a filmmaker, Ashley’s one of the nicest chaps we know and the Indiegogo campaign is in its final push through Aug. 31, so well, we just couldn’t resist making him Kool Kat of the Week.

ATLRetro: Your past films are based on legends of Dartmoor near your home town of Exeter in Devon. Can you talk a little about how growing up in such a haunted area has influenced the arc of your filmmaking?

Ashley Thorpe: I was surrounded by local myths and ghost stories and specifically elderly couples eager to tell them! It seemed like an inevitability that most social get-togethers – especially at a country pub – would end with a grisly ghost story or two. Though I initially dreaded these chilling stories – in fact I’d often go and hide in the toilet until they were over – I now feel very lucky to have been “exposed” to these diverse tales of ghosts, demons and devilry at a young age as they’ve absolutely inspired and influenced pretty much my entire body of work, in there in my mind, a nest of tiny scorpions breeding in my cranium!

I think it’s because it’s a landscape that is simultaneously very beautiful and yet potentially very dangerous. It’s romantic and it’s deadly. And what’s more. Dartmoor has always felt to me like a region that has been precariously tamed. We may have civilized the outskirts by posting churches on the boundaries, but it’s really still a wilderness out there. Tales of the devil are common in this region and are more often than not pre-Christian. For instance, the actual tale of the demonic Huntsman and his pack of hellish Whisht hounds that I referenced in THE DEMON HUNSTMAN [ Glass Eye Pix’s TALES FROM BEYOND THE PALE radio theater series] is based upon a genuine Dartmoor myth that I’d heard as a kid, and its origin I suspect is probably prehistoric. It’s an ancient legend bound in the conflict between Celtic and Christian religions; the benevolent horned gods of one age becoming the malevolent devils of another.

I didn’t really appreciate how important the stories were to me until I’d moved away and lived in various cities and abroad, but it’s a land very close to my heart. I remember being told as a child that if all the unclaimed bodies, scattered in their shallow graves, rose from the moor, the dead would outnumber the living. Wonderful stuff! The earth out there is alive with their stories. The land has a thousand ghosts; all you have to do is listen.

Borley Rectory is in Suffolk, taking you away from Devon, but it’s also a story you discovered as a child. Can you talk a little about what drew you to it and made you want to make your next film about it?

I had the USBORNE BOOK OF GHOSTS as a boy, and although a great deal of the book frightened me, it was that moniker “The most haunted house in England” that really caught my imagination. I’d seen images of Harry Price debunking other supernatural phenomena in other mystery books, so for him to all but declare this as the pinnacle of ghostly phenomena made it seem all the more fascinating and scary. So the story has been with me again since childhood.

I spent a couple of years working on radio scripts and developing a feature script and it had all become very laborious. I wanted to make a new short to remind myself why I loved doing this in the first place, and I chose Borley Rectory because I could picture it very visually and it seemed like a nice summation of what I’d attempted to do thus far. I’ve always loved vintage ghost photography, not just because of the subject material but primarily because they are often very beautiful images. I wanted to see if I could make a film that evoked similar sensations that are evoked by such photographs. It’s a story that is rich in gothic archetypes, so visually very strong with plenty of scope for the various apparitions.

BORLEY RECTORY has a rich history of hauntings from headless coachmen to a bricked-up nun, a screaming girl, and being built on the grounds of a Medieval monastery, the British equivalent of an ancient American Indian burial ground. Will you be portraying the house’s story more generally or focusing on a specific legend?

Very generally. The funny thing about Borley is that the Nun is the only ghost that seems to have any “back story” as such, with the other apparitions almost functioning as satellite phenomena. This film is going to be an introduction, a primer if you will, very much like the Usborne book that sparked my interest. It’s a “way in” to the legend. The historical data on Borley and the hauntings are incredibly rich and layered and dense, often contradictory and beset with duplicity, so I think to make something “definitive,” you’d have to do an HBO series on it. You could make an entire film just on Marianne Foyster, for instance! What I’m really interested in is trying to evoke the place, and explore what it was that attracted people to the Rectory and its legends – manifestations of desire, loss or some fatal flaw in character.

The animation in your previous films, especially SCAYRECROW, owes an aesthetic debt to Hammer films, which you also grew up with. In the Indiegogo pitch, you talk about being fascinated with ghost photography. Will viewers of BORLEY RECTORY also see a Hammer influence or is this an indication that you will be taking a different direction?

Yes, SCAYRECROW is the one that is most obviously a love letter to Hammer horror, although I think  THE HAIRY HANDS has aspects of an episode of the HAMMER HOUSE OF HORROR TV series. BORLEY RECTORY will be created in the same fashion as SCAYRECROW’ and THE SCREAMING SKULL, but visually will be quite the different animal. I’m really aiming for vintage ghost photography – glowing black and white imagery, images that conceal as much as they reveal, yet texturally very beautiful. On occasion, it may even veer into abstraction with only the narration keeping it grounded. Consider it my ultrasound of a haunted house!

You met Julian Sands through interviewing him for Fangoria, for which you’ve recently been a correspondent and cover artist. How did this blossom into Julian as narrator, and I understand he’d like to work with you on future projects as well?

Yes, indeed. I interviewed Julian for a retrospective I wrote on Ken Russell’s GOTHIC. Julian saw the films, loved them and asked me if I was working on anything. I’d literally just finished the first draft of BORLEY RECTORY, and so I asked him if he’d be interested in performing the narration and thankfully he said “yes.” Julian and I have loosely discussed working together on other projects, but future work will absolutely depend on the success of this campaign. If BORLEY RECTORY goes well, I’d love to develop the Dartmoor portmanteau feature HELL TOR, as there’s definitely a role in there for Julian.

Julian Sands shares a laugh with Ashley Thorpe while recording the narration for BORLEY RECTORY. Photo courtesy of Carrion Films.

What about Steven Severin? Talk about a score in landing him to do the score. How did you get him on board?

That was Fangoria again, although believe it or not, I initially turned him down! Steven performed in Exeter, and I interviewed him about his score for Carl Dreyer’s VAMPYR. We kept in contact regarding the article [recently published in Fangoria #325], and then Steven asked me out of the blue if I’d had anyone in mind for the BORLEY RECTORY score. I was stunned. At the time, every film I’d made up to that point has been scored by my old friend Mick Grierson, so I initially said no! The Banshees are one of my favorite bands, but I explained that Mick was as much a part of Carrion as I am and that it would  feel like a betrayal. Mick is a department head at Goldsmiths College in London, and as the year wore on, it became obvious that he just wasn’t going to be able to dedicate so much of his time to the film. However, Steven remained dead keen even after the long production hiatus, and a combination of circumstances and Mick’s academic responsibilities just really made the partnership at this time an obvious choice. I couldn’t be happier really. It’s very exciting to be working with Steven, and I’m looking forward to seeing what we can create together.

The entrance scene from THE SCREAMING SKULL. Photo courtesy of Carrion Films.

Reece Shearsmith also has joined the cast recently. I know not everybody over here knows who he is, but for those of us lucky ones who discovered the weird and wonderful LEAGUE OF GENTLEMEN, that’s quite exciting, too. How did he get involved and what role does he play?

Reece is amazing! He’s mainly known for his comedy grotesques, but he is an incredibly gifted actor. What’s more he’s also, like most of the League of Gentlemen team, an absolute dedicate of classic horror films. He’s a sincere fan, and we share many points of reference. His involvement came via a number of supporters like Derren Brown and Andy Nyman. I noticed that Reece had been tweeting support for our campaign so I tweeted a note of thanks. We got chatting, and he expressed real excitement for the project and the subject. So I just came out and asked him, and Reece, to my amazement, said yes. His involvement has really elevated the project. His fanbase are ravenous!

Reece will be playing the Daily Mirror journalist V.C Wall who was the journalist that really broke the story to the world in 1929, so a key role, and he’ll get to speak some wonderful and genuine news reports written by Wall from the period. I’m excited and simultaneously terrified to direct him! It’ll be fun. I have a feeling there’ll be a lot of horror nerd-outs!

You’ve also attracted some pretty amazing supporters such as Stephen Volk (screenwriter, GOTHIC), British mentalist Derren Brown, Robert Young (director, VAMPIRE CIRCUS) and comics writer Steve Niles. Have any in particular surprised or delighted you as the Indiegogo campaign progressed?

The support has been amazing actually and really quite diverse. Local support has been strong, but I’ve been slightly overwhelmed by the response internationally across the horror community. I’ve never been a fan of scenes as such, but the horror community have restored my faith in humanity after the film and TV industry gave it a good kick in last year! Stephen Volk and Johnny Mains have been incredibly supportive and generous with their time, and Chris Alexander [editor] at Fangoria has been there since the beginning. The support from Derren was great as he said a number of lovely things about SCAYRECROW when it came out back in 2008, so it’s a nice feeling to know that he’s still supportive, still watching. Indie filmmaking is tough so it’s invigorating, energizing to know that someone out there cares about what you’re doing or trying to do. Can’t do it without you!

Crowd-sourcing has its rewards but also its challenges. You have more than 80 supporters and have raised over 5,000 pounds, but you did extend the fundraising period and reduce the target of the campaign from 20,000 pounds to 10,000 pounds. Will you have to turn to another source to make up the difference, or will you just be tightening the production’s belts.

Yes, the extension was inevitable. I got hit with a very time-devouring contract to animate some feature titles shortly after the campaign launched, so as I was AWOL for a few weeks, I pushed the deadline back to the end of August. I reduced the target, too, as it became clear that we were going to struggle to reach 20K. We still may have to turn to other sources to make up the additional budget, or we may get started with what we raise and reevaluate later next year. Either way the budget has always affected me far more in terms of “time” rather than “quality.” Less money means less crew and more for the core to do. It will be distinctive and original whatever happens. “Don’t panic lads, we’ve been saved from casual mediocrity by lack of money again!” If we can’t afford horses, we’ll get the coconuts out again, ha ha. You know at no point during SCAYRECROW did any of us get on a horse. I spent much of it riding a tree trunk! You’ve gotta have that Terry Gilliam spirit to survive.

You have some pretty cool perks for contributors. What’s your favorite and why?

I spent a long time working out the rewards, but I think my favorite HAS to be the limited edition vinyl of the Severin soundtrack. I mean that has to be the best fundraiser perk ever, hasn’t it? It was Steven’s idea actually. I made a mock-up for fun of what the soundtrack would look like if it had been released in the 70s with a very Pan Horror / Amicus style sleeve, and Steven went crazy for it, loved it and suggested that we try it for real, make it a super limited edition very special reward for investors. It’s going to be a beautiful thing. A real collectors’ item. Even if I don’t make a penny from BORLEY RECTORY, at least I’ll get one of those! The tour of Borley with author and publisher Johnny Mains is pretty amazing, too, plus you’ll be “written into” a Robert Aickman tribute collection to be published next year. That’s pretty amazing, too.

THE CONJURING, an old-fashioned haunted house movie, has been a big hit stateside. Does that encourage you that there’s a market for a return to atmospheric ghost stories in the horror film genre?

I think it’s great that a decidedly – perhaps archly – old-fashioned ghost story has made such an impact, but the audience has always been there, it’s just taken the market an age to catch up with what people really want as is so often the case. I think the market becomes less and less important as time goes on. The audience will find or indeed make its own entertainment. I didn’t start making the animations about neglected myths to get noticed; it was an attempt to tell the stories I wanted to hear. If you can find a way of telling your stories whilst bridging a cultural void, you’re onto a winner. Fingers crossed, eh?

Finally, would you like to share anything else about upcoming projects, such as HELL-TOR and SPRING HEELED JACK or your recent work with FANGORIA?

I’ve always loved the Amicus portmanteau, and when I initially started developing a feature, my first notion was to create one of my own. HELL-TOR is a collection of Dartmoor legends woven together. THE HAIRY HANDS was originally the book-end story, but ended up being developed into the short I produced with the Arts Council. ‘THE DEMON HUNTSMAN was mooted to be in there, too. The other three stories haven’t seen the light of day yet, although the kelpie / exorcism story, “Crows Mere,” was one of the first pitches for the second season of TALES BEYOND THE PALE. It’s definitely something I’d love to make. It would be a wonderful opportunity to get a British Horror portmanteau back on the screen. I should probably chat to Reece about this!

My long term project is SPRING HEELED JACK – a Dickensian horror story – as opposed to the more familIar later period that sired Sherlock Holmes, Jekyll & Hyde and the Ripper crimes – and is inspired by the “genuine” boogeyman from the early 1800s. The tale of a rooftop bounding demon that could appear and disappear at will caught hold of the public imagination, becoming in time a popular character in Victorian fiction, in particular the Penny Dreadfuls [popular working class fiction] of the period who took the figure and transformed him from a shilling shocker phantom into an embryonic super-hero. With his crime -ighting exploits bedecked in bat-like cloak and horned cowl, it is difficult not to see him as anything other than the template of what would become Batman.

I have been fascinated by the myths of Spring Heeled Jack and have often wondered why his presence on film has been so negligible. Apart from it being a delicious bit of British esoterica, the story fascinates me because it occurs in a period that has thus far pretty much only been defined by Dickens. It presents itself not only as an opportunity to explore early Victoriana – at a time when genre templates for horror and detective tales were coalescing in popular fiction – but a chance to make something akin to a classic “Hammer Horror” with a real underworld edge. The script is currently in development, and I have started pre-production character and concept art. I suppose if I could pitch it, I’d have to say it’s “Victorian Batman meets Sweeney Todd meets THE FLY!” It’s quite melodramatic, psychologically disturbing, a tale of a super hero becoming a super villain.  It’s easily the darkest thing I’ve written, dark and dastardly – and deliciously deviant. I’d love to make it, a dream come true, but I have to be a midwife to history first!

To support or share the Indiegogo campaign for BORLEY RECTORY, click here. Watch SCAYRECROW for free on Vimeo here. 

The Plaza Theatre presents the Troma Film Festival; Starts Wednesday, June 26 @ 7 p.m., Thursday, June 27 @ 5 p.m.; Plaza Theatre; Schedule and Event Info here; Tickets $30 for 2-day passes, $12 for single day passes, available at Plaza box office.

By Aleck Bennett
Contributing Writer

Troma Entertainment. Say what you will about them, they’ve survived nearly 40 years of independence while assaulting the very idea of good taste, and simultaneously bringing the concept of the B-movie into the home video age. And for two inglorious nights, the Plaza Theatre brings Atlanta a look back at the filmic legacy of Troma, the films they’ve produced and the films they’ve distributed with the Troma Film Festival.

Troma started up shop in 1974, the brainchild of extravagant frontman Lloyd Kaufman and the behind-the-scenes, lurking-only-in-shadows figure of Michael Herz. (Seriously, Michael Herz is the Sasquatch of independent cinema: only seen running awkwardly in blurry 8mm film clips shot from a great distance away.) The team not only created and distributed their own sex comedies for the exploitation/grindhouse/drive-in circuit (such as SQUEEZE PLAY!, THE FIRST TURN ON! and WAITRESS!), but also provided assistance to outside productions such as John Avildsen’s 1986 classic ROCKY (which was edited on Troma’s flatbed editing equipment) and Louis Malle’s 1981 feature MY DINNER WITH ANDRE.

But it was in 1984, just after the advent of the home video revolution, that Troma made its first big, bloody splash. THE TOXIC AVENGER started with Lloyd speculating 10 years earlier that a horror film set at a health spa would be interesting. Over the years, the idea mutated like Toxie himself, becoming a self-referential (the film is set in the fictional Tromaville, NJ, which would become a mainstay of Kaufman/Herz-helmed Troma flicks) and hyper-violent superhero spoof. While the film came and went in general release with little notice, its success in midnight screenings led to nation-wide coverage and its successful distribution on VHS through Lightning Video. Significantly, though, because Troma had faced pushback over certain gory scenes in getting the R rating needed to gain widespread theatrical exhibition from the MPAA, they discovered that home video was a surefire way to bypass the ratings board and use that to extend the Troma brand.

Troma followed up on the huge success of THE TOXIC AVENGER with 1986’s similarly mutated CLASS OF NUKE ‘EM HIGH. Co-directed by Kaufman and Richard W. Haines, the film continued on the same parodic path as previous, sending up the sensationalistic “high school gang” film tradition that reached from 1955’s THE BLACKBOARD JUNGLE to ‘82’s CLASS OF 1984, spiking it with the heady taste of radioactive waste. The film was another success for Troma, both theatrically and on home video, and the company began hacking out a place in the home video market that they sought to fill with outside productions.

Much like Kaufman’s role models in American International Pictures and Roger Corman’s New World Pictures, Troma ventured into the world of acquisition, finding independently-produced films from other movie-makers that stylistically fit under the Troma umbrella. They picked up “Tromatic” flicks like the notoriously gore-filled and sadistically sleazy BLOODSUCKING FREAKS, the revenge comedy SURF NAZIS MUST DIE, the Belgian import RABID GRANNIES and the surprisingly good-natured spoof MONSTER IN THE CLOSET. Meanwhile, earlier Troma productions like their sex comedies saw new life in video stores across the country.

Constant advertising and coverage in magazines like FANGORIA helped to ensure that their target audience of horror-and-gore-loving young adults was constantly in the know when a new Troma flick was hitting the shelves. In the mid-80s, if you were a teenager into horror and comedy, it was pretty much a guaranteed thing that you went through a Troma phase. While plenty of people tried to emulate the mixture of gross-out humor and blood-soaked horror that the company reveled in, Troma had established itself as a reliable brand for all your disgusting needs and had that part of the market pretty much sewn up.

If this were something like VH-1’s BEHIND THE MUSIC or an E! TRUE HOLLYWOOD STORY, you’d expect a fall right about now. And hey, look! There’s one right here!

In 1988, Troma undertook their most expensive film to date, TROMA’S WAR. The film was created to send up hyper-patriotic war films of the Reagan era like RAMBO: FIRST BLOOD PART 2, INVASION U.S.A. and MISSING IN ACTION (and, by extension, the Reagan administration’s attempt to glorify war in general). However, its blatant over-the-top violence and subplot involving terrorists spreading AIDS to the US led the company to run afoul of the MPAA once again. While cuts had been made to previous Troma films, at least their storylines remained comprehensible. After submitting the film twice to the board, nearly 20 minutes were removed in order to receive an R rating, and the film was butchered so heavily that it made even less sense than your typical Troma flick. It flopped in a spectacular fashion, the critical response was abysmal, and the negative press even affected the home video release. The financial loss to the company was nearly fatal.

It wasn’t until 1996’s TROMEO AND JULIET that Troma began to establish itself once again. An ambitious attempt to create a comic version of Shakespeare’s play that was both relatively faithful and Tromatic, the film was the first collaboration between Lloyd Kaufman and James Gunn (SLITHER, SUPER and the upcoming GUARDIANS OF THE GALAXY) and it was a breath of fresh air after an unsuccessful series of TOXIC AVENGER and NUKE ‘EM HIGH sequels. TROMEO was critically acclaimed and had successful art house engagements in New York, Los Angeles and San Francisco, where it played for over a year. Suddenly, with a huge return on a $350,000 investment, Troma was back on the map. While 1999’s TERROR FIRMER and 2000’s CITIZEN TOXIE: THE TOXIC AVENGER IV were comparatively less successful, they did help to keep the brand above water and in the public eye.

And, as is to be expected, Troma managed to turn things around.

Troma’s website had long been a fan destination for original Troma-related content, and they decided to pursue a novel idea: an anthology series called TALES FROM THE CRAPPER entirely presented on their website. They enlisted model/actress/producer India Allen to develop the series with a budget of $250,000. Allen backed out of production halfway through, and later sued Troma for breach of contract, slander, sexual harassment, trade slander and intentional infliction of emotional distress. The resulting footage was nearly unusable, and Troma attempted to salvage the project as a series of two DVD releases. It was a huge blow to what was turning out to be a second coming for the studio.

But then in 2006, Troma returned with POULTRYGEIST: NIGHT OF THE CHICKEN DEAD. A satirical horror movie take on the fast-food industry, the film was plagued with production problems throughout its shooting. Effects didn’t work, money was short, actors weren’t being paid, sets were destroyed prematurely…in short, it was what you’d expect a Troma shoot to be like. Despite all of the troubles, though, it was completed on schedule and was released to Troma’s best notices to date, and finally saw wide release in 2008. Publications ranging from ENTERTAINMENT WEEKLY to THE GUARDIAN singled out the film as “an exploitation movie with soul” and “wonderfully bold” (respectively), while NEW YORK magazine and SALON.com chose the movie as a Critic’s Pick.

Feeling gusts from the winds of success at their backs, Troma decided to partner with Canadian filmmaking team Astron-6. Known at the time for their short films disguised as fake trailers for imaginary 1970s and ‘80s movies (including COOL GUYS, LAZER GHOSTS 2: RETURN TO LASER COVE and FIREMAN), Troma released a DVD of their shorts to great acclaim and co-produced the epic FATHER’S DAY with them. A spoof of 1970s rape-revenge flicks (with the genders reversed), supernatural horror and slasher movies, screenings of the film were greeted with wild enthusiasm, and it looked like this was to be a harbinger of another grand new era for Troma Entertainment.

But then, this is Troma we’re talking about. You know what’s about to happen.

A huge rift between Astron-6 and Troma pretty much put a kibosh on there being any more collaboration between the two parties. Astron-6 claimed that Lloyd was selling bootleg DVD-Rs of the film at screenings, which led to early piracy of the film. Troma’s initial poster art removed Astron-6’s logo. Disputes and conflicting claims from both entities over a “making of” documentary (which was critical of Troma) led to it not being included on the DVD release of the film. Troma scrapped the planned Astron-6 commentary track from the release, and included an early cut of the film rather than the finished, final cut.

So that leaves us here, as we stand reflecting on 40 years of Tromatic entertainment. Still with me? Good.

Because Troma is still with us as well. Like cockroaches, they will survive to be the only film studio standing after the nuclear holocaust that will obliterate all other life in the year 2025, the studio run by a coterie of mutants and some guy wearing a Toxie mask carrying around Lloyd’s head in a jar. And probably Michael Herz. No matter who’s come after them for their exercises in poor taste, no matter how shoddy their business practices may or may not be, Troma springs eternal.

May the lord have mercy on us all.

Aleck Bennett is a writer, blogger, pug warden, pop culture enthusiast, raconteur and bon vivant from the greater Atlanta area. Visit his blog atdoctorsardonicus.wordpress.com

SMILE JOHN: Includes HAPPY BIRTHDAY TO JOHN (1972), Dir: Jonas Mekas; FILM NO. 5 (SMILE) (1968), Dir: Yoko Ono; Fri. March 25, 7 PM; Plaza Theatre; $10 ($8 if attending 9 PM screening, too)

SKY, BED PEACE: Includes BED IN (1969), Dir: Yoko Ono and John Lennon; APOTHEOSIS (1970), Dir: Yoko Ono and John Lennon; Fri. March 25, 9 PM; Plaza Theatre; $10 ($8 if attending 7 PM screening, too)

Yoko Ono and John Lennon Montreal Bed-In, 1969 Photo by Ivor Sharp ©Yoko Ono.

Since he started Film Love, his provocative avant-garde film series, in 2003, Andy Ditzler has explored everything from the beat cinema subculture to American racism. But this Friday March 25 at the Plaza Theatre, audiences will be treated to filmmaking as love-making between two intensively creative people with the first two of five installments of YOKO ONO: reality dreams, which Film Love is co-presenting with Emory University and Atlanta Contemporary Art Center. John Lennon and Yoko Ono certainly must be one of the most famous couples of the 20th century, but these experimental films are rarely seen and aren’t available on video.

ATLRetro recently caught up with Andy to ask him about his own passion for avant-garde film, the origins of Film Love, what Frequent Small Meals are, and why you should spend Friday night getting to know John and Yoko better through some extraordinary movies.

From what I understand, you started Film Love in 2003 with a beat cinema series at Eyedrum. How did you become so interested in and passionate about experimental and avant-garde cinema?

In the early ‘90s, I was living in Boulder, where the great avant-garde filmmaker Stan Brakhage was teaching. I attended his screenings and classes. He showed the wildest films, things I had no idea how to process or even understand. Yet Brakhage had a way of talking about the films that made it clear that watching them was to be considered an adventure, that you could figure it out, and most of all how important it was that we gather to watch these films.

Andy Ditzler, founder & curator of Film Love.

Some of the films were so small, so obscure, that they almost disappeared off the screen. I was hooked. One day Stan showed THE END and THE MAN WHO INVENTED GOLD by Christopher Maclaine. Maclaine was a shadowy figure, long dead, and his films of Beat San Francisco in the ‘50s were completely haunting. I totally connected with them.

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By Mark Arson, Contributing Blogger

SHOWGIRLS (1995); Dir: Paul Verhoeven; Writer: Joe Eszterhas; Starring Elizabeth Berkely, Kyle MacLachlan, Gina Gerson; First in Taboo-La-La Series hosted by Blast-Off  Burlesque at Plaza Theatre, Sat. March 19, Plaza Members Party at 8 PM with complimentary refreshments; showtime at 9 PM featuring costume contest, audition to recast Nomi and audience recreation of the infamous pool scene; age 18 & over only.

Some time ago at my day job, a coworker tossed off something that could be easily misinterpreted as innuendo. Another one says, “That’s what you call a double entender!” A third coworker takes it upon themselves to correct him, “It’s pronounced ‘entendre.’” As she walked off, we all smiled to each other at the obvious irony; the person who considered themselves the “smart one” simply wasn’t smart enough to get the joke. SHOWGIRLS is notorious for being one of the “worst movies of all time,” and while I’m not here to question the intelligence of anyone who genuinely thinks so, I’d like to at least make the case for it being not just a good movie, but a great one.

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By Mark Arson, Contributing Blogger

TEENAGE MUTANT NINJA TURTLES (1990); Dir: Steve Barron; Starring Elias Koteas, Judith Hoag, Josh Pais; Screening at Plaza Theatre, Wed. March 16, 9:30 PM; Fri. March 18, Midnight; Sat. March 19, 3 PM

Hardly any fictional universe has gotten rebooted or re-imagined in such a short period of time than that of the Teenage Mutant Ninja Turtles. Why is that, though? The turtles certainly have remained popular, to the point that you’d be hard-pressed to find someone of any age that didn’t at least know of them. They are basically a pop-culture anomaly, an absurdist parody of serious and gritty comics developed into their own ubiquitous cultural phenomenon. More so, for most of their history, they’ve been marketed as something for children, when they are…well…ninjas that fight with weapons. That is obviously a difficult balance, but kids’ entertainment in the ’80s was all about violence without the violence. As a child growing up I would typically question everything (No, I didn’t believe in Santa. Ever. Jesus neither.) so I couldn’t help but notice how ridiculous it all was. I remember yelling at the screen when a cruise ship sank in BATMAN: THE ANIMATED SERIES and more lifeboats than possibly could have fit on said boat sailed off, going out of the way to prove that NOBODY DIED. Of course, entertainment for kids requires fantasy, and fantasy is expensive.

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By Mark Arson, Contributing Writer

NEAR DARK (1987)
Dir: Kathryn Bigelow
Stars: Lance Henrikson, Bill Paxton, Adrian Pasdar, Jenette Goldstein, Jenny Wright
Where: Splatter Cinema, Plaza Theatre
When: Tues. March 8, 9:30 PM

What would humans do if they could live forever if only they avoided one thing? They would likely brush as close against it as possible, over and over again, because it’s part of human nature. The vampires of NEAR DARK are constantly out late (which in this case might qualify as early, indeed, Near Dawn might have been a more appropriate title) and catching on fire in the early morning sun. Not to worry, these particular vampires can recover from their burn wounds if they find cover before exploding, and crosses and stakes don’t even figure into the equation.

This isn’t a typical vampire movie; it’s actually more of a western, punctuated by scruffy drifters, lawmen, shootouts, and an obligatory (let’s kill everyone in the) bar scene, which lasts a brutal 10 minutes (a LONG TIME in movie terms). Our protagonist, in the standard role of “the new guy” (in this case “new vampire”), is Caleb Colton (Adrian Pasdar), brought into the flock by Mae (a stunning Jenny Wright), whom he picked up at a gas station, young love quickly turning into something much less innocent. The other vampires don’t accept him right away, particularly the rabid Severen (Bill Paxton) and the head of the “family,” Jesse (the always great Lance Henriksen). In fact, Caleb never quite seems to fit in, since he’s a “good kid” at heart (i.e. not great vampire material), a unique twist on the outsider’s perspective that drives most vampire films; here the outsider is the one who isn’t a cold-blooded killer.

Before long, Caleb’s family is in pursuit, complications ensue, and it’s vampires afire all over again. Helmed by future Oscar-winning director Kathryn Bigelow (THE HURT LOCKER), NEAR DARK is not just an atypical vampire movie, it’s also an atypical ’80s movie. It is dark to be sure (of course), but neon is practically nonexistent, owing to it’s decaying suburban Midwestern setting, the same type of setting that became such a compelling backdrop for NO COUNTRY FOR OLD MEN years later. In fact, the most ’80s thing about the film is the minimalist electronic score by Tangerine Dream, and one would be hard pressed to find a better sonic backdrop for the cold, bleak existence of a pack of vampires. When things are finally resolved at the end of the film, there is a simple solution, in line with the simple vampire mythology at play. Of course, the mythology is only simple because the real story is about how complicated it is to be human, no matter how cut-and-dried the circumstances are. That, and vampires on fire.

Click here to watch the trailer.