Rupert Pupkin Speaks ""

Monday, February 19, 2018

Just The Discs - Episode 42- MATINEE from Shout Factory!

On this episode, Brian is joined by John Cribbs (head writer and co-founder of The Pink Smoke) to talk about their mutual love of MATINEE (via the recent Shout Select Blu-ray) and Joe Dante in general.

Please rate and subscribe if you like the show!
https://itunes.apple.com/us/podcast/justthediscss-podcast/id1205661081

Just the Discs is part of the Screaming Pods Network:
http://www.screamingpods.com/project/just-the-discs/

The show is also available on Stitcher:
http://stitcher.com/s?fid=131109&refid=stpr

Or you can listen to the episode right here:
Link to Buy MATINEE:
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Bonus Features
*NEW Master Of The Matinee – An Interview With Director Joe Dante
*NEW The Leading Lady – An Interview with Cathy Moriarty
*NEW MANTastic! The Making Of A Mant
*NEW Out Of The Bunker – An Interview With Actress Lisa Jakub
*NEW Making A Monster Theatre – An Interview With Production Designer Steven Legler
*NEW The Monster Mix – An Interview With Editor Marshall Harvey
*NEW Lights! Camera! Reunion! – An Interview With Director Of Photography John Hora
*Paranoia In Ant Vision – Joe Dante Discusses The Making Of The Film
*MANT! – The Full Length Version Of The Film With Introduction By Joe Dante
*Vintage Making Of Featurette
*Behind The Scenes Footage Courtesy Of Joe Dante
*Deleted And Extended Scenes Sourced From Joe Dante’s Workprint
*Still Galleries
*Theatrical Trailer

Sunday, February 18, 2018

Film Discoveries of 2017 - Mike Gebert

Michael Gebert is a Chicago food writer and the proprietor of NitrateVille.com, a discussion site devoted to silent and classic film, and the podcast NitrateVille Radio, which talks to archivists, collectors, authors and others in the world of classic film.
On Twitter @NitrateVille.

Behind the Door (1919)
If you were a movie nerd kid in the pre-video or early video days, it was a common experience to read about a film in obsessive detail (in Famous Monsters of Filmland or the like), in a sense to experience it, long before you ever got the chance to actually see it (and possibly be disappointed by the reality).

I relived that a little this year with Behind the Door (1919), a WWI revenge drama whose gruesome climax I’d known for 35 years from Kevin Brownlow’s book The War, The West and The Wilderness. The film itself played out more lyrically than I expected, a bittersweet tale of lost love… and then it got darker, and darker, and led to the E.C. Comics horror climax that had made my 15-year-old jaw drop described in print. No disappointment.
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The Man I Married (1940)
The sort of thing you catch almost by accident on TCM, with stars I’d typically pass by (Joan Bennett, Francis Lederer, Lloyd Nolan), but perfectly competent at its mission—to educate the prewar public on the Nazi menace. Bennett marries German national Lederer, goes home with him to see edelweiss and beer gardens, then learns what’s really going on there. You could mock the tidy backlot recreation of things like Kristallnacht, but it’s got some sharp and sardonic twists to it, and it gets the job done in 77 brisk minutes.
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Saloon Bar (1940)
The British label Network has been putting out sets of early films from the Ealing studio, full of incidental pleasures of Brit life as they hurry through familiar plots. This is a cracking good little mystery set in a London pub, but the most fascinating thing about it is learning that there was such a class system to pubs—making it hard for the barmaid to get information on the crime from a pub above her station.
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I Vitelloni (1953)
One of Fellini’s first hits, the sort of thing I should have seen at some point, surely, but never did. Until my teenage son saw and was blown away by La Dolce Vita—just that a movie could do all those things, be about all those things. One of my best movie experiences was just seeing his cinematic horizons expand like that. We watched 8-1/2 next, then I thought we should go back to Fellini’s origins with this movie about “the boys” (or “the bums”) in the small town he escaped from, and it was good to see how good he was so early on. When we saw Lady Bird, I said to him after, “So that’s her I Vitelloni.”
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The Sound of the Mountain (1954)
After a while you get a second sense about things to discover on TCM. You see a title like that on the programming grid and you think, what is it, a Mikio Naruse film or something, based on a novel by a Japanese Nobel prizewinner you never heard of, one of those dramas where the beloved father slowly comes to realize how he's damaged all his kids and everything about his life has been a lie, and there’s nothing for it but to come to Zen acceptance of his failure? A movie that plumbs the depths of human experience, and you never even heard of it till it turned up at 2 am on TCM? Yeah, thought so.
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Freebie and the Bean (1974)
Richard Rush’s The Stunt Man was a big critical success right around the time I became a serious (teen) moviegoer, but I’ve never known exactly what previous work made him a big deal to critics then. After finally seeing this 1974 hit, I’m still not sure—it’s a mess. Yet when James Caan and Alan Arkin do intermittently hit their comic stride, it’s hilarious, and the Wile E. Coyote-esque car chases (staged by Chuck Bail, who would appear in The Stunt Man) are sheer 70s anarchic-WTF filmmaking, absurd fun in a way that today’s grim CGI action-fests will never be.
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Saturday, February 17, 2018

Film Discoveries of 2017 - Ashley Harris

Ashley is hopelessly obsessed with cinema, completely consumed by Francois Truffaut and Humphrey Bogart's eyes, and can be found fawning over David Lynch on 25yearslatersite.com.
On twitter @oOoOoBarracuda.
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Being a cinephile that prefers movies from years gone by, I always make a treasure trove of film discoveries throughout the year. 2017 was the second year that I've had a themed viewing schedule, per month, for the entire year, which has inspired me to see many films I wouldn't have otherwise. Making a concentrated effort to see so many varied films per year has led to some favorite discoveries. Below are my favorite first-time watches of 2017.

The Cabinet of Dr. Caligari (1920) Dir. Robert Wiene
One of the earliest examples of German Expressionism, The Cabinet of Dr. Caligari, captivated me with its dizzying jagged lines and incomprehensible landscapes. Watching The Cabinet of Dr. Caligari made me wished I lived in the world where a falling leaf looked like it could decapitate you. The overwhelming tension created by the production design alone amazed me like few other pieces of cinema.
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The Mirror (1975) Dir. Andrei Tarkovsky
Stalker is cute, but have you seen The Mirror? I'm joking, of course, Tarkovsky didn't make a bad film, so being enthralled by any of them can't lead you astray. I watched all of Tarkovsky's seven feature films over the course of a couple weeks and The Mirror, by far left the biggest impact. A journey through the memories of someone we never see, The Mirror enchants with its poetic collage of reminiscence and was the best photo album I've ever journeyed through.
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Black Moon (1975) Dir. Louis Malle
Apparently, 1975 is quickly becoming a favorite cinematic year, for me. Discovering Louis Malle and completely submerging myself in his filmography in 2017 is exactly what keeps me so enchanted by cinema. The possibility that an untapped favorite exists is the reason I watch so many movies every year. Black Moon has something in it for everyone; the film includes war, dystopian future, and a unicorn. I wasn't sure, after reading a similar description, how all those elements were going to come together, and it turned out not to matter. Black Moon is a ride through allegory and astounding imagery on the back of a mythical creature and it is a trip I want to take again and again.
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Five Easy Pieces (1970) Dir. Bob Rafelson
I am always on the hook for a deeply engaging character study and that is exactly what I found in Five Easy Pieces. Led by Jack Nicholson in a brilliant performance, Five Easy Pieces is a perfect example of a film elevated by each actor seen onscreen. Rafelson was clearly adept at pulling from the deepest depths of the human experience to bring such a remarkable human tale to fruition. Not only does Five Easy Pieces expertly navigate the struggles of family and life's purpose, but it also delivers one of my new favorite diner scenes that could only compete with...
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When Harry Met Sally (1989) Dir. Rob Reiner
That diner scene has been etched into the American lexicon since its utterance, but there is nothing quite like watching a scene so iconic, for the first time and seeing that it hasn't lost even a hint of its punch despite the fact that you've heard it imitated innumerable times. I love watching movies that illustrate real-life problems, including the myriad of stupid ways human beings can sabotage their own happiness. Films about the convoluted journey of life are often enjoyable, for me, especially so though with Rob Reiner sprinkling some much-needed self-aware humor throughout.
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Friday, February 16, 2018

Film Discoveries of 2017 - Elric Kane

Elric Kane is 1/4 of the excellent horror podcast Shockwaves and is also co-host with me of our show Pure Cinema:
https://itunes.apple.com/us/podcast/pure-cinema-podcast/id1204885502

Here's his Discoveries list from last year:
http://www.rupertpupkinspeaks.com/2017/02/film-discoveries-of-2016-elric-kane.html

Find Elric on Twitter here:
https://twitter.com/Elrickane
Shockwaves:
https://twitter.com/shockwavespod
Pure Cinema Twitter:
https://twitter.com/PureCinemaPod
Pure Cinema Movie Club on Facebook:
https://www.facebook.com/groups/888196608007143/
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I’ve talked about each of these at some point on some podcast so the idea of writing more at this point seems redundant so I will just cut to the chase why each is worth tracking down as these all helped me survive 2017. I always like to thank the person or place that shared the films with me, without new discoveries their is only tears in the rain.

Some of the films are mentioned on this Episode of Pure Cinema:
http://thepinksmoke.com/PCPbonus2017because.html

10. Scream For Help Dir Michael Winner (1984)
Popping your Cherry with Michael Winner.

Thanks Phil Blankenship for programming this as part of a Triple feature (w/ STEP FATHER and LISA) at the New Beverly Cinema. My favorite night at the movies in ’17.
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9. Mad House dir Ovidio G. Assonitis (1981)
Mad dog eats deaf boy. (It’s funnier then it sounds).

Thanks to Dick Grunert for buying this Arrow disc so I didn’t have to.
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8. Julie Darling dir Paul Nicolas (1983)
Sybil Danning vs Sociopathic brat with snake.

Thanks Patrick Bromley for being my Sybil.
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7. Dark of the Sun dir Jack Cardiff (1968)
Rod Taylor vs Nazi with Chainsaw.

Thanks Brian Saur for literally MAKING me watch this.
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6. The Devil's Honey dir Lucio Fulci (1986)
Saxy time with Fulci. Best opening scene of all time ?

Thanks Jackson Stewart for championing this and the mad men of Severin Films for sharing with the world. Fulci Lives!
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5. Night of a Thousand Cats dir Rene Cordona Jr (1972)
Dude cruises girls in his helicopter and feeds them to his army of starving cats on his island.

Thanks Webb Wilcoxen for this gift that will keep giving and join me in pressuring Code Red Bill to release this gem on “BRULEE”.
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4. Szamanka Dir Andrzej Zulawski 1996
Shaman sex and dog food.

Thanks Mike Mendez for reminding me to watch this and revel in the glory of unfiltered Zulawski.
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3. The Leopard Man dir Jacques Tourneur (1943)
Should’ve called this ‘Cat People 2’. One of the best classic horror sequences of all time as the girl goes out for tortillas but instead becomes one.

Amazing podcast about it here:
https://www.attaboyclarence.com/the-secret-history-of-hollywood/17/9/2017/shadows-the-black-hearted

Thanks TCM for all the Lewtons this year.
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2. Hard Times dir Walter Hill (1975)
Career best Bronson yet still showed up by that wily Coburn. Hill’s first is one of his finest.

Thanks Aero Theater and Screenwriter Josh Olson for excellent Q & A with Hill.
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1. Chilly Scenes of Winter dir Joan Michelin Silver (1979)
Boy meets girl, Boy loses girl. Boy obsesses and stalks girl in semi-charming / disturbing way that’s completely relatable and not at all appropriate to our current media climate but to bad it’s a movie and it’s brilliant.

Thanks to my Pure Cinema Co-Host Brian Saur & Supporting Characters host Bill Ackerman whose passions for this film convinced me to see it. And Twilight Time for continuing their wonderfully eclectic work.
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