The Invasion Of The Body Snatchers (1978) - Arrow Films Blu-ray review

BEWARE! This blog comes with another Fifth Dimension health warning: Remake - the word that should not be mentioned in my presence otherwise painful consequences may occur.

Available from the 18th November - mine is on order!

I mentioned (some may say, ranted) in my last blog entry about a problem or two that I have with franchises in horror. However, the dislike I have for franchises is absolutely nothing when it comes to the word that creates feelings of dread and occasional nausea in any self-respecting science fiction or horror aficionado - and that word is 'remake'. Whatever word one uses, be it 'remake' 're-invention' or 're-imagination' there have been some real clangers over the years - I've already mentioned Gus Van Zandt's  deplorable shot-for- shot remake of Psycho some years ago. I would also add to that; Tim Burton's Planet of the Apes (2001) with possibly the worst 'twist' ending in the history of cinema, the 2005 remake of John Carpenter's The Fog, Nightmare on Elm Street (2010), Halloween (2007)......and I've only began to scratch the surface, for this list goes depressingly on and on. Whether the problem is a lack of respect, a mis-placed feeling of homage to the original material, or simply a lazy attempt to cash in on a familiar title by the film company, it is difficult to say.

And yet, and yet....It doesn't have to be that way. A remake may not necessarily be the kiss of death for a movie, for there have been some that have not only matched the original (and often much loved) version but in some cases have surpassed it. In the case of The Invasion of The Body Snatchers (1978), we have the perfect example of the subject matter not only being respected by the film-maker's re-imagining, but in fact honouring it's fore bearer by making it feel as if he is continuing the story, not re-inventing it.

The original 1956 version was a masterpiece of anti-conformist storytelling exploring the paranoia of a claustrophobic inevitability for the future of the masses. Whether it was an attack on the terror of the McCarthy witch-hunts or the reverse, a veiled warning of the threat of the communist 'enemy within', it doesn't really matter. The fact that was a clever, intelligent piece of science fiction that could be interpreted either way was the genius of its director, Don Siegal.

The 1978 remake by Phillip Kaufman is quite simply as equally relevant as its illustrious classic predecessor. Though partly with its roots clearly in the book by Jack Finney, there is a distinct acknowledgement to the 1956 version. Kaufman brought a similar story of human fear and paranoia and transported those elements to a late 1970's America beset by mistrust and loss of innocence where his genius was not only to tap into that post-Watergate and Vietnam era but also to poke fun at the emptiness and vacuousness of the humanistic 'open your heart' Psychology of 1970's West coast America.

After reviewing the delights of the Arrow Blu-ray release of The Texas Chainsaw Massacre 2 in my previous blog entry of excellence, I was  as excited as a pig in the proverbial when I received word again from the marvellous Arrow people that the next goody on offer the highly anticipated UK Blu-ray release of Invasion of the Body Snatchers (1978).  One of the happy perks of blogging is being able to see the preview works, so sadly as yet I haven't got my sticky little hands on the full deluxe steelBook Blu-Ray set- lets just say it is on my list for Santa. 

So, a brief Synopsis.........

The plot of the film is cunning simplicity in itself. The film begins in deep space where we see some strange Jellyfish-type lifeforms abandoning their dying planet and drifting through space until they are carried to a certain blue planet - and specifically, the city of San Francisco. Here the lifeforms assimilate themselves into the local vegetation where they morph into a small pod-like plants together with a rather eye-catching pink flowers.

When health department employee Elizabeth Driscoll (played by the lovely Brooke Adams) finds the new flowers and brings them home, she soon notices that her lover has suddenly become strangely distant. Thus begins a strange and terrifying series of discoveries as she and her colleague Matthew (played by the legend that is Donald Sutherland) as they realise that people all over the city are seemingly changing in eerily subtle ways. 

As I mentioned (ranted) earlier, remakes of classic movies are often in something of a no-win situation, but The Invasion of the Body Snatchers (1978) is a distinct exception to that rule. By updating the social backdrop from the fear and paranoia of the 1950's to the fear and paranoia of the 1970's and adding to the recipe a delicious recipe of a venomous social analysis of the "me, me,me" post-hippy generation it is still entirely relevant. I was surprised when I watched it again the other day that the film's relevancy is still powerful today as it was when it was remade in 1978. We are still faced with a distrust of those in authority, perhaps even more so than in those heady days of Nixon et al.

Not only is Kaufman's direction and storytelling something of a masterstroke with the plot pacing and the stellar performances that he brings out to the two leads, together with a  classy supporting ensemble in the case of Jeff Goldblum, Veronica Cartwright and Leonard Nimoy as the condescending face of facile pseudo psychology. The director also pays a fond namecheck to the original film with a delightful cameo by the star of the original Bodysnatchers, Kevin McCarthy who reprises his “They’re here!” prophecy of doom speech before being swiftly done away with.

The Invasion of the Body Snatchers is a truly powerful science fiction thriller that taps into our innermost fears of not being able to trust ANYONE at all and that we may be entirely alone in whatever terrorists, demons or aliens that we may be facing. The ending of the film is as powerful and chilling as any, I repeat, any film climax in cinematic history. And that is not hyperbole.

Special Features

I read in another review that the extras provided by Arrow are plentiful but possibly on the unspectacular side - I disagree with this sentiment completely. In the list of extras there is something to please everybody's tastes. This mouth-watering deluxe Blu-ray set will be available to own in the UK in a limited edition SteelBook™ showcasing the original poster artwork as well as a standard edition case with newly illustrated artwork. Both editions will be available on 18th November and come loaded with a selection of classic interviews, featurettes and newly created never-before-seen special features as well as an in-depth 52-page collector’s booklet featuring new writing on the film and archives interviews with director Philip Kaufman and screenwriter W. D. Richter and more.

·        The High Definition Blu-ray (1080p) presentation of the film is particularly beautiful, with the HD transfer perfectly highlighting the cloud detail. Yes there is a certain amount of grain feature in one or two of the dark scenes, however for me that adds to the overall claustrophobic feel of the movie rather than detracts from it.

·         Original uncompressed Stereo 2.0 audio / 5.1 DTS-HD Master Audio

·         Optional English SDH subtitles for the deaf and hard of hearing

·         Audio commentary with director Philip Kaufman

·        Discussing the Pod: A new panel conversation about ‘Invasion of the Body Snatchers’ and invasion cinema featuring critic Kim Newman and filmmakers Ben Wheatley and Norman J. Warren

·         Dissecting the Pod: A new interview with Kaufman biographer Annette Insdorf

·         Writing the Pod: A new interview with Jack Seabrook, author of ‘Stealing through Time: On the Writings of Jack Finney’ about Finney’s original novel ‘The Body Snatchers’

·         Re-Visitors from Outer Space: Or, How I Learned to Stop Worrying and Love the Pod – a documentary on the making of the film featuring Philip Kaufman, Donald Sutherland, writer W.D. Richter and more

·         The Man Behind the Scream: The Sound Effects Pod – a look at the film’s pioneering sound effects

·         The Invasion Will Be Televised: The Cinematography Pod – cinematographer Michael Chapman (Taxi Driver, Raging Bull) discusses the look of and influences on the visual style of the film

·         Practical Magic: The Special Effect Pod – A look at the creation of the special effects from the opening space sequence

·         Original Theatrical Trailer

·         Reversible sleeve featuring original and newly commissioned artwork by Nathanael Marsh [Amaray version only]

·         52-page collector’s booklet featuring new writing on the film by critic David Cairns, as well as re-prints of classic articles including contemporary interviews with Philip Kaufman and W.D. Richter, illustrated with original archive stills and posters

The Texas Chainsaw Massacre 2 (1986) - Arrow films bluray release.

BEWARE! This blog comes with a Fifth Dimension health warning: Franchise - the word that should not be mentioned in my presence otherwise painful consequences may occur.

DUE OUT ON NOVEMBER 11TH

Let me be honest with you straight away on two separate points. The first thing that I need to mention is simply this - When I went to see this movie on its initial release at the cinema way back in those heady days of 1986..... I didn't like it. No, I did’nt like it one little bit. I felt disappointed and almost cheated because it was so unlike the masterpiece that was its 1974 predecessor in both style and content. In fact that disappointment was so intense that  I have never watched it since. “So this isn’t exactly going to be a favourable review is it?”, I hear you say. Well don’t be so quick to judge, I’m always willing to give a movie a second chance – well, that is except for Gus Van Zant’s shot for shot remake of Psycho in 1998. Nothing, I repeat NOTHING will ever make me watch that pathetic pile of pointless remake nonsense again. So watching the digitally remastered preview disc sent by Arrow films last week was the very first time in 27 years that I have seen The Texas Chainsaw Massacre 2. I was fascinated to see if my attitude had changed in all that time. 

My second point of honesty is that when it comes to horror movies, I despise the word 'franchise', I truly do. No, actually let me clarify that. I have no problem with a seminal movie becoming part of a renowned franchise, together with all the highs and lows that becoming a series of films can bring with it. Indeed, long-running movie franchises have frequented the business since the early Hollywood era - The MGM produced Tarzan films, The Sherlock Holmes series of films, James Bond et al have all been notable inclusions under the banner of the word that shall not be mentioned. Add to that some notable series of films from my beloved genres of science fiction,fantasy and horror have all notable franchise inclusions - in fact I would go as far as saying that contemporary horror is arguably more known for it's various collections of the word that should not be mentioned than for individual works in their own right.

So no, I don't have a problem with the concept of developing one film into a series per se. I do however have a problem with filmmakers who decide at the outset to develop a new Franchise even before the release of the first production. It seems that the desire, or ability to make an individual piece of work in it's own right which will stand on it's own two feet as a piece of art has become a rare concept for some horror producers. Instead, the preferred option in the past few years has seemed to be a conscious act to pursue the franchise option, after all, it is an easy way to ensure that the captive SAW/ELM STREET/FINAL DESTINATION audience will provide a truckload of money. I can fully understand the need to make make money, but it feels to me that there may lots of money to be made from purposely developing a franchise - but there ain't much soul in them.

I suppose that the point I am trying to make is that time and time again I have witnessed a seminal piece of horror and it's cinematic legacy being diluted by a series of increasingly  insipid follow-ups in the franchise series. It was my firm view for quite some time that the Texas Chainsaw movies had fallen into the trap of 'lets make money from the Franchise and screw the notion of making something original and innovative. Indeed, this was confirmed to an extent on the recent documentary accompanying the latest 'reimagining' of the Chainsaw films this year when the producers explicitly stated a desire to produce a new TCM franchise...... my heart dropped. The bottom line is that for many years, for me TCM2 was merely one of another tired franchise.

So, it could well be possible that my initial dislike of TCM2 and and a seemingly pathological dislike of the concept of the franchise might go some way to explaining my avoidance of this movie for so long. So this for me was the perfect chance to test whether or not my avoidance had been justified - because at the time, I wasn't the only one to find this follow-up a bit of a let down.

Family of the year - 1986

So what is the plot of the movie that galvanised views back then, and still stimulates argument amongst horror fans to this day? Well let's start with a brief synopsis shall we, in the words of Arrow films themselves......... 

"Relocating the cannibalistic Sawyer clan to a cavernous, labyrinthine dwelling beneath an amusement park, Hooper’s deliciously demented sequel sees Leatherface and Co. continue their murderous exploits afresh. This time around, local DJ Stretch runs afoul of the Sawyers when she gets mixed up in the brutal slaying of two youngsters. Meanwhile Lieutenant ‘Lefty’ Enright is hell-bent on avenging the murder of his nephew Franklin who perished in the original massacre."

A cult classic in its own right, The Texas Chainsaw Massacre 2 serves up a heady blend of gratuitous gore, socio-political critique and jet-black humour – whilst Dennis Hopper’s unhinged turn as Lefty needs to be seen to be believed! Whichever way you skin it, Leatherface’s second cinematic outing is an uncompromisingly delirious vision from one of the masters of horror."

Hey there, sexy.

The word that stands out in that synopsis is the word, humour - this is a far more in-your-face mix of gruesome and black humour which is in sharp contrast to the original film which had a far more black, claustrophobic and almost snuff-like quality to it. Because lets face it, 12 years earlier the director Tobe Hooper had almost single-handed altered the face of horror with his seminal movie. He had a lot to live up to - and he knew it. From all accounts he was steadfastly reluctant for sometime to direct a follow up to his 1974 classic, instead wanting simply to produce it. However Hooper was unable to find a director firstly who he could trust and secondly someone who would work for the budget that was available and in the end he had little choice but to direct it himself.

As a consequence he found himself in the unique situation (for him) in having a reasonably good amount of money to spend and in the process once again surprise the audience - and surprise the audience he did. For it seems that he almost went out of his way to upset the general audience who (like me) were expecting something that was essentially more of the same. It would have been all too easy for Hooper to simply repeat the process and style of the regional in an effort to replicate its success, instead he wanted to do something different. For that he should be applauded. 

And do you know something? After finally seeing TCM2 again after all this time...... I loved it, I absolutely loved it.

Hang on Tobe, don't say cut...I'm acting here

I loved the morbid comedic stylisation and plot narrative that is quite clearly a product of its time with its explicit themes of 1980's politics, capitalism and greed. I love the incredible over the top performances by Dennis Hopper as Lieutenant ‘Lefty’ Enright and Bill Moseley as Chop Top. Whilst Moseley is suitably excellent as he brings his entertaining repertoire of manic insanity to his role, it is essentially the often maligned Hopper who holds the movie together as he declares war against the insane Sawyers with a little chainsaw-play of his own. I say 'often maligned' because Hopper in his later career was never afraid to go into 'manic acting mode', there are many examples of this. However, we often forget that he was amongst a whole glut of 1960's wunderkind actors who radicalised the whole approach to their acting craft. I never realised it the first time around when watching this film, but Hopper's performance despite, or possibly because of the somewhat cheesy dialogue is simply mesmerising. He simply owns this movie, chewing up and stealing every scene he is in  - sometimes with just a delicious glint in his eye.

The mistake I and many others have made over the years is that we refused to accept that TCM2 should be treated as a movie in its own right and in no way should be compared to its predecessor. The bottom line is that The Texas Chainsaw Massacre and TCM2 are two entirely separate styles of film which was a purposeful intention from the director from the very start. I made the mistake the first time around of simply not enjoying TCM2 for what is really is - a funny, gory, slasher movie that's only real intention was to entertain - and it does that in spades. Is this the Citizen Kane of horror? No it isn't. Is this the Texas Chainsaw massacre of horror? No it isn't. What it is is 100 minutes of pure unadulterated joy.

This experience of revisiting a film that I once despised has been an interesting one. The dislike for TCM2 has been replaced by a positive glow of appreciation for what the filmmaker intended it to be, and what is is now. Has it changed my mind about the devil within the franchise as a concept? No it hasn't. One small step at a time you know.

Once again, the bluray package that Arrow films have put together is excellent. The treatment given to the visual restoration is beautiful as the original grainy quality that added to the quality isn't completely lost thereby meaning the original atmosphere isn't lost.Overall, the improvements to the look and sound beautifully enhance the overall effect with a lovely crisp quality and clarity. The extra goodies come in a 3-Disc Limited Edition Set which include:

• High Definition digital transfers of three Tobe Hooper films

• Original uncompressed audio tracks for all films

• Limited Edition Packaging, newly illustrated by Justin Erickson

• Individually Numbered #/10,000 Certificate

• Exclusive Limited Edition Extras

DISC 1 – THE TEXAS CHAINSAW MASSACRE 2

• High Definition Blu-ray (1080p) presentation from a digital transfer supervised by Director of Photography Richard Kooris

• Original uncompressed Stereo 2.0 audio • Optional English SDH subtitles for the deaf and hard of hearing

• Audio commentary with director and co-writer Tobe Hooper, moderated by David Gregory • Audio commentary with stars Bill Moseley, Caroline Williams and special-effects legend Tom Savini, moderated by Michael Felsher

• “It Runs in the Family” - A 6-part documentary looking at the genesis, making-of and enduring appeal of Hooper’s film, with interviews including star Bill Johnson, co-writer L. M. Kit Carson, Richard Kooris, Bill Moseley, Caroline Williams, Tom Savini, production designer Cary White and more!

• Alternate Opening sequence with different musical score

• Deleted scenes

• “Still Feelin’ the Buzz” - Interview with horror expert Stephen Thrower, author of Nightmare USA

• Cutting Moments with Bob Elmore – Interview with The Texas Chainsaw Massacre 2’s stuntman

• Gallery featuring never-before-published behind-the-scenes images

• Original Trailer

DISC 2 [BLU-RAY] & DISC 3 [DVD] – TOBE HOOPER’S EARLY WORKS – LIMITED EDITION EXCLUSIVE

• High Definition Blu-ray (1080p) and Standard Definition (DVD) presentation of two of Tobe Hooper’s early works restored by Watchmaker Films with Tobe Hooper, available on home video for the first time in the world

• The Heisters (1965) - Tobe Hooper’s early short film restored in HD from original elements [10 mins]

• Eggshells (1970) - Tobe Hooper’s debut feature restored in HD from original elements [90 mins]

• Optional English SDH subtitles for the deaf and hard of hearing

• Audio Commentary on Eggshells by Tobe Hooper

• In Conversation with Tobe Hooper - the legendary horror director speaks about his career from Eggshells to The Texas Chainsaw Massacre 2

• Trailer Reel of all the major works by Tobe Hooper

100-PAGE BOOK – LIMITED EDITION EXCLUSIVE

Exclusive perfect-bound book covering everything you wanted to know about Tobe Hooper, chainsaws and more! Featuring new writing on the director’s early works by Brad Stevens, an investigation of Tobe Hooper’s three-picture Cannon deal by Calum Waddell, new writing on The Texas Chainsaw Massacre 2 by John Kenneth Muir, a look at the film’s long battle with the BBFC and an exclusive interview with Hooper by Stefan Jaworzyn, author of The Texas Chainsaw Massacre Companion, rounded off with an appraisal of the highs and lows of the Texas Chainsaw franchise by Joel Harley, all illustrated with archive stills.

The Texas Chainsaw Massacre 2 is out on general release on November 11th 2013.

BANJO - A feature length British horror movie.

Peltzer has an imaginary friend... Unfortunately for him, it's Ronnie!

Do I have to tell you once again, dear reader, just how much I'm in awe of the scale of ambitious and dedicated independent horror filmmakers out there at the moment? Do I also have to tell you once again that the work produced may vary markedly between distinctly average and distinctly brilliant? While I'm at it, do I have to say yet again just how bloody jealous and frankly downright annoyed at the skill and innovation that many of theses indie film producers possess? No? Well it's OK, I'm not going to blather on about that sort of thing again, so don't roll your eyes there you at the back!

What I will say again is how lucky I am as a result of spending a year now scribbling my musings of self-indulgence on this blog, to be asked by some of these filmmakers to help in whatever small way I can in order to promote their work. Take today for example when I received a message from an Sheffield-based independent film company called SAFEHOUSE PICTURES UK asking if I could put together a little something for their upcoming feature length horror movie - Banjo. 

Now of course I can't say yes to every request that comes along at the moment as my rampant ego has already meant that I already currently have three other posts (new DVD reviews) on the go plus an overdue entry or two for my cricket blog - Well bowled, Harold, which can be reached HERE if you are also a fellow lover of god's own game as well as a sci-fi/fantasy/horror obsessive......and if you are then you have obviously as little life as I do. Don't worry, we'll go quietly but happily insane together. 

However, in this case, my unrestrained ego's interested was peaked not only by the plot outline of Banjo that that I received, but also due to two other reasons. Firstly, Safehouse Pictures UK hail from a city in England where I spent quite a few years of my life. It was a place where my children were born (yes they still of talk to me......) and where I still have many friends and memories. Though the memories are not all great as it never really felt like home, yet having left the city several years ago for a blissful area of the North East of Scotland though this exiled Yorkshireman still has some emotional link to the area.

Well it seems to be rather more than coincidence (unless I'm being as paranoid as usual) that since I left Sheffield the independent movie scene seems to have expanded immeasurably. For a start, a couple of weeks ago the city hosted it's very own horror film festival 'Celluloid Screams' at the Showroom cinema which provided a blend of the best new genre cinema from across the globe, a handful of classic horror films and extraordinary short films from the fearmakers of the future......and I missed it. Though I must give a public thank-you to Mr Lee Skinner for sending me the link and info to the event, though time and life's general annoyances (work, etc) meant that a desired blog entry never materialised. Next year, definitely. 

The 2nd movie from Safehouse Pictures UK

Add to that, new hungry film companies in the area such as the aforementioned SAFEHOUSE PICTURES UK which has been in existence only since 2010 after being formed by husband and wife team Damian and Nicola Morter (There you go look, more young, talented and jealous-inducing talent). The company's explicit desire was to produce both innovative and commercial feature films to showcase their talent within the UK. Their first feature film Bicycle Day was produced on a micro-budget of just £90 (yes I wrote that amount correctly) which shows that hard work and dedication through storytelling are essential ingredients needed to create an entertaining and thought provoking visual picture. From what I can gather, the film received excellent reviews and festival success..

Their next film The Eschatrilogy: Book Of the Dead (2012) takes the form of the contemporary fashion (and some may say obsession) for the zombie genre and is something of an anthology piece. I have yet to see this movie myself (hint - Nicola or Damian!) but details make interesting reading, noticeably a 700-strong cast instantly providing the film something of an  epic proportion. The film premiered on October 2012 at the GRIMM UP NORTH film festival in Manchester, and has has played film festivals worldwide, in countries such as America, South Africa and Germany. Yes the Zombie genre may well be soon reaching saturation point but I firmly believe there is still room in the horror world for good, intelligent Zombie-themed productions. However, if ever the character of Darryl is ever killed off in The Walking Dead then I may well change my mind!

Banjo will be be the next in-house Safehouse Pictures UK production, if funding of the £5,000 production budget is successful via their Kickstarter campaign - details of which are below. The company is supremely confident they they are able to make this movie on such a low budget, using the very best cinematography, sound design, editing, grading and producing that they pride themselves on. Dammit, they sound as if they know what they are talking about.

The third reason why I was keen to look further into this venture was the director , or rather, his recent career collaboration - but more of that a little later. Lets first talk more about the plot of the upcoming movie shall we? Sounds like a plan.

Lovable ol' Ronnie

The Plot: 

Banjo follows a bullied office worker named Peltzer, who is humiliated daily by his fellow colleagues and cheating spouse.

Once news about his embarrassing bedroom accident makes it's way around the workplace, Peltzer decides to put up with his torment no longer, and conjures up his childhood imaginary friend "Ronnie" through the use of a Ouija board.

Peltzer's world is soon turned upside down, as Ronnie attempts to manipulate him to exact revenge on his tormenting co-workers in the most gruesome fashion. In this twisted tale of romance and revenge. 

A short promotional trailer for Banjo was shot earlier this year based on the screenplay to help generate interest and the production budget for the feature length movie through Kickstarter. The trailer shoot lasted one week and was filmed on location in Sunny South Yorkshire in England.  

THE TRAILER can be viewed here. 

Just watching that clip - I ask you just what is not to like? Fine production, good acting and  a rather gorgeous Roxanne McConnell who provides in no small measure a certain amount of deliciousness to the part of the cheating spouse 'Deetz'. Add to that a prosthetic Ronald Reagan imaginary friend - what more could you want?

The youtube clip can also be found (together with extra behind-the-scenes photos) on this blog's Facebook page at https://www.facebook.com/pages/The-Fifth-Dimension-A-Sci-Fi-Fantasy-Horror-Blog/158402424305832?ref=hl 

As I mentioned earlier, the 3rd reason that my interested was stirred was the the director, Liam Regan and his recent working collaboration yet again makes me feel rather jealous, annoyed and impressed all in equal measures. For it turns out that just a year ago in the summer of 2012 Liam only went and worked with a certain Lord of the Troma film, Mr Lloyd Kaufman - yes, only the bloody creator of The Toxic Avenger himself! The most recent of Troma productions featured Mr Regan as a production assistant under Lloyd for Return to Nuke 'Em High: Volume 1 (2013) and the upcoming Return to Nuke 'Em High: Volume 2 (2014). If that wasn't enough to tempt ones interest then this year Liam found himself in a certain prestigious film festival in the South of France to take part in the production on the documentary sequel to Troma's All the Love You Cannes! (2001) titled; Occupy Cannes! (2014) which will be released in 2014.

Liam (left) with Lloyd doing a rear-lobotomy

on the Toxic Avenger 

Photo by Dan Moxon – © Cincest Films

So this guy is young, talented, has worked with a veritable god of cinema, has a feature length movie in pre-production and a sparkling career in front of him that may well bring critical acclaim, fame and riches. But is he really happy?........ 

The fact that he has worked with Lloyd Kaufman is impressive and annoying in equal measures as I was supposed to speak to and interview Lloyd for this blog in the earlier this year, but due to infringing personal circumstances I was unable to - bugger. Well it's never too late.

From my hours and hours of extensive research (well OK, I exaggerate slightly) it seems that the concept of Banjo has been Liam Regan's passion piece for the past few years. Initially having developed from a story, to a short film, the project is now in it's current embodiment; a feature length movie......So, let's find out more, dear reader whether Mr Regan can back this bold venture with a convincing answer to my probing and cunning questions.

(FD) OK matey, Impress me with some detail.

(LR)......"Banjo is basically a morality tale, in which the meek shall inherit the earth by gaining revenge and retribution over his tormentors. I've always described this project as Drop Dead Fred (1991) meets Basket Case (1982) due to the uncontrollable imaginary friend aspect mixed with the underground grand guignol stylisation..."

(FD) Well that sounds suitably good and all that, but what gives you the idea that you have what it takes in the horror field?

(LR) "........ I have been a fan of the horror genre since I was five years old, I would walk into my local video rental store and quickly navigate my way to the horror section. I instantly got goosebumps each time by just looking at the video covers, and being mesmerised by the art-work and the still photos found on the back of the video cases..."

Cast & crew of the trailer - but can Liam

really play that Banjo...we need to be told!

(FD) Yeah yeah so you grew up loving horror, but there are certain things I miss about some of the current movies that many certain others had back in the day - I bet you can't guess what they are!

(LR) "........ These movies were fun, over the top, character based, exploitation horror movies with an edge. They knew no boundaries, and it seems that in today's genre, everybody is trying to play it safe, and be everything to everybody, thus becoming a carbon copy generic shell of what the genre originally birthed. I truly miss the envelope pushing, twisted movies that I grew up watching. With Banjo, I want to bring back the sensibilities of the exploitation genre, and add a fresh dash of dark British humour..."

(FD) Er, bugger, you nailed that answer. OK, so what makes you think this project is going to work?

(LR) "........ With the cast and crew that we have secured for Banjo, we can bring this feature length movie to life on such a low budget. Working with Safehouse Pictures UK is a true blessing, because here you heave the heart of the independent British film industry. A select group of filmmakers, with like-minded beliefs and passion towards the horror genre. I was literally blown away by the production value on their latest movie The Eschatrilogy: Book of the Dead (2012) when I discovered the little budget they had..."

(FD) OK dammit, I'm hooked. You may as well reel me in.

(LR) "... I want to replicate the production value of the movies I grew up watching, with the heart of a truly independent film, that takes no prisoners and doesn't insult fans of the genre. If we're able to receive our principal photography production goal of £5,000 via Kickstarter, then Banjo will begin production in May 2014."

(FD) And finally Liam, could you give me Lloyd's personal contact number please?

(LR) .....................................................................................

(FD) Er Liam, Liam...... you still there?...........

So there you have it. It all sounds a rather promising doesn't it? I must admit that yet again, I simply cannot wait to see the finished product, I think it may be rather good. I think I may be waiting though for that telephone number, methinks.

This brand new feature length genre film only has 28 days to be funded via the crowd funding platform Kickstarter at the following link  RIGHT HERE If the team are able to meet their production budget of £5,000 by November 27th, Banjo will go into production in May 2014. 

Sheffield-based film company Safehouse Pictures UK can be reached HERE

To learn more about the project and behind the scenes information, please like them on Facebook and check out their official website: banjomovie.com

We Belong Dead, the zine of the classic age of horror

The most excellent cover for Issue 11 of

We belong Dead.

"A long forgotten age when Kong ruled Skull Island and Vincent Price held sway at the Masque of the Red Death. An age when Nosferatu repelled us and the Vampire Lovers attracted us. When the good Dr Jekyll became the evil Mr Hyde; when Karloff became Im-Ho-Tep; when Lee battled the devil as the Duc de Richleau; when Cushing was Dr Terror and Price was abominable as Dr Phibes.

Explore the House that Dripped Blood, the House on Haunted Hill,the House of Dracula and the House of Dark Shadows. Once again marvel as Dracula rises from the grave, Frankenstein creates woman, the devil rides out, the House of Usher falls, the Wolfman meets Frankenstein and the zombies have a plague.......

...Welcome to WE BELONG DEAD!!"

So proclaimed the very first issue of We Belong Dead way back in ye old olden days of 1992...... A group of horror-loving individuals, disillusioned with the then magazine markets obsession mainly with things Gore related while seemingly neglecting the 'classic' horror audience, decided to produce a publication of their own.

Now before I go any further here, I will as usual be completely honest with you( as the judged warned I should always be) - for I would love to say that I've been following the various musings of We Belong Dead ever since it's original incarnation way back then- but I can't. For some reason the first publications back in this pre-internet days seemed to have escaped my attentions at the time - and yes kids, there was a time before the internet and all it's glories was in existence, and somehow we all lived through it. Though I'm not sure how . 

However as I just said, I completely missed WBD in it's original existence, I'm not sure why. For as a fresh face young boy growing up in the 1970's I was already pretty much well on the way to becoming something of a horror and fantasy nerd. Like many boys growing up and heading into early adolescence, many of my friends had their 'thing's ( yes I did have friends, just because one is a nerd one doesn't need to descend into cliched existence). Those 'things' could be varied in their form - football cards, marbles, spiders, collecting the wings of dead Butterflies ...whatever it took to float ones boat. My particular boat from an early age was floated by collecting and reading magazines devoted to science fiction, fantasy or horror (and no, none of it included buying them & hiding them away in plastic cover protection where they would never be read for fear of finger marks etc). 

No, I bought and devoured them all - The House of Horror, the house of Hammer, Monster mag, The World of horror - to name but a few of those magical publications, from the top of my head. In addition to that there were many, many more that were continued to be bought throughout my years, both non-fiction and fictional works regularly floated ones boat - as they still do.

Yet We Belong Dead passed me by.

So when Eric Mcnaughton - El presidente of his team of horror classico writers and artists contacted me suggesting that I might be interested in talking about the return from the dead of his magazine that took place earlier this year, I was naturally interested. Naturally I was completely interested, particularly as he mentioned that I would have free access to the three issues produced this year - not that i'm cheap or anything, but I am rather partial to the term 'free'. Of course, just because something is free doesn't mean to say that my opinion will be positive. I would have to be won over, simple as that.

Now don't get me wrong - I love the modern digital world complete with it's accompaniment of electronic goodies. I am an unashamed Apple fanboy, I make no excuses for that. I love the online world that has been opened up within the past few years and the opportunities for information, entertainment and discourse that it provides (of course I refer only to the legal and clean-living opportunities, not anything else that would mean my over-used legal team being employed..........once again). 

However, I do find it refreshing and gratifying to see that this modern digital world hasn't completely overshadowed the more traditional forms of publications. For against all considered opinion, paper-based genre magazines seem to be enjoying something of a renaissance with sales and interest being nicely complimented and enhanced by the digital medium. Indeed, I was wandering around a certain movie store just a couple of weeks ago with a friend (yes I do still have friends, surprising I know) where I witnessed a veritable plethora of genre magazines which seemingly catered to every taste that we could possible want...... well most, because as in those dim and dark distant days, classic horror still seems to find itself in the lower rankings of publication importance.

It seems that Mr McNaughton and his band of horror classicos have the perfect opportunity, not only to fill that gap, but to take advantage of this healthy market.

So what does this resurrection after 16 long years of We Belong Dead have in store for the discerning lover of classic horror? And perhaps just as importantly (well to me anyway), will there be an inclusion of Madeline Smith?

Issue 9 - The glorious return of WBD

Issue 9 features such tasty morsels as;

* Blood, Boobs & a Good Title

A look at Hammer’s Twins of Evil

* The Ripper on Film

 5 favourite Jack the Ripper movies

* You Can’t Keep a Good Man Down

A controversial look at Hammer’s Dracula series

* Salems Lot

An investigation of the strange goings on in the town of Salems Lot

* Dracula Vs Frankenstein 

A review of a truly appalling film that’s a lot of fun

*First Lady of Terror

An interview with the wonderful Barbara Shelley   * Witchfinder General A delve into the world of Michael Reeves

What immediately appealed to me about this magazine was not the just the scale of the so-called fanzine (because it is more, much more than that) as issue 9 at a whopping 78 pages is appealing in itself for it's ambitious scope. No, it's far more than just the size,  because the writing style is intelligent, witty and full of the charm that I would love to be capable of myself.  

Not only that but the feel of the magazine in the style that it is put together is simply lovely -  a huge collection full of black and and white photographs (some rarely seen before) which accompany the written pieces. For example, the picture on of Barbara Shelley is simply stunning  - easy Tiger....

Not only that but the writing never falls into preaching or talking down to the reader. Yes the articles are written by a group of people who have an obvious love and knowledge of the classic genre, but they never fall into the all too common trap of some magazines of sounding elitist or condescending. Indeed, articles featuring the writer's own guilty horror pleasures speaks for the tone and approach of the magazine completely.

Issue 10 - It's a bit good

4. 
   

Issue 10 features such tasty morsels as;

* Boris Karloff Actor by Stephen Jacobs

* The Soft Side of Boris by Rhonda Steerer 

Two excellent pieces on the gentleman of horror himself.

* Thank you Dennis 

A fine tribute to Denis Gifford’s Pictorial History of Horror Movies book

* The Frankenstein Saga – Hammer Style

* House of Frankenstein

An exploration of a fine body of work.

*  Mexican Horror Movie Lobby Cards

A fascinating look at this weird and wonderful world of the lobby card * 7 Golden Vampires Featuring an interview with Roy Ward Baker  

* Creature Features The wonderful world of nature gone violent and wild.

* Would Have Been Horror Kings  After Karloff et al, came Bates et al as the new kings of horror

The intention of Eric McNaughton and his team from the very beginning was to produce a magazine made by fans FOR fans - this can often be something of a tricky venture that in truth for some works ( be they paper-based, websites or indie-films) I must admit in my experience don't always come off. For it can be hard to resist the tendency to venture off into self-indulgence and produce something containing more than it's fair share of in-jokes and references that may well amuse the makers but can result in marginalising the general audience. It would be unfair to name said publications or productions, but since starting this blog I've been lucky enough to be in contact with a huge amount of of talented and ambitious people whose work can occasionally be let down by self-indulgence.  

We Belong Dead does not do this. It is an intelligent and well thought out magazine that is clearly made by people who are clearly passionate and knowledgeable about their particular loves within the genre. This passion doesn't ever become over self-obsessed or preaching. 

The currently available issue 11 perfectly exemplifies this. This is the publication that is freshest in my mind after reading it this morning with my requisite 3 cups of Sunday morning coffee. The issue includes a detailed write-up of the Universal classic The Black Cat , a look back at Roman Polanski’s simply incredible and criminally underrated production of Macbeth, a We Belong Dead tribute to the late Richard Matheson and his genre films, a female perspective on Hammer’s Karnstein trilogy. If that wasn't enough there are lovely overviews of Hammer’s Mummy films, interviews with the late Ray Harryhausen, Caroline Munro and Madeleine (delicious) Smith, and nostalgia pieces on House of Hammer magazine and collecting horror film books.

The interview with Maddie (delicious) Smith will come as no surprise to those who know me well was something that particularly piked my interest, with not a small amount of jealousy that Mr Richard Gladman (and a so-called Facebook friend of mine) got to interview her deliciousness himself without even the hint of mention to me. It's even more annoying that its a bloody good interview with intelligent questions equally intelligently answered by her deliciousness.  

I mean this completely sincerely - I cannot recommend the the three editions that I have enough. We Belong Dead passed my by on its original incarnation - I won't be making that same mistake again.

Fearbook - The best of the first 8 editions of WBD

A 120 page Fearbook, featuring the best from the first 8 long out of print issues will be launched November 9th at the Westminster Hammer and Horror Day in London. This particular gathering is threatening to be THE event of the year for we lovers of classic horror. It’s the Hammer & Horror Film Day at Central Hall Westminster, London on Saturday 9th November. The event includes guest line up of actors and directors that will look like a who’s who in the world of classic horror, including such luminaries as David Warner, Kate O'Mara and her deliciousness herself - Madeline Smith. If that wasn't enough there will be a veritable plethora of Q &A sessions and special film screenings. It will be a veritable  treasure trove of rare and original film memorabilia with a vast array of dealers from all over the UK, Europe and the US. Oh, and the team of We Belong Dead will have a presence there too - which is not as threatening or foreboding as it sounds. It will be a chance to meet some of the team and buy some rather excellent stuff.

Sadly, I cannot make the event myself as my 'day job' in the North of Scotland means travel is impossible. However, I will me throwing myself at the feet of Mr McNaughton et al ( & other acquaintances) to provide me with a wealth of material from the event. The rumour that I will do most about anything for a signed personal photo from Maddie Smith are most likely perfectly true......

For anybody wanting to order issues of We Belong Dead can be ordered AT THIS ADDRESS. Believe me, you will not regret it.