Along with your late husband, Ed, you were a pioneer in the paranormal field, Mrs.Warren, investigating those things that others may have dismissed as no more than hollow myth.
Though some will yet dispute the credibility of your work, you gained the sort of stardom that so few achieve and so many envy.
That recognition pop-culturalized "The Amityville Horror"; "The Haunted"; "The Haunting in Connecticut"; as well as the blockbuster "Conjuring" and "Annabelle" franchises.
You inspired us think outside the box, to imagine, dream...and fear.
The Great Beyond now awaits with all of its splendors and weird wonders. I'm sure you and Ed will have more than a few new tales to share by the time we enter...
I'm shamelessly partial to Michael Ferentino's Bedtime for Robots, as my readers know. The latest gathering of tracks, Phase 2 (as insiders have come to call it), is no exception to the rule and may be the project's most profound compilation to date.
As with any Bedtime for Robots ensemble, Phase 2's arrangement creates a hypnotic draw. In truth, this particular offering is, as Ferentino puts it, a "goodbye album to the early 21st century", which makes it also a sort of farewell lullaby. However, it won't lull one to sleep as much as it'll awaken one's most audacious reflections.
"Strange Faceless" stands as my current, most-listened-to track (partly due to its phantasmagorical video). Its unorthodox texture epitomizes the compilation's thematic temperament, presenting a headlining journey into unidentifiable but inviting turf. (Think of it along the lines of Hans Salter's "Treacherous Trek" from Jack Arnold's "The Mole People", only more upbeat in its beckoning breadth, but no less odd or risky for all of its adventurous smoothness.)
The album's other selections extend the anesthetic buzz, smacking of Herbie Hancock; Kraftwerk; and maybe, just maybe (if one rolls with the interluding punches), a smidgen of Jerry Goldsmith, redesigned by the Moody Blues.
These elements are most recognizable in what might be the undisputed champ of mechanical madness, "St. Valentine's Day Massacre", but they also mark the nibbling "Infamous Blasphemous" and "Sweet Earth Holes": compositions that would make the great Fritz Lang kneel in respect.
To complement the dystopian aura, we also have the super-gnawing "Ineffective"; the sensually robotic "Eliza"; the "Blade Runner"-ish "Lost Film" and "Synthetic Hex"; plus what could act as an alternate, "Peter Gunn" accompaniment, "Corporate Radiation", which in the context of the compelling queue, reinforces the ambivalent urge to rest and revolt.
At other times, Phase 2 fizzes of hot-and-bothered cynicism, characterized by the hip, scientific tones of "Move 37"; "Human Replacement"; and the big-time rockin' "FTS", which will get one dancin' and prancin' like there ain't no tomorrow. Though these select tracks sometimes insinuate peril, their soulful hearts enchant as much as the others, solidifying the album's existential effect.
Phase 2 also contains three, superlative bonus tracks: "Lamb Offerings", "Thing" and "The Long Walk Home from Sanity", which cap the silvery stream with just the right snappiness.
No matter how one hopes to pigeonhole it (and there's no way one can), Phase 2 is an exceptional gift to Bedtime for Robots fans, forging the type of escapism that only Ferentino can formulate: an orchestrated pill that makes everything edgy and at the same time, right as rain.
Embrace Ferentino's entrancing work at
https://bedtimeforrobots.bandcamp.com/album/bedtime-for-robots?fbclid=IwAR13GcyCbdWTMYtFDc9SYEVFyz2xfKF-n1wu6zHpxyJkueMYcVBsX1pYBi8
"Justice League vs the Fatal Five" is DC/WB's newest animated feature: a time-traveling, titanic clash between good and bad, delivered by a tested trio: producer Bruce Timm, director Sam Liu and scriptwriter Alan Burnett.
The premise: Five, super-terrorists from the future drop back in time to snuff out our present-day superheroes and terminate the human race. The vanguard consists of Emerald Empress, Tharok, Mano, the Persuader and Validus. (The beguiled Bloodsport guest stars in the mayhem's early phase, but doesn't link to the invaders. Various Arkham personas also cameo.)
Fresh faces figure into the conflict: Miss Martian, Saturn Girl, Mister Terrific and Jessica Cruz, Limelight of the Green Lantern Corp. Star Boy, aka Tom Kallon also occupies the action in an absorbing but complicated way. These fine folks assist the JL in the struggle, led by (no surprise) Batman, Superman and Wonder Woman. (In the process, Batman takes a fatherly shining to Miss Martian, making them this chapter's official, dynamic duo.)
Focus ultimately falls on Star Boy, who proves himself a power-pulsing, black-suited enigma, but is cool enough when in the JL's grasp, despite his erratic outbursts.
In the process, Star Boy comes to terms with his origin. Though the staging is "12 Monkeys" anguish-wracked, it's more convincing and satisfying than any self-discovery found in Marvel's "Captain Marvel". (With the latter, we're talkin' a longer, no-excuse-to-cut-corners, theatrical feature, too.)
The drawback? "JL vs Fatal Five'"s framework feels a lot like "JL vs Teen Titans" and "JL Dark", to name but two. If DC's filmmakers want to lengthen and strengthen their acclaimed, animation track record, they might consider rewiring the favorite formula.
Now, don't misunderstand: The DC mythology (the moral heart of it) shouldn't be tampered with or disrespected: The damn wheel needn't be reinvented here. It's also evident that not every animated film will reach the melodramatic heights of "Death of Superman" or "Killing Joke". Still, the cozy practice of sameness will dull even the best franchise, and no Best Buy, comes-with-action-figure gift set is gonna change that.
With that said, "JL vs Fatal Five'"s results should serve their purpose, but let's hope that the ensuing DC/WB animated adventures take things to the next level.
Up, up...and away to my gorgeous wife, Donna, for another tip-top bill of health!!!
I'm proud as a peacock of your consistent courage and all that you've achieved. You're a steadfast Power Girl in every single way.
With Easter in sight, thoughts of charitable giving once more come to mind. For those who wish to make a positive impact on others, Puppies Behind Bars is a sincere, worth-while means to do so.
Puppies Behind Bars assists in canine training for wounded war veterans and first responders, who face difficulties with daily functions. In addition, the agency supplies crucial, bomb-detection dogs for police procedures. The canine training is administered by prisoners, who wish to give something beneficial to a society they've wronged in one way or another: a most honorable path toward redemption.
The charity ensures that inmates are prepared to the utmost, caring capacity before they commence their meticulous but nurturing lessons. Trainers and dogs are then teamed for two years, at the end of which the astute, adoring animals are dispatched to their designated guardians in need.
I'm a proud donor of Puppies Behind Bars through the NJ Employee's Charitable Campaign. I do hope that others will contribute as well. The organization is a huge win-win for all involved.
Visit Puppies Behind Bars at https://puppiesbehindbars.com/.
You'll find ample information on all activities, with specific steps on how to lend your support.
There are Hollywood directors who aspire to recapture a distinct, old-school flavor in their endeavors, but somehow fall short in the process: perhaps because as much as they wish to recapture the past, their egos dare to redefine it.
With Joshua Kennedy, there is no such threat, for the humble but commanding writer/director/producer continues to hit the mark with each homage he spins.
Kennedy's latest accomplishment is another tribute to Hammer's "The Gorgon" (his favorite film), entitled "House of the Gorgon". The filmmaker's first "Gorgon" homage was "The Night of Medusa" (see May '16 post); prior to such, he dispatched the succulent, Hammer salute, "Dracula: A.D. 2015" (see Oct '15 post). "House of the Gorgon" tells the terrifying, turn-to-stone tale of a young woman haunted by sinister, spectral sisters with a legendary link, thanks to her spouse's supernatural abetting.
Even beyond its bewitching premise, "House of the Gorgon" is notable for including such Hammer headliners as Christopher Neame, as Father Llewellyn; Caroline Munro, as Baroness Bartov; Martine Bestwick, as Euryale; and Veronica Carlson, as Anna Banning. That these attractive, talented stars have been teamed so many years after Hammer's heyday is astounding in its own right. To see them again at the top of their game (never once missing a beat) is a full-fledged, historic treat.
Accompanying the veteran ensemble is Georgina Dugdale, as Isobel Banning and Jamie Trevino, as Christine, with Kennedy as demented Dr. Julian Pritchard; Gus Kennedy as brassy Bailey; Tom Pearson as haughty Hans; and Marco Munoz as kindhearted Karl (along with a nifty cameo by famed Femforce writer, Mark Holmes). For the Kennedys and Munoz, this marks a "Theseus and the Minotaur" reunion, which Gooey Film followers will appreciate.
"House of the Gorgon" also benefits from Kennedy's inspired direction, which flows in the sumptuous style of Terence Fisher. The skillful execution ensures that the story stays doleful, eerie and refined, as any proper Hammer salute should.
To supplement the latter, "House of the Gorgon" features awesome, period-piece art direction by Lauro S. Hinojoso; fantastic, Freddy Francis-tailored cinematography by Martin Torres; luscious lighting by Rosa Cano; and a brooding, Bernard-esque score by Reber Clark. These important additives prove cozy yet edgy, keeping the film's aesthetic and emotional aspects high, no matter what the scene. (For all intents and purposes, "House of the Gorgon" looks as though it was made in the late '60s/early '70s: precisely the point. The result may, in fact, be Kennedy's most polished production to date.)
By the time the credits roll, one will have found "House of the Gorgon" a glorious, gorgeous love letter to Hammer's filmmakers and their faithful fans.
Though other films in release this year may draw more hype, "House of the Gorgon" is the one to see: the one that proves beyond any doubt that classic, Gothic, movie-making still holds a precious place in cinema's expressive heart.
