NOW WATCHING: Valerie Leon in BLOOD FROM THE MUMMY’S TOMB on Amazon Prime

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BLOOD FROM THE MUMMY’S TOMB – This little horror flick from director Seth Holt is pretty much complete hokum. The biggest issue, there is not enough story to justify its 90 minutes. The director is not without talent, but it’s a case of subpar story and not a whole lot for the actors to do adding up to a yawn fest overall.

That said it is worth at least fast forwarding through to see Valerie Leon’s not inconsiderable assets, on display. She is pretty much the whole show here, her beauty being nearly mesmerizing. When she is not on the screen it is generally a mediocre watch.

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For more on the Amazonian Valerie Leon go here (A fun website called CONFUSING THE POLARITY) or Ms. Leon’s own page here. Ms. Leon is thankfully very much still with us, so I urge you check out her site; as she has great items available.

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Pictures are courtesy of the impressive website Church of Halloween.

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Crazy Rambling Short Story of the Day?! The War on the Public

This is a work of fiction. Any resemblance to a mad tirade is a complete coincidence. 🙂

Quick update, we have the WEDNESDAYS WORDS installment scheduled for tomorrow, that’s going to be a rough one, to get out on time. And I want to get up the MONARCHS OF MAYHEM interview with Charles Saunders for Thursday, which will push part two of 15 FAVORITE PULP HEROES into the weekend. So yeah just check back this weekend for part II.

But to give you pulp fans something in the interim, I bring you… The War on the Public! A mad, slightly quixotic rant (for those of you who’ve never seen me rant before… run away. The water is deep here, and in the words of Alan Moore, “the idea of a God… a real idea.” :)) :

CONDE NAST vs BLACK MASK – This is an oldie but an interesting read nevertheless about the first significant volleys in the war to eradicate public domain.

Here are some additional public domain links:

“Supreme Court Lands Final Blow Against the Public Domain! In Golan v. Holder (Jan. 18, 2012), the Court upheld the power of Congress to withdraw works from the U.S. public domain”

and

“What do we do now if Congress adopts a term of, say, life + 1000 years, or seeks to award a new copyright in Huckleberry Finn to Disney or to the Mark Twain estate?”

Public domain, public domain, public domain. Why is it disappearing? And Why should you care?

Well the first question is simple, it’s disappearing because people with money can make it disappear. It’s disappearing because of greed.

‘But’, you say, ‘there have always been rich people. and there have always been greedy people, so why is it disappearing now?’

Well it is disappearing now, because business has made such inroads into having the ear of our senate and house, and our courts, that the people who previously were elected to represent the citizens, are instead representing corporations.

The second question, “Why should you care?” I can’t answer that for you, I can only tell you why I care.

Now as a creative person and a writer, and as a friend of writers, I believe in copyright. I think it’s a great thing. But I also believe in Public Domain, and I think that is an equally great thing.

And I think before big business stepped in with their “more, more, more” mindset we had a perfectly workable compromise.

When I was coming up, public domain was very simple, after 50 years, a concept went into public domain

It became the property of the people. Of we, the people.

The writer doesn’t stop being the creator, he is still the creator, his or her name is still on the work. It’s just that after fifty years, his creation can be used by others.

The idea being that if an idea or concept has survived for 50 years that a/ it’s enough time for the creator to profit, sans competition, from the creation and 2/if people are still talking about a character or an idea 50 years later it has become part of the cultural conversation. It has become like an urban legend or a myth or a tale of Grendel and Beowulf, something that transcends the teller. Something that is part and parcel of a larger conversation and the basis for new creations.

(And notice I said people, Public domain is about insuring people, creators get compensated in their lifetime, it is not about ensuring the perpetual unending market share for an undying corporation. Why are companies, that don’t even have the welfare of this country at heart, given the right to lobby our representatives like citizens?

Companies that I can assure you don’t pay the percentage of tax that I do. I’d love to see Disney and Exxon and Shell paying 20% of their income a year in taxes. This nation would not have a deficit.

Corporations shouldn’t in a civilized world, have more rights than citizens. They don’t care about creators, they don’t care about this nation or any nation, they care about themselves. Which is fine if they are not drafting the laws for an entire nation, but they are, so their lack of concern for what is best for anyone besides them… becomes a problem.

A corporation without a sense of cultural and social responsibility… is a mob, to be watched, to be feared, and ultimately to be put down.)

That’s how culture and art works. New things building upon the old. And old ideas being re-imagined into the new. But the coming of the 21st century saw greedy companies rather than earn customers through the new, instead adopt a policy of profit through protection rackets, through intimidation.

So you get corporations lobbying for aggressive changes in the laws of copyright and trademark and patents. And suddenly public domain is an enemy for corporations to avoid and destroy at all cost, instead of what it should be, a necessary part of making old ideas the birth ground for the new.

Art doesn’t get made in a vacuum, it’s part of a continuing conversation. And we are made better for that open resource, for Universal Studios being able to do their version of Frankenstein or Dracula, and for Hammer Studios to be able to do their version, and for any writer or indie filmmaker to be able to do their version.

Without having to clear the usage of Mary Shelly’s concepts with Disney, or Bram Stoker’s concepts with Time Warner, anyone can do a Frankenstein children’s book, or produce a Dracula song or stuffed animal. And that’s wonderful, and cute, and beautiful, and healthy. So it’s about creativity, but it’s also about healthy commerce, and true free enterprise. Companies that want to generate wealth in a country, rather than just taking wealth out. And by Wealth I mean more than money, I mean the ability of people to be able to produce and own products of cultural recognition and interest, without having to pay tribute and protection money… to monopolies.

It’s especially galling to hear from these pompous companies, when the characters they are looking to lock down are, in many cases, popular inspite of them.

Who has kept the Shadow and Doc Sampson and even Spider characters viable? It wasn’t the bloody companies. The pulps and old time radio shows exist not because of the companies, that couldn’t erase the tapes and dispose of the pulps fast enough, it was the bloody collectors. These insane, lovely human beings, who threw together out of their own pocket, these things called conventions, at a time when a company’s initial response was, “Why are they talking about that lame, dead crap, come see my latest Disco Ball action figure! Look at the nerds still talking about the Shadow and Doc Sambo, or whatever his name is! Hey Nerds, the 1930s called they want their hero back! Ha! Ha! Ha!!”

🙂 (I just made myself chuckle)

Unfortunately much to businesses’ amazement, this old stuff, due to the passion of fans, actually had staying power. And if anyone has been to a movie theater in the last couple decades, monetary value.

However, as I’ve said before, it was the people, the collectors, the very obsessive types who corporations seek to criminalize today as filesharers, infringers, etc.,, that have saved and preserved much of the culture we now are able to still enjoy, that without them would have been lost.

I love the Old time Shadow radio shows, along with many other radio shows. Those shows, those great pieces of not just entertainment, but of art and culture and history largely exist, not because of Conde-Nast, or insert corporation here… those shows exist because rabid collectors, copied them off the air, made copies, and shared them down the years.

Same with the pulps. Same with silent movies, and sound movies, and film noir.

In the absence of companies finding a monetary value for something they destroy it. They erase over the tape of Doctor Who, they throw out the audio tapes of the Shadow, they burn original artwork of cartoonists.

Why? Because the number crunchers at companies, are not the creative people, they weren’t then and they aren’t now. They make decisions based solely on dollars and cents, and that tunnel vision is always flawed when dealing with work that is also about the imagination of man.

An ‘only Dollars and cents’ mentality will let what is quirky, and manic, and fun, and childish, and challenging in this world die. So these gentle angels of our nature survive because of people who love them. People like the owner of BLACK MASK. Rather than suing that man, Conde-Nast should have got down on their knees and thanked him.

Because he and his kind, collectors preserve these things, when Conde-Nast could not see financial gain to them. But in the wake of renewed interest from Hollywood at the end of the 20th century, and the gangbusters showing of comic and pulp related properties, suddenly everybody wants to sweep in and be the owner of old things made new.

Here’s the thing about public domain. It doesn’t stop you from making money if you have a good idea and a good product. So you don’t need to take Doc Savage or Shadow or Spider out of public domain, to do a book, or a movie, or a audio drama or a cartoon.

No one is stopping you. Build it and they will come. I don’t need to buy Spider Books or Shadow Books, however I do so all the time, when I see a great packaged product. However, if you’re a morally bankrupt company, that has no intention of putting out an attractive product, I can see how competition may not be for you. And you try to sue yourself into business rather than earning business.

And that is where we are at with these companies. They are so petty and greedy for every single penny, it is sickening.

Those…. bloodsuckers!! (Sorry, couldn’t resist! 🙂 )

Disney’s one of the biggest companies in the world, they can throw around 200 million dollar movies, like you and I throw around nickles, and yet they are afraid to death if a grade school kid creates and passes out her mickey mouse comic.

You can not have it both ways. You can not want something to be culturally iconic and generational, yet remain proprietary and exclusionary. No. We are creatures raised to spread stories over an open flame and for that story to travel from person to person, being changed by each person, owned by each person, passed on by each person, and becoming changed and new and different with each telling.

If you look at all the martial arts, they are pretty much the same art, changed over time, and over region. And we as a culture are better and stronger and richer for that migration, that cross pollination, that cross ownership… we are better for having silat, kung-fu, aikido, hapkido, capoeira, savate, kenpo, krav maga, systema… etc., we are better for free association, no fences, open source, public domain.

We have always been better for it. But now in the last few decades, fences are being put up by a few gatekeepers, on everything. And that cannot stand.

It is an unsupportable policy/mindset, utter control of the culture, art, and interactions of a mass of people by a few outside those people. There is a name for that, and it has always been the same name.

Because if you think that it is a nightmare and an outrage just getting rights to a song to use in your film or project or play, imagine wanting to do your short film of Poe’s TELL TALE HEART, and being told you have to get that approved through Disney, and if they approve you, fees start at $500000.

You wouldn’t have a filmmaker like Roger Corman, if the copyright and trademark environment of today was in existence yesterday. And then you lose all his Poe films, you lose all his collaborations with Vincent Price, you lose his part in the ascension of creators like Nicholson and Howard and Coppola. And who knows what we all lose for loss of those mad, creative cranked out Gothic films.

All that because one man was allowed to follow his muse without crippling interference or exorbitant costs imposed by ‘rights’ holders. How many possible Cormans are we killing, in multiple fields, today? Killing them because we are allowing dinosaurs to sit on our shared cultural conversation and art like a dragon sitting on eggs.

Doc Savage is public domain. Superman is Public domain as much as Robin Hood. Batman is public domain. The Shadow is public domain. Fifty years is a good run for exclusive rights to profits. None of this nonsense about renewal of copyrights, or trademark used to get around expired copyright.

[And speaking of trade-mark. MARVEL and DC have ‘jointly’ trade-marked the term ‘Super-Hero”. What is that about? So tomorrow do you trade mark the term ‘hero’ or ‘myth’ or god’? Do you trademark the term God? Who is at the trademark office just handing out the rights to every word in the dictionary to the highest bidder?

They haven’t begun invoking it yet, their ‘super-hero’ trademark, largely because I think they are waiting for some of the smaller comic companies to fold up shop, and don’t want a challenge to come up when their hand isn’t strong enough. But Like Microsoft, make no mistake, they will give it away for free today, to set themselves up to own the market share and charge you through the teeth tomorrow.

All you small comic-book companies need to come together and publish one big omnibus anthology called ‘Best Super-hero Tales’ or something, and get that trademark challenged and thrown out today. Now while the challenging is good. and all the old creators they are waiting to die before they can bring evidence, are still around. Because if you don’t, mark my words, ten years from now anyone who wants to use the term ‘Super-hero’, in the title to anything, will have to pay for the pleasure.]

I’m not saying companies can’t continue to sell and market their items past the 50 year mark, but what I am saying is that everyone else can produce their take on that idea as well.

(Quick aside here… A word on this copyright extended to 70 years after a writer’s death nonsense. Who the heck does that benefit, if not the money grubbing corporations? Did someone just say ‘the family’?

This isn’t about your family, fool! 🙂

Your family can make money, sell books, shoot movies, whether or not your book is in the public domain. We all know, the rights to a writer’s work ends up snatched up by the publisher. And with only about half a dozen conglomerates owning all the book publishing divisions as it is, that’s a troubling proposed consolidation of intellectual property.

See, what we’re talking about is every work after 1923 [that is the date today, tomorrow they might push it back to works in copyright being only stuff before 1823], all the accumulated wisdom, and hopes, and dreams, and pathos, and joy, and horror, and striving, and yes fighting against oppression of millions upon millions of writers, being owned, with this continued push toward extermination of public domain, the wealth of the world… owned by half a dozen oligarchies. What greater betrayal could there be? To any writer, to every writer. To have the work of the most imaginative, and moral people (which is what on a whole, I find writers to be), owned by people bereft of either imagination or morality.

And to that plan, of mad, sick twisted companies, their dream of a world devoid of public ownership, I say the only thing I can say, the only thing a life-time of loving books has taught me to say to such over-arching presumption and tyranny. I say… no. )

Public domain can work for all

Disney will still have Mickey Mouse, but if Tarantino or Seth Green or anyone wants to do a Mickey Mouse movie, they can. I’m not saying DC/Time Warner can’t still make Batman or Hulk comics or movies, but I’m saying past 50 years from date of creation, so can everyone else. How about a Batman movie by Werner Herzog or a Superman tv series by the Hughes Brothers?

Both those ideas just made me chuckle.

I can’t say you won’t get your share of train wrecks with such freedom, but you’ll also get get your share of wonders. You’ll get Baz Luhrmann’s Shadow next door to Branagh’s Doc Savage. And we are made richer when we can build on the culture we grew up in, rather than this new corporate policy of paying tribute to entrenched monopolies, Disney’s Culture or Time Warner’s culture.

This is very much a land grab, but not land rights this time, not water rights, not airwave rights (which they recently removed from Americans), this is about dreams… being fenced off.

We are on a perilous path. When I think of how much we have lost in the 6 years since Conde Nast sued BLACK MASK out of existence, it gives me pause. Because it is very much a culture where only the few will own anything, that we are pushing toward.

Not software, not hardware, not books, not houses, not music, not comics, not land, not our airwaves, perhaps not even our food or our air, do we get to own. Where everything we interact with is rented to us, is timed, our reactions to it… judged, to insure they are in acceptable non-infringing levels.

That is the end of culture my friends.

Fiction you say?

Yes… Fiction, I say.

Want to learn more?

Want to fight? You? Want to fight? After all I told ya Boy, ya want to fight the dragons of the world?! Swing at windmills like your uncle HT?!!

Aye, you bring a tear to an old man’s eyes. Aye, if I had five more like ya, I could ride into hell and put out all the fires! 🙂

Well get ya some education first boyo, read the following takes on public domain:

It’s a start.

OPEN RIGHTS– Ah, I love these passionate, mad Brits.

CR Fight ArticleYet another Brit! Where the hell are the Americans working to repeal copyright extension! Hold on, I’m still looking.

EFFAh, here’s the beloved Yanks! Over there! Over there! And the Yanks are coming! The Yanks are coming! Over there! WHAT??? Don’t you guys watch James Cagney musicals?!!

Stanford Overview of copyright

CR article

Public Domain info

OKFN

POSTER OF THE DAY: WAR GODDESS!!

I haven’t seen this movie, but man that’s a fantastic poster. And add that to surprisingly decent reviews for what amounts to an exploitation flick, and that it’s directed by Terence Young of James Bond/DR. NO/FROM RUSSIA WITH LOVE fame, and the fact you can pick up the DVD cheap, and yeah I think I’ll be adding the DVD to my shopping list (I already have the poster, it’s pretty large at 2ft by 3ft, and looks even more awesome in person).

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Film/Movie Review Face-Off: LET THE RIGHT ONE IN vs LET ME IN vs Stephen King Crazy Quotes!

So if you follow this blog, you know I’m a huge fan of the original LET THE RIGHT ONE IN (Låt den rätte komma in) a 2008 Swedish film, that made the rounds in the states at the end of 2009.

Directed by Tomas Alfredson, a relative unknown, having mostly tv credits and comedies to his filmography, it’s fair to say that LET THE RIGHT ONE IN is his breakout hit.

Just a brilliant, oddly intimate and understated film, that works because of that intimacy and understatement. With some wonderful performances, and deft assured direction. It lived up to all the praise it generated well over a year or so back. Mostly because at its heart it’s a very sincere feeling tale, of isolation, and ostracized characters, and the cold winds that separate people. At its heart beneath the vicious, fantastic trappings, there beats a hopeful and horrible tale, just out of sight that both enchants and troubles.

I’m glad for the ambiguous nature of the original film, from the little I’ve heard of the book, I would not have liked the movie near as much, if it was slave to the book. Alfredson’s film, leaves the viewer with questions that linger, and both hopes and fears that haunt. And it is ambiguous enough, that you can graft your own backstory to the characters, and your own ending, hopeful or horrid, depending on your disposition.

‘Låt den rätte komma in’ is a film that endlessly troubles, and endlessly enchants.

Now I just watched the American remake, the more to the point titled LET ME IN, by Matt Reeves, and I thought it was a good film. But the title itself gives you a clue to where this film stumbles, and we’ll touch on that in a moment.

Matt Reeves, the director of CLOVERFIELD, which I thought was awful, definitely improves on that first outing.

The opening and much of the film showed a surprising deftness and attempt at freshness, surprising for what amounts to a quick cash grab. Which is what remakes typically are.

However Matt Reeves surprises with some scenes that are a clear improvement, such as the films tonal centerpiece, the car hijack scene. That’s just a wonderful bit of filmmaking.

And I quite liked the choice of how to open the movie, from “step A” showing you this is not going to be just a regurgitation of the original, but hopefully a reinterpretation.

The film tries to juggle the constants that make the original work while adding its own spin to it, and for the most part it works. I thought where it failed is in pivotal scenes with our young protagonist. Particularly the scenes with the two young actors, (both of who give great performances, Kodi Smit-McPhee and Chloe Moretz. My problems are not with their performances, it is in how their interaction is, and is not, covered), the issue is the intimacy of their interactions.

I’m thinking of specific scenes where the two young actors bond in the original, moments of bonding which help to pave the way for that ending. One scene in the original is as much body language as dialog, arguably more. Such as when Oscar hugs Eli after the candy incident, it informs a lot… how that scene plays out, and how she’s hesitant to hug him back. It speaks of her vulnerability and fear as much as his, and that wonderful bit of business is lost in Matt Reeves’ remake, due to how he frames that shot in tight close up. Losing more than it gains. The same is for the scene of them in the bed. Compare how well and touching that plays in the original to how distant and removed it is filmed in the remake.

But the two really important scenes that I think speaks to the very heart of what really binds these two children, or at least what binds Oscar to her, binds him to her body and soul, for me the pivotal scenes in the original film, without which that film would not have worked, are (spoilers ahead)

1/ the scene where, taking her advice, Oscar hits back when bullied. Oscar inflicts real damage, and his tormentor drops to the ground, and Oscar experiences what appears to be an almost transcendent state of grace, and pleasure, from putting down this tormentor. It’s an amazing and powerful scene, and you can understand why he would be bound to the girl whose advice led him to this, if only temporary, state of bliss, of… reckoning.

Again an absolute stunner of a scene in the original, it is not in the remake. Oh he hits the bully all right, but that whole concept of what that moment means, of what her advice in that moment has given him, completely not in the remake. it’s a staggering omission.

And going back to the title of the remake, LET ME IN, that shortcut nature of the title, extending to the shortcut nature taken with the emotional range of the story. I understand some of Matt Reeves’ shortcuts, combining all the characters into this REAR WINDOW type scenario, but shortcuting the emotional fireworks between the young actors was a HUGE misstep.

And

2/ The 2nd crucial scene, sensibly enough is at the climax, which felt incredibly powerful in the original, incredibly haunting, and incredibly uplifting, him looking up and her eyes, his savior’s eyes if you will, looking back at him, is an incredibly iconic scene, it makes that a climatic moment. it makes that the 2nd true moment where you can see devotion, is forged in blood and death and trial. And it makes the train scene after that, completely right somehow. Completely understandable, that they have been… bound in blood.

That ending is missing in the remake. To be precise, it is there but in a very truncated form, I’m sure Matt Reeves was trying to find his own voice with the scene, but he doesn’t. He copies much from the climax, but removes from it all the emotional connectivity, that would have made it climatic.

Instead the ending just sits there, lacking. Incomplete. Missing. Because they didn’t share that look, that connection, that binding of… two lost souls. Matt Reeves is a capable camera mover, but as in CLOVERFIELD I think he has problems bringing across, or filming characters. He films action, he’s not really good at filming actors, or that ineffable sense of communication.

Again I thought this film was a VAST improvement over his CLOVERFIELD, and was well on its way to being as good as the original, but it just cut too many corners with the emotional heart of the story, and that cost the film its ending. Indeed if Matt Reeves could have made his character moments as strong as his action set peices, it arguably could have been better than the original. Though if Mr. Reeves is this strong with only his 2nd film, I look forward to his progress in upcoming films. I, for one, think if he can bring an honest and caring emotional component to his already exceptional technical skills, he’ll be a filmmaker to watch.

So, in closing, the revamped HAMMER STUDIOS has chosen a strong film to reintroduce themselves to a new generation. A film worth seeing for a good first half, particularly the car hijack scene, though I would recommend seeing the original first.

But would not recommend re-watching, or purchasing the DVD.

My recommendation is buy LET THE RIGHT ONE IN instead, as that is a film, that will reward you with repeated viewings. Grade on LET THE RIGHT ONE IN: A-. Grade on LET ME IN: C-.

p.s. On the cover to LET ME IN there’s a quote from Stephen King that states “The best American Horror film in the last 20 years”.

My, respectful as I can make it, reply to that is… “Are you on crack?”

Because either that’s a typo and he meant to say “Matt Reeves best film”, or I would have to surmise Mr. King has not seen many horror movies in the last 20 years.

And with that bit of eloquence, we bring this review to an end! 🙂 Yall come back now, y’hear. Till later… be well.