Welsh Screenings Announced

Oct. 25th, 2014 06:30 am
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Posted by Marcus

BAFTA Cymru, BBC Cymru Wales and Film Hub Wales have announced a series of special Doctor Who events in the nation including a special premiere of the current series finale Death in Heaven.

A series of six screenings will feature episodes from Doctor Who that have been filmed in Wales throughout Doctor Who's 50 year history.

The programme of events, devised and coordinated by Film Hub Wales and BAFTA Cymru, and hosted in partnership with BBC Cymru Wales, will offer fans of the series a chance to see monsters from key episodes of the cult classic on the big screen and hear from the creative team working on the series.

The events will be held between November 2014 and January 2015 and will be part of Sci-Fi: Days of Fear and Wonder, the BFI’s landmark season dedicated to cinema’s most spectacular genre, presented together with 02. Tickets will be available to BAFTA members and the general public.

Hannah Raybould, BAFTA Cymru Director, said:
BAFTA Cymru exists to celebrate excellence in production in the moving art form and this new partnership with BBC Wales and venues around Wales – made possible by the funding received from Film Hub Wales, will allow us to offer new access to the amazing talent working on the Doctor Who series in Wales.

We are particularly pleased to be working with new venue partners – from Scala Cinema and Arts Centre in Prestatyn, Theatr Harlech in Gwynedd, Savoy Theatre in Monmouth and Y Ffwrnes in Llanelli, which expand the breadth of our offer, and add to our existing fruitful partnerships with the Film Hub lead organisation Chapter in Cardiff and Aberystwyth Arts Centre.
The first event in the series, to be held in partnership with Chapter pop up cinema on 4 November at the landmark National Museum of Wales in Cardiff, will be a preview of Death in Heaven, the current season finale, which will be screened ahead of its broadcast on BBC One and will be attended by cast and crew.

The wider programme of events includes The Doctor, the Widow and the Wardrobe at Ffwrnes in Llanelli on 1 December ; The Sontaran Stratagem / The Poison Sky at Scala Cinema and Arts Centre, Prestatyn on 12 December; The Unquiet Dead at the Savoy, in Monmouth on 12 January; ending with The Five Doctors on 27 January at Aberystwyth Arts Centre. An additional double bill screening of Mask of Mandragora and The Prisoner will be confirmed to take place in January at Theatr Harlech.

The events will each have a specific theme, focusing on one creative department within the Doctor Who production team.

Hana Lewis, Strategic Hub Manager, Film Hub Wales said
“We are delighted to offer this unique opportunity to Film Hub Wales member venues, including our Film Hub Lead organisation Chapter, as part of our exciting BFI Sci-Fi programme. We couldn’t imagine a Wales-wide Sci-Fi season that didn’t explore our cultural connections to Doctor Who and are thrilled to work with BBC Cymru Wales and BAFTA Cymru to bring these events to life.

We have a rich and diverse range of exhibitors developing audiences for film across Wales but many are divided by rural landscapes, limited capacity and lack of funding. Film Hub Wales exists to support a more sustainable independent film sector, bringing more film, to more people, in more places. We anticipate that special screenings of this cult classic can bring audiences together to experience the wondrous world of Doctor Who on the big screen.
Tickets for these special events will cost £12 and £8 (concessions) and are available exclusively from the venue websites.
With thanks to Iain Gardner

SpyHunter 4 : Is it a fake software?

Oct. 25th, 2014 05:16 am
[syndicated profile] malwaretipsforum_feed

Posted by trainbus120

Hi, I accidentally came across spyhunter 4. So thought of giving it a try. My system which was other wise clean was detected with 36 infections. This left me wondering. HOW???? Has any one of us tried or tested this. It is actually a fake rouge software just to fool?

This can be found here : http://www.enigmasoftware.com/

WriteStuff posting/topic privs?

Oct. 25th, 2014 04:10 am
[syndicated profile] bookclubkinja_feed

Posted by NotInDetroit

I thought I had them but I can't see WriteStuff as a posting option under my header anymore. I don't suppose I can have posting privs restored please?


graycardinal: Yuletide warning flag (Yuletide Crossing)
[personal profile] graycardinal posting in [community profile] yuletide

DISCLAIMER: I Am Not A Mod™, so the following should not be construed as official advice; all opinions expressed are entirely my own. I posted the original version of this guide last year, and had meant to get this up a bit earlier this time around.  All comments and suggestions are very welcome, and will be considered when next year's iteration is drafted.

The first thing to remember is that the Signup Summary is mostly accurate, but not entirely accurate.  Specifically, the code that generates the Signup Summary doesn't see (and therefore doesn't tally) fandoms included in the Optional Tags section of a "bucket list" offer. It does see all requests, and sees all offers included in the main Fandom field of an offer slot, whether that slot is used for a "bucket list" or not.

[NOTE: A bucket list is an offer slot featuring multiple fandoms in which you've offered "Any" characters; you add the extra fandoms to the Optional Tags section. Details about this process are documented elsewhere.]

It's important to note that the "bucket list bug" is an AO3 code issue, and is not a matter over which the Yuletide mods have control. Any challenge or exchange that produces a Signup Summary will experience the same issue. It does NOT affect the actual matching process. The code that does the matching sees all and knows all; it recognizes and accounts for bucket list offers.

What this means, generally:

If a fandom is listed in the Signup Summary, its actual number of offers may be higher than that listed. Specifically, a fandom listed with 0 offers may in fact have 1 or more offers in bucket lists. OTOH, the listing may also be correct as reported.

Essentially, the result is that all those (x/0) fandoms that look unmatchable may actually have a potential match or matches lurking in the bucket lists, and many (x/1) fandoms may be more matchable than they look....but there's no way for most participants to tell for sure.

Suggestions for building or editing bucket lists:

Use a bucket list only if you're actually offering more than ten (10) fandoms.  This ensures that the lowest possible number of offered fandoms is affected by the bucket list bug.

If you have a choice as to which of several fandoms to include in a bucket list, consider choosing fandoms with the fewest characters nominated.  Fandoms with larger character sets may benefit more from being visible.

If you have a choice as to which of several fandoms to move into or out of a bucket list, check the Signup Summary first.  Fandoms with many other offers will suffer least from having one offer moved into a bucket list, while fandoms with few or no offers will benefit most from having an offer moved out of a bucket list.

If you made a bucket list offer:

With respect to the fandoms in your own signup, you have a slight advantage in reading the Signup Summary. For example:

If you offered Agents of H.Y.D.R.A. in your bucket list, and it's showing up as (3/0) -- that is, three requests, no offers -- in the Signup Summary, you know that there are requests out there for it and that you can be matched to at least two of them (or all three, if none of the requests is yours).

If Agents of H.Y.D.R.A.is sitting at (1/1) in the SS and you know (a) the request was yours, and (b) you made a bucket list offer for it, you are also slightly ahead of the game. Because you know that the offer reported in the SS isn't actually yours, you know it's a potential match.

By contrast, someone who requested and offered Agents of Y.U.L.E.T.I.D.E. -- but didn't use a bucket list -- will look at its (1/1) Signup Summary listing and think "unmatchable", not knowing that you also offered Agents of Y.U.L.E.T.I.D.E.in your bucket list.

Should you edit your signup as we approach the last-minute stage?

That depends.

Three things you should NOT do:

• Don't simply delete a bucket list offer. The matching process needs those offers.
• Don't delete a request you want desperately, just because it looks unmatchable in the SS.
• Don't blame the mods for this problem; as noted above, it's an AO3 coding issue.

Two things you probably should do:

If you made a bucket list offer, but still have available offer slots (remember, you have as many as 10), you should consider moving as many offers as you can out of the bucket list and into those available slots. This will make the Signup Summary more accurate.

If you have available offer slots, bucket or otherwise, take a few minutes to cruise the long list of (x/0) and (x/1) fandoms in the Signup Summary. Invisible bucket offers notwithstanding, many of those listings are most likely accurate, and if there's a fandom among them you can offer, making that offer will (a) help the matching process, and (b) give someone a better chance of receiving a story they really, really want.

Three things you might consider as the clock ticks toward the last minute:

If all of your fandoms look unmatchable on the Signup Summary as the signup deadline nears, you might want to modify your requests (and/or offers). Remember that you have as many as 6 requests and 10 offers, so you may be able to add one or two without deleting existing entries.

If you've made offers for fandoms not on the Signup Summary -- that is, for entirely unrequested fandoms -- you might consider deleting those offers. This is very much a judgment call. The mods have indicated that offers for unrequested fandoms tend to slow the matching process; OTOH, it's entirely possible for a last-minute signup to include unrequested fandoms, so that the offer you thought wasn't matchable might actually "go live" just as signups end.

If you have time and interest in doing so, consider sending a polite note to AO3's Support team, encouraging them to address the bucket list bug as they continue to improve the archive's underlying code engine.  (The squeakiest wheels are the ones that tend to be greased soonest...but the cyber-elves tend to do their best work for the customers that feed them cookies as opposed to the ones that just shout the loudest.)

This has been your Muppet News Reporter, now signing off....
[syndicated profile] soundonsightmain_feed

Posted by Logan Dalton


Constantine Season 1, Episode 1, “Non Est Asylum”
Written by David Goyer and Daniel Cerone
Directed by Neil Marshall
Airs Day of the Week at 10 pm ET on NBC

The opening shot of Constantine is a quite rich. It’s a medium shot, straight ahead of the Ravenscar Secure Facility. This is the mental asylum where John Constantine (Matt Ryan) turns himself into when he inadvertently damns the soul of his friend’s daughter, Astra, to Hell in the Hellblazer comic. Immediately, there is a nod to the source material as well as establishing that our protagonist isn’t right in the head or the ethical department, but there’s a tiny chance he could change. “Non Est Asylum” is all about how John Constantine isn’t at home in Heaven or Hell, but somewhere in between. (Even though he is currently damned.) He, his best friend and driver Chas (a laconic Charles Halford), and friend’s daughter Liv (Lucy Griffiths) are constantly on the move trying to take a demon Furcifer, who controls electricity and lightning, and wants to damn Liv because her father angered him a while back. Along with this mobile exorcism plot, writers David Goyer and Daniel Cerone build the world of Constantine where demonic activity and magic are everywhere. They also dig into Constantine’s sordid back-story. Unfortunately, most of this backstory is spilled out through exposition at the most random times, and it seems like the character of Liv only exists to be told stories about his past. However, she won’t be appearing after this episode, and Constantine more than makes up for it with a charismatic performance by Matt Ryan, who has the bearing of the working class mage and delivers the snarky dialogue that Constantine is famous for in the comics.

Matt Ryan is John Constantine. He wears the trenchcoat well, has impeccable timing with his one-liners, and puts off the air of incredibly apathy through little things, like pretending to sleep in the back of a car, leaning back in his chair during a therapy session, or reaching over the bar for a drink instead of getting the barman. And then he can snap back to chanting Latin phrases and passionately trying to bargain for souls with powerful demons. Ryan nails the rage, apathy, and most of all, the wit that uses to deflect hard questions. (Liv’s best moment as a character is when she picks up on this.) Cerone and Goyer also give him a nice arc that includes him deciding to protect Liv’s life instead of using her power in his fight against evil, which the exact opposite of what he did with Astra at Newcastle. However, he isn’t completely on the side of the angels because he uses Liv and even a few innocent bystanders as bait to trap Furcifer. This is a man, who at his core, doesn’t care about saving the universe, but righting his own personal wrongs. This philosophy leads to more wrongs, and Constantine is a huge, grey area in a universe, which seems to be “angel good” and “demon evil” for now. However, Constantine’s moral ambiguity and habit of blackmailing or sacrificing people even when he is trying to stop evil makes him an intriguing character. It will be interesting to see if the writers choose to make him more like the soul selling, demon swindling con man of Garth Ennis’ run on Hellblazer or the occult superhero in Justice League Dark and the current Constantine series.

If Matt Ryan’s performance was the highlight of “Non Est Asylum”, the oodles of exposition and the relegation of the characters Liv and the angel Manny (Harold Perrineau) were the low points. Something big like the revelation of the circumstances of Constantine’s birth shouldn’t be relegated to a throwaway conversation with a character who will appear in the show once. Also, the story behind Astra and Newcastle is revealed in a conversation between a couple minor characters. Hopefully, getting the backstory out of the way will allow the writers to develop Constantine’s character and his relationships with his allies and enemies. And hopefully they will flesh out Manny a little bit more as more than an angelic body swapping Jiminy Cricket. He kills the momentum in some of the scarier scenes by showing up and talking about how Constantine is damned, demons are everywhere etc. Fortunately, his screen time is minimal, and the Castiel-esque CGI wings are ditched pretty early.

With the exception of the aforementioned wings, “Non Est Asylum” is a stylish show. Director Neil Marshall throws in some genuinely creepy images (including one from Hellblazer #1) and uses gradual camera pans to show the lights turning off. He juxtaposes shots of demonic looking graffiti with an offscreen killing of a minor character that shows the threat of Hell much more than an angel spouting a monologue. In a similar vein, the Social Distortion cover of “Ring of Fire” playing on Chas’ stereo is better homage to Constantine’s punk roots than an awkward conversation about whether the Sex Pistols or Ramones were the better band. In conclusion, “Non Est Asylum” does a great job fleshing out the character of John Constantine thanks to great performance from Matt Ryan and is well-shot with some eye popping visuals. It also had many characters, situations, and tonal elements of the Hellblazer comics sans the post-Thatcherian social commentary. Constantine could even be better if it showed more than told, but all in all, it shows great potential, and there’s a literal road map for the season’s arc.



The post Constantine 1.01 “Non Est Asylum” Has a Charismatic Lead, But is Slightly Exposition Heavy appeared first on Sound On Sight.

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Posted by Jesus Diaz on Sploid, shared by Jesus Diaz to Gizmodo

I want to live in the optimistic sci-fi worlds of Nicolas Bouvier

Nicolas Bouvier aka Sparth—whose latest work is being art director for Halo 5—is getting better all the time. His private work is so optimistic and far away from the usually gritty and dark vision of other authors. And I love the fresh use of geometry in some of his most recent art.


[syndicated profile] gizmodo_feed

Posted by Jesus Diaz on Sploid, shared by Casey Chan to Gizmodo

Paris and New York are not that different from the right angles

I love New York despite/because New Yorkers and I love Paris despite/because Parisians. This time-lapse compares their striking similarities—from the right angles. I only wish Paris shared New York's 24-hour life and New York shared Paris' joy de vivre.*


Fake win32/caphaw security alert

Oct. 25th, 2014 03:59 am
[syndicated profile] malwaretipsforum_feed

Posted by Jasmin

Operating System: Windows 7
Are you using a 32-bit or 64-bit operating system?:
64-bit (x64)
Infection date and initial symptoms:
About a month ago from now, a pop would appear telling me the computer was infected (Other adware was installed at the time and I removed them)
Current issues and symptoms:
A security alert pops up telling me I have a potential threat. "Malware:Win32/Caphaw" and when you attempt to remove it, the pop up says it could not remove it and to call this 1800 number. The...

Fake win32/caphaw security alert

Antivirus Remover

Oct. 25th, 2014 04:05 am
[syndicated profile] wilderssecurityforum_feed

Posted by Brocke

Antivirus Remover is a simple to use application that enables you to remove the antivirus software installed on your computer and clean any trace from the system registry or temporary files. Antivirus Remover is a reliable security tool and allows you to make sure your former antivirus is not in conflict with a new one.

Antivirus Remover will download and run most if not all third party uninstallers.

Antivirus Remover
[syndicated profile] bleedingcool_feed

Posted by Rich Johnston

A today’s MCM London Comic Con , the Comics Village section was probably bigger than ever. Originally developed by Emma Vieceli, I hope she sees what it has become, growing from its original collection of tables, to stretching from one side of the show to the other. Here’s a look at almost all the booths and what they are showing and selling…

294 Shots From The Comics Village At MCM London Comic Con 2014

jamethiel: A pink lotus flower (LotusFlower)
[personal profile] jamethiel posting in [community profile] ao3some
Hi everyone

I was wondering if anyone knew of a script to replace a particular word with another one on AO3? (eg., rediculous with ridiculous). I've been looking with no luck thus far. Anyone got any ideas?

This Date in MSTory

Oct. 25th, 2014 04:01 am
[syndicated profile] mst3kinfo_feed

Posted by Sampo

1825: Johann Strauss, whose “Blue Danube” waltz was heard in the movie in episode 624- SAMSON VS. THE VAMPIRE WOMEN.
1887: Cecil Elliott, who played the train gossip in the movie in episode 419- THE REBEL SET.
1901: William Ruhl, who played a cop in the movie in episode 702- THE BRUTE MAN.
1903: Larry Johns, who played Dr. Wernher in the movie in episode 109- PROJECT MOON BASE.
1909: Whit Bissell, who played Dr. Alfred Brandon in the movie in episode 809- I WAS A TEENAGE WEREWOLF and Stanley Briggs in the movie in episode 208- LOST CONTINENT.
1909: True Boardman, screenwriter for the movie in episode 510- THE PAINTED HILLS.
1912: Ignazio Balsamo, who appeared in he movie “Il Raggio Infernale,” seen in episode 620- DANGER!! DEATH RAY.
1915: Holger Harrivirta, assistant director of the movie in episode 422- THE DAY THE EARTH FROZE.
1919: Rico Alaniz, who played Sgt. Luis Murillo in episode 319- WAR OF THE COLOSSAL BEAST.*
1924: Billy Barty, who played the imp in the movie in episode 806- THE UNDEAD.
1930: Audrey Blasdel, script supervisor for the movies in episodes 402- THE GIANT GILA MONSTER and 407- THE KILLER SHREWS.*

1971: Charles G. Schelling (age 52), the soundtrack editor for the movie in episode 419- THE REBEL SET.
1986: Forrest Tucker (age 67), who played Alan Brooks in the movie in episode 101- THE CRAWLING EYE.
1991: John Stratton (age 65), who played Victor in the movie in episode 807- TERROR FROM THE YEAR 5000.
1992: Dave Lewis (age 83), screenwriter for the movie in episode K16- CITY ON FIRE.
1995: David Healy (age 66), who did the voices of supporting characters for the TV series “Captain Scarlet,” episodes of which were seen in episode K02- REVENGE OF THE MYSTERONS.
1995: Tennis pro Bobby Riggs (age 77), who was parodied by Frank Conniff in a host segment in episode 622- ANGELS’ REVENGE.
2002: Cheryl “Rainbeaux” Smith (age 47), who played a model in the movie in episode 704- THE INCREDIBLE MELTING MAN and Kathy Farley in the movie in episode 706- LASERBLAST.
2013: Nigel Davenport (age 85), who played Ernest Hubbs in the movie in episode K09- PHASE IV.

1948: The play “Casual Company” opens in a small theater in L.A. and receives only one review … a very bad one. The play’s director and author was Edward D. Wood Jr. The play also starred Paul Marco (who played Kelton the cop in the movie in episode 423- BRIDE OF THE MONSTER).

This Date in MSTory is written and compiled by Steve Finley, Chris Cornell and Brian Henry. Copyright © 2014 All rights reserved. Please do not reproduce This Date in MSTory items in any form without express written permission from the authors.
* = According to the IMBD this person is alive. If you can supply evidence that he or she has died, and when, please let us know.
** = If this appears next to a birthday, the IMDB indicates that the person has died, but the IMDB does not have a full death date (probably just a month and year or just the year he or she died). If you can give us the exact date (with some sort of proof we can check), please let us know.
** = If this appears next to a death date, the IMDB does not have this person’s full birthday. If you can provide it (with some sort of proof we can check), please let us know.

This Date in MSTory originally appeared on Satellite News on October 25, 2014.

[syndicated profile] soundonsightmain_feed

Posted by Misa Shikuma

Big Hero 6Big Hero 6 Review
Directed by Dan Hall and Chris Williams
Written by Robert L. Baird, Jordan Roberts and Daniel Gerson
USA, 2014

Loosely inspired by an obscure series of Marvel comics, Disney’s Big Hero 6 is here to firmly shut the door on Let It Go’s last dying breath with an unlikely origin story that merges the emotional core we’ve come to expect from the House of Mouse, with a splashy, manga-like aesthetic and millenial sensibility. From the vibrant cosmopolitan mash-up San Fransokyo, where the story takes place, to the technologic conundrum of research development versus sale for immediate gain that protagonist Hiro (Ryan Potter) faces, Big Hero 6 weaves together a compelling futuristic adventure comedy with surprising deftness.

Hiro is a messy-haired, hoody-wearing fourteen year-old high school graduate who, initially, squanders his smarts building robots and entering them in illegal fights. His older and more polished brother Tadashi (Daniel Henney) is part of the elite robotics program at San Fransokyo Tech. In an effort to get him over the adolescent slump, Tadashi persuades his little brother to enter a showcase sponsored by the school, where a good impression on the esteemed robotics Professor Robert Callaghan (James Cromwell) can lead to acceptance to his program. However, an accident on the evening of the big presentation leaves Tadashi dead and Hiro’s revolutionary technology missing.

Big Hero 6 (2)Left only with Tadashi’s healthcare robot prototype, Baymax, Hiro must overcome his grief in order to find out what really happened. Teaming up with Tadashi’s classmates Honey Lemon (Genesis Rodriguez), Go Go (Jamie Chung), Fred (T.J. Miller) and Wasabi (Damon Wayans Jr.), the group eventually becomes the titular six heroes.

With the Bay Area-influenced setting, replete with Edwardian townhouses and Big Hero 6 filmcable cars, and technology theme, it’s hard not to read into the story as part Silicon Valley parable. Hiro begins as an arrogant know-it-all whose intelligence has, thus far, been entirely self-serving. Call it the post-seed round, pre-IPO/acquisition phase. The robotics students, but Tadashi in particular, represent a more mature outlook, looking for ways that their work can benefit others. Remember the running joke in HBO’s Silicon Valley about entrepreneurs adding the obligatory “…and making the world a better place” to the end of their pitches? At the inciting incident, promoting his project to Professor Callaghan and others, Hiro merely talks the talk; by the climax he walks the walk.

Disney-Big-Hero-6-reviewThe film’s other notable triumph is foregrounding Baymax and Hiro’s relationship in the wake of Tadashi’s death, because of how it broaches the age-old sci-fi question of whether robots can have feelings while still bringing out moments of physical comedic genius. After all, no matter how many software upgrades and karate moves Hiro engineers, Baymax looks more Ghostbusters marshmallow man than battle-ready Gundam.

It remains to be seen whether Big Hero 6 will get the full Marvel treatment with spin-offs and sequels but, as-is, the film stands solid on its own.

The post ‘Big Hero 6′ a compelling futuristic adventure comedy with surprising deftness appeared first on Sound On Sight.

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Posted by Michelle


[Continued from Part 3]

Take four, the final take of why I wanted to write about Bigfoot: Bigfoot is fun.

I like dissecting movies. That is, after all, why I spend countless hours pounding out essays and reviews during my free time. I enjoy it so much that on my days off from work, instead of just watching more movies and relaxing, I take time out to essentially do more work (enjoyable work, fun work, rewarding work, but work nonetheless). Thinking about Bigfoot films- one of the strange little movie niches that I enjoy incredibly despite often minimal returns- is enjoyable, it’s complex, and it can provide insight into why images resonate the way they do, and why they stick with me beyond a film’s runtime, but it doesn’t explain why I started watching all these movies in the first place. At the heart of it, I like Bigfoot because he’s fun. All the other things I’ve said are true- he’s unknowable, he’s malleable, and he’s an interesting metaphor for the environment- but those mean little if the entertainment isn’t there. That’s the hook. That’s the title that gets them in the door, so to speak.

Sometimes in critical analysis, fun gets discarded too quickly because it’s simply so hard to quantify (and because of its lower class and uneducated connotations, but we’ll sidestep that for today). What’s fun for me may be miles away from what’s fun for you. It’s the same reason comedy is perhaps the hardest form to analyze and critique, and one of the most useless things to read reviews for, because it’s so intensely subjective and personal. I could tell you all about the craft and techniques in Clue, a movie I adore, but if rapid-fire wordplay and formal allusions to small cast, one location mystery stories don’t do it for you, I’m not telling you much at all. There’s craft and skill going on, certainly, but it’s harder to put your finger on outside of unhelpful references to comedic timing and good writing. Trying to explain the fun of Charlie’s Angels to, say, someone who finds its knowing cheesiness cloying and grating is a Sisyphean task. Describing fun is essentially self-indulgent, and exercise in commodore between you and like-minded film fans. So, such discussions are (understandably) discarded in most serious criticism or left to a few sentences bookending a review.


It follows then that telling you 1980’s Night of the Demon (note the singular demon; we are not talking about the also great film Night of the Demons here, nor its remake) is the most fun Bigfoot movie out there isn’t much help. Even if I tell you that Bigfoot rips a man’s stomach open and swings his guts around like a flail. Even if I tell you that it has one of the strangest and most unnecessary framing devices in horror film history. Even if I tell you that there’s a scene, backed by the incredible cheesy synth score that someone must’ve made over a weekend on their brand new Moog they didn’t know how to program yet, where a biker gets his ding-dong ripped off by Bigfoot. If that doesn’t sound like a hootin and hollerin good time, then Night of the Demon simply isn’t for you, and that’s certainly alright. I’m not here to judge your wet-toweled churlishness. However, if it sounds like the best thing since sliced bread (which it is), then consider this your hearty recommendation. Run, don’t walk, to this forgotten schlock masterpiece.

Before I go any further, I have to point out that Night of the Demon, unsurprisingly, fits in all of the previously outlined Bigfoot themes and aspects. Yet another scientific expedition heads into the wilderness to investigate claims of Bigfoot, the creature claiming their lives in the process (as Bigfoot is wont to do in these sorts of situations). Bigfoot is unknowable and unrelatable (hell, the premise could be a long lost Lovecraft story if you take out all of the women), he is malleable (fitting into both his slasher villain and mythical aberration modes), and he is an avatar of the wilderness (invaded by the scientists, praised by local cults, and violently rejecting the foolhardy that don’t respect or understand his domain). In many ways, it is an archetypal Bigfoot film; all of the pieces are here, just strung together with fishing wire and duct tape. But the reason it stands head and shoulders above almost any other Bigfoot film is that inescapable fun factor; other movies have embodied Bigfoot’s mysterious nature, his chameleon adaptability, and his ecological signifiers, but none has done so while remaining as goofy, ridiculous, and entertaining as Night of the Demon.

It starts as it means to go on: incomprehensibly and with unnecessary (but wonderful) difficulty and opacity. We open on a man in the hospital, his face covered in bandages that do not at all impact his ability to speak, talking to a detective trying to get a handle on what happened to him and his comrades in their forest expedition. He is an anthropology professor, and the other five (now deceased) were four of his students and the daughter of a man supposedly killed by the cryptid. Interested in getting to the bottom of a rash of local disappearances, they head off, fate sealed, to the dense, dark woods. From here, we get a meandering tale of their journey into the wilds, punctuated by the anthropology professor telling his students stories of other people killed by Bigfoot.


Now, I feel like this has to be stopped on and pointed out. This story we are seeing is, ostensibly, the story that the anthropology professor is telling the detective while in the hospital. So at every one of these delightfully pointless anecdotes, I had to ask myself: is the professor telling the detective a story where he multiple times and without reason tells stories to his students?  Is the detective annoyed at this? Or is he so enveloped in the rich tale being woven in front of him that he scarcely notices the film’s fitful attempts to waste enough time to make it to feature length? Don’t get me wrong, those side stories are often the most entertaining parts of the film, as untethered from continuity or consequence Bigfoot can just run rampant over the landscape maiming and destroying the foolish people who thought that perhaps they weren’t in danger of being whirled above the head of Sasquatch in their sleeping bags like a helicopter and then violently flung into jutting tree branches. They’re excuses to show blood and boobs (two of exploitation film’s most valuable tools), and they don’t try to disguise their gratuitousness.

In addition, these external stories provide what is, in my humble opinion, one of the best moments in cinema, one I talked about earlier but that I feel bears repeating. Bigfoot rips off the dangle of a biker while the biker pees on the side of the road. The biker, in shock (naturally) from his schlong being torn right off, staggers back to his bike, trailing blood before the scene abruptly ends as ungainly as it began. It is a microcosm of the entire movie: hilarious, surprisingly graphic and exploitative, with more nudity that expected and a whole lot of bright red blood. It’s totally unnecessary and amateurish, but absolutely worthwhile; it’s meandering and strange, hiccupping in tone and pacing, but incredibly engrossing in its oddity and entertainment. I’m already a big fan of movies where woodies get torn off, and Night of the Demon is the peak of this incredibly specific and narrow horror film trope. I must have watched the scene a dozen times, but every time it fills me with such joy that I cannot wait to show someone else the entire movie.

Essentially, that scene is the entire film; it’s incompetent and juvenile, but adorably so. It’s a rickety old jalopy bouncing all the way to town, inviting the audience along for what promises to be an interesting if not slick ride. It achieves the most of any Bigfoot film because it never loses sight of how ridiculous Bigfoot is at the heart of it all. You can push that aspect as far away as you’d like, but a lack of acknowledgement of the absurdity inherent to the being is dooming a depiction to failure. Even The Lost Coast Tapes, probably the most serious minded film I’ve discussed this month, has levity and recognizes the silliness of its premise. This doesn’t have to overwhelm the horror, but it has to exist somewhere, at least on the periphery. As I hope I’ve shown, Bigfoot films can be many things, but in their core the creature is simply more innately comical and traditionally entertaining than any other horror monster. Fun is what first invited us to the movies after all, and Bigfoot pulls me back in every time, even for his poorest ventures, because he’s just so damn enjoyable.

The post Bigfoot Saturdays: ‘Night of the Demon’ is Glorious Schlock Incarnate appeared first on Sound On Sight.

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Posted by Brian Welk

LowDownPosterLow Down
Written by Topper Lilien and Amy Albany
Directed by Jeff Preiss

Jazz can be vivacious and alive, but it can also get down real low. It becomes reserved, intimate, raw and wholly adult. Bebop demands a refined ear and a patient listener, and good music challenges you to listen closely and find the blues and pain within.

Low Down is a sharply jazzy, bleak and vital character drama based on the memoir of Amy-Jo Albany and her famous, piano-playing father and jazz musician Joe Albany. It’s less a music biopic and more a coming-of-age story about growing up real fast and learning to face the music all too soon.

Director Jeff Preiss sets Amy-Jo (Elle Fanning) up for disappointment right out the gate, with her father (John Hawkes) being arrested for failing to stay clean from his heroin addiction and breaking his parole. She speaks in voiceover about how irrationally she loves him as he’s thrown onto the hood of a car, and in that moment she seems to get a little older.

Amy-Jo is at a curious point in her life, when she’s too young to be talked to seriously but too old to not notice the questionable and troubling things her father gets up to in their small Hollywood apartment. He brings over a buddy (Red Hot Chili Peppers’ Flea) to play trumpet, but maybe only hangs out with him because he’s a drug dealer. He allows another heroin addict and enabler to crash at their place. And he briefly lets Amy-Jo’s falling-down alcoholic of a mother back into their life, if only because she’s so self-destructive.

Low Down is shot in a grainy, grimy, brown ‘70s filter on 16mm film, and the handheld, homemade look of the film has an observant quality that matches Amy-Jo’s soft-spoken demeanor and a volatile feel that matches Albany’s scary side. This is a movie in the dumps trying to be alive, with Albany in and out of jail and Amy-Jo discovering herself. She meets a charming dwarf (Peter Dinklage) who lives in a hovel underneath the stairs but who turns out to be a creep. She waits with her young friend as his drug-addled mother suffers a relapse. And she finds only minor stability living with her grandmother (Glenn Close).

And yet for all its dour notes, Low Down is a film that strives to be lively. The music is all Joe Albany, but John Hawkes recreates it in virtuosic fashion. His performance is always a little dangerous and on edge, and it gives Low Down a spark it would otherwise lack in the story. Fanning has a pleasant face and wonderful range as an actress, and she’s great casting for a young woman tasked with being the most mature one in the family.


What first time director Jeff Preiss is aiming at above all is how your surroundings and the people you live with can change you and keep you down in the dumps. It’s a movie very much tied to poverty-stricken conflict, and the bitter irony of watching Albany’s art suffer in Hollywood, where other people go to let it thrive, is not lost on Preiss.

The movie falters in its storytelling somewhat, like with a boyfriend who suffers seizures or in an ending that concerns prostitution and more drug use, something that even the actors can’t save. But Low Down’s low notes don’t do enough to bring down its highs.

The post ‘Low Down’ hits some off notes but thrives on actors and style appeared first on Sound On Sight.

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Posted by Mynt Marsellus

The first death of the fourth film in the Nightmare on Elm Street Franchise is one of the scariest for me personally because I have an irrational fear of cars. Kincaid, one of the three survivors from the third film wakes up in a scrap yard. Freddy slowly traps Kincaid into a smaller and smaller space by throwing scrap cars at him, fires bursting and metal flying. This scene has some really awesome slasher cinematography, using false POV tracking shots and breaking the 180 degree rule to throw us off until Freddy pops up and finishes Kincaid with a slash to the gut, uttering, “One down, two to go” reminding that this is just the beginning of this film.

Screenshot 2014-10-23 17.31.33

It’s a scene that both freaks me out on a personal level and that I admire on a cinematic level, because it doesn’t rely on jumps to scare you, it bombastically throws you off your guard so that when the bang does come, the relief isn’t satisfying or funny, its terror inducing. And that is the emotional tone of much of this film. The next death (killing Joey, another of the survivors from the Dream Warriors) is a masturbatory fantasy gone wrong, ending with one of the darker lines from Freddie, “How’s this for a wet dream?”

Following that though, we see the real cinematic quality of this film in Kristen’s dream.

Screenshot 2014-10-23 17.33.16

She’s at the beach. She sees a girl making a sand castle. It is bright and sunny out, until Freddy pops out of the sand. In spite of the bright scenery, Freddy’s visage is always shadowed and dark. As he shoved Kristen down into the sand, he puts on sunglasses and cackles. Kristen’s death is shot back in the boiler room, Freddy cackling and taunting her, the cinematography capturing the claustrophobia and stress of the situation until Kristen calls Alice into the scene, expanding Freddy’s power just as he throws her into the furnace. Like the rest of the film, it mixes the camp introduced in Dream Warriors with an inescapable darkness. Fighting Freddy is going to be harder than it was in the last film. It’s going to require getting to know Freddy better. And this is when we get this great shot of Freddy as he unveils what happens to all the kids he kills.

Screenshot 2014-10-23 13.58.37

The make-up effects are really jarring and provide far more horror than any jump scares that the film has (and it has surprisingly few). The next death has Freddy literally sucking the life out of the virgin nerd character Sheila with more jarring make-up as her life is taken. Freddy kills Rick by fighting him in a martial arts dream and then cheating to win after giving Rick hope. Freddy continues to take people through their dreams and desires and killing. Joey is killed in a wet dream, Kristen at the beach, Sheila through a kiss, Rick through martial arts, again and again Freddy takes people in ways that are personal and demeaning.

Screenshot 2014-10-23 14.01.03

And that is eventually how Freddy is defeated this time. Alice (the titular Dream Master) fights Freddy and kills him in a church (returning to the scene of Freddy’s mothers rape as revealed in the 3rd film) by having the souls of her friends, trapped inside Freddy, tear him apart from the inside, setting them free simultaneously. The final sequence is heavily stylized, as is the rest of the film. But the scares and action are connected to the theme of power and souls. Unlike so many films from the golden age of the slasher film (particularly the middle incarnations of the Friday the 13th franchise) the graphic nature of these films feels jarring because everything is made personal. These aren’t blank teenage faces, we see the fears they have other than Freddy and the cinematographic element cement this.

Screenshot 2014-10-23 17.30.46

 This is expanded on even further in the next film, Dream Child which is what we’ll discuss in the last of these posts shortly before Halloween. Freddy isn’t gone for good, and the way they bring him back is easily the most interesting aspect of these films.

The post Fear When You’re At Rest – ‘Nightmare on Elm Street 4: The Dream Master’ appeared first on Sound On Sight.

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Posted by Jae K. Renfrow


The Alley Cat
Directed by Marie Ullrich
Written by Marie Ullrich
USA, 2014

The bicycle is by far the most existential vehicular choice when making a road film about a character in a state of mental cross roads. Unlike the car, the bike is solely powered by the human and it’s capabilities are dictated by the rider’s. Anyone can press a pedal and go 100 mph, but with a bicycle the wheels are only an extension of the human drive to move forward. In Marie Ullrich’s The Alley Cat, this sense of propulsion collides with the main character’s struggle to move forward mentally. Jasper was a mother but gave her child up to her sister, with the deal that her little girl can never know who her real mom is. It’s during a wild, late-night bike race through Chicago’s south loop that she reassesses her priorities and just what she’s supposed to be doing with her life.

The greatest asset to the film is certainly Jenny Strubin who embodies Jasper. The character never seems to talk about what exactly her problem is or what she wants, so it’s up to the actor to somehow convey that inner-turmoil in a way that we can figure it out and join her on her emotional journey. Strubin succeeds in this, making sure the stakes are high at every moment and conveying her frustrations with her decisions in a truthful manner. It’s impossible to think of this film working without her.

Ullrich’s best moments come when she’s filming the riders. Lit by the Chicago street lights that illuminate sleepy streets and back-alleys, Ullrich composes a dream of cyclists pumping their legs and gliding through the Second City. It’s in these moments of calm that Ullrich’s passion comes out. It’s apparent Ullrich has a fascination with cycling, with a previous short film starring the Jasper character and an experimental piece on ghost bikes that can be found online. But after watching The Alley Cat, it becomes clearer that the attraction to bikes isn’t necessarily with the object, but with the human riders and the community they form. After a comrade dies because of a hit and run, Ullrich uses a static shot of the group of riders erecting a “ghost bike” monument. With no one to pedal, the bike has lost its purpose, now serving as a reminder of the human element lost through carelessness. Cycling, while still a solitary action, still requires cooperation of the people around you – particularly in the city – to ensure your safety, more so than a car that’s built for impact so that you can walk away.

The Alley Cat is not without flaws; it is rough around the edges from a technical perspective, and several of the actors try too hard to play their lines a particular way without ever sounding convincing. However, what’s more important than these complaints is that people are taking limited resources and making their picture their way. We can’t all have access to the best actors, or the resources to pay for a polished sound mix, nor can we wait around for some studio executive to put faith and five million dollars in us. There’s an honest soul in this film with great intentions, while trying to tell a different story than what most studios are trying to sell us; stories about community, family, hardships, and personal growth from points of views other than the typical mainstream, white male perspective. These voices – which are many, but not nearly as loud as those with multi-million advertising campaigns – should be supported and encouraged to continue to diversify the artistic landscape. One day, when the Avengers and the Transformers have gone to sleep, we’ll want to know about each other, and we’ll have to look to some no-budget director in middle-America, free of the entertainment industrial complex, to help us figure it out. Hopefully one of those voices is Marie Ullrich’s.

The post CIFF 2014: ‘The Alley Cat’ is an existential drama on the dreamy streets of Chicago appeared first on Sound On Sight.

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Posted by Randy Dankievitch


This week on The Mid-Season Replacements Podcast, co-hosts Randy Dankievitch and Sean Colletti sit down for long discussions about alcohol, sports – and most importantly, television! After things go quickly off the rails into a discussion about Mike Tyson and superhero shows starring NBA players, your esteemed hosts settle down for hearty discussions about Arrow’s “Corto Maltese” and the first half of The Legend of Korra’s second season, then get into some talk about The CW as a network. Then, it’s time for more NBA talk, as the guys break down Sean’s Memphis Grizzlies and look at some of ESPN’s individual player rankings (plus fantasy talk). Add it all up, and you’ve got another kick-ass episode; enjoy!


The post The Mid-Season Replacements Episode 4 – Starring Amar’e Stoudemire as Batman appeared first on Sound On Sight.

Kompas Antivirus

Oct. 25th, 2014 04:04 am
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Posted by Littlebits


Kompas Antivirus designed to fight off all malware types especially to detect
RATs, keyloggers, stealers, crypters, binders, spywares, worms and more.

Just relying on a single vendor is not sufficient to completely protect you. You do need a second layer to make sure you are secure. Kompas Antivirus features simple interface to make it simple and easy to use.

1. Work alongside existing with other antivirus software...

Kompas Antivirus


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