Tag Archives: indie

Mediatrocities #7: Legendary Lew Interviews Chris Hefner on His Upcoming New Feature “The Poisoner”

poisonerChicago filmmaker Chris Hefner recently sat down with me and talked about his new movie The Poisoner, which will debut soon at The Portage Theater (you can help him screen the film sooner by visiting his website and buying a deluxe screening ticket).

Chris is a wonderfully talented director, whose first feature The Pink Hotel had a successful debut at The Music Box Theatre. Our talk discussed everything from his filmmaking approach and his start behind the camera to current methods of radically independent film production and distribution. If you have any interest at all in making films on the cheap but have them not looking that way, you really should give a listen.

This episode hosted by Legendary Lew. Produced and directed by Lew Ojeda. The closing theme is “Ghostsong” by Daniel Knox.

 

Arias with Your Mouth Full: Legendary Lew Interviews Michael Smith on Manoel de Oliveira’s “The Cannibals”

Cannibals1

This Saturday night at midnight, indie filmmaker and instructor Michael Smith will present Portuguese director Manoel de Oliveira’s very rarely seen and incredibly strange opera, The Cannibals (Os Canibais), for Facets Night School. Straddling between the two cinematic worlds of art house finesse and grind house excess (think Marco Ferreri’s La Grande Bouffe), The Cannibals promises to blow your mind (if you don’t blow your chunks in the process).

LL:  The Cannibals has been rarely shown in The United States. Could you tell us a little about the film?

MS:  The Cannibals is one of the very best films of Manoel de Oliveira who iscannibals3 one of the world’s greatest living directors. Oliveira is best known in America not for any specific films but rather for having a freakishly long career. He directed his first film in 1931 (in what was still the silent era in his native Portugal) and he is currently in pre-production on a new film at the age of 104. But the movies themselves, which are made in conscious opposition to Hollywood conventions and have not been widely distributed in America, are great: they tend to be rigorous, deliberately paced literary or theatrical adaptations centered on the theme of doomed love. I think The Cannibals is an ideal introduction to Oliveira’s work because it shows off his playful side: it’s funny, surreal and very subversive. It shows the strong influence of Luis Bunuel.

LL: How is The Cannibals a bridge between art house cinema and midnight movies?

MS: I would describe it as a midnight movie disguised as an art film. I think it was brilliant of Oliveira to tell this particular story as an opera. It’s an adaptation of a 19th century novel but he hired a contemporary composer, Joao Paes, to write an original operatic score and libretto. Literally every line of dialogue in the movie is sung and the score is excellent. However, the film becomes weirder and weirder as it goes along until it reaches the climax, which is totally insane. I think Oliveira chose to work with the form of opera because no other artistic medium is so closely identified with the upper class — the true subject of his satire. He’s making fun of his target audience! Without giving anything away, I would say he wanted to cloak his movie in the semblance of respectability and “high art” in order to deliver a kind of sucker punch at the end. I almost want to compare The Cannibals to Takashi Miike’s Audition in terms of how it works. (If you’ve seen that film you know that it lulls you into a state of near-boredom before presenting a mind-fuck of an ending that is effective precisely because of what comes before.) I also hasten to add that it’s not necessary to understand anything about opera to appreciate this film. I myself know little about opera.

LL: Were there any other operas commissioned directly to cinema?

MS: I’m not aware of any. It’s very rare to have any kind of musical film in which all of the dialogue is sung. Les Miserables is an obvious example but that’s, of course, an adaptation of a well-known musical play and had a built-in fanbase. The only other film I can think of that comes close to fitting the bill is The Umbrellas of Cherbourg. Jacques Demy commissioned Michel Legrand to write the original score and Demy himself wrote the dialogue, all of which is sung, but the style of the music is not that of an opera. So I think Oliveira’s achievement is singular and highly innovative.

LL: What do you wish to accomplish by presenting The Cannibals to a crowd accustomed to exploitation, sexploitation and violent trashy films?

 MS: I’m glad that you asked. I hope to broaden viewers’ horizons as to what their perceptions of a midnight movie is. The Cannibals is not exploitative or trashy and yet, in a lot of ways, it’s far weirder than many of the movies to which those labels are often attached. This film is so odd, in fact, that I myself don’t even know how to fully process it! This is also a big part of the reason why I want to show it: presenting it to an audience will hopefully inspire everyone present to work together in making sense of it in our discussion afterwards.

My thanks to Michael Smith for the interview. You can read his posts on the blog White City Cinema. It’s definitely worth your time.
Come feast your eyes and ears on The Cannibals at Facets Night School.
Saturday night April 27, 2013 at midnight
Facets Multimedia
1517 W Fullerton
Chicago, IL 60614
Admission: $5, FREE for Facets members! Become one here.

Watch the Great Indie Surreal Film “The Pink Hotel” Free

Chicago’s own excellent talent Chris Hefner presents his first feature, The Pink Hotel, available now on Vimeo. If you haven’t seen it, give it a watch, as you will not see films like this one very often. If you live in Chicago, know that there are many incredible artists like Chris trying to work independently and share their great visions.

Chris will be the special guest interview on “Mediatrocities” coming up later this month. Look for it. For now, you can help him out by heading to his Etsy store and buying a ticket for the debut of his new feature The Poisoner at The Portage Theater. Support your local indie artists!

Jason Coffman Discusses “Carnival Magic,” the Opener for Facets Night School’s Master Edition

Carnival Magic will be presented on 35MM(!), the way God intended, as the opener for Facets Night School Masters Edition. It’s one of the last films by Al Adamson, sleaze film extraordinaire, who is probably more famous over how he died than for his films.

Legendary Lew recently caught up with Jason Coffman, Co-Director & Programmer at Chicago Cinema Society, to ask about this unusual must-see film.

LL: You’ll be presenting the 35MM print of the film Carnival Magic by Al Adamson. Tell us a little about that film.

JC: For whatever reason, Al Adamson decided to make a couple of “children’s movies” in the early 1980s. He made Carnival Magic in 1981 and a film called Lost, and after Lost he retired from the film business. AdamsonIf you’ve ever wondered what a “children’s movie” made by someone with no idea what that means, Carnival Magic is a perfect example. There’s magic and a talking monkey, and beyond that there’s a lot of really inappropriate stuff.

LL: Adamson was known for exploitation movies. Since this is a G-rated family film, what can you tell us about any similarities, if any, to his “sleazier” fare?

JC: Adamson often cast his wife Regina Carrol in his films, and she’s in Carnival Magic, too. She’s the lady wearing the extremely tight shirtsreginacarrol whenever she appears on screen. The villainous lion tamer in the movie is genuinely nasty, he’s an abusive drunk. Not really the kind of character you usually see in a kids’ film.

LL: What would you consider the best parts of Carnival Magic?

JC: It’s hard to decide where to even begin, it’s such a strange film. The voice of Alex the talking monkey is pretty amazing, in that it’s actually sort of believable that a monkey would talk in this way. A creepy, guttural voice. More likely to scare the hell out of kids than endear the monkey to them. The part where Alex kidnaps a woman is pretty fantastic– he steals a car and there’s an inept police chase and everything. So that’s a lot of fun.

LL: What do you hope audiences will take with them after watching this film?

JC: I hope people have a new appreciation for Al Adamson and that they’ll be willing to explore cheap exploitation movies more. A lot of people might see one Adamson film and just write him off, but if you dig in to his filmography you’ll find he made crazy stuff like Carnival Magic. It’s really weird, really entertaining, and unless you’re willing to give this kind of thing a chance, you’ll never find stuff like this.

Thanks, Jason, for giving a little more insight to Carnival Magic.
Be sure to catch this jaw-dropping, weird film (thoroughly recommended by yours truly) as it kicks off Facets Night School’s Masters Edition.

Check out Jason’s work with Film Monthly and Fine Print.

Carnival Magic in 35MM (from The Chicago Cinema Society Archive)
Saturday night, March 30th, 2013 at Midnight
Facets Multimedia
Admission: $5 or FREE for Facets Members
Students: Get one FREE small popcorn with valid student ID.

One final note: The producer of Carnival Magic, Elvin Feltner, I’m told is currently in ill health. We’ll be providing a get well card to sign for him and also have a donation jar available.  Thanks!

The New “Fifty Shades of Grey” Movie

50 firstFifty Shades of Grey is going to be a movie.  When released in theaters, I predict that belief will be the only thing not suspended.

 

 

 

50 sons of shades

50 housewives bored

50 gd shades

50 damn shades

50 even more shades

50 more shades

50 shades

 

Facets Multimedia Presents Facets Night School: The Master Series

FacetsNightFacets Night School, the long-running series of midnight lectures, screenings and general craziness, is back and The Underground Multiplex has  got the early word! They have a great line-up coming, so you’ll definitely want to hear from these master presenters as they host screenings of some of the craziest and most diverse entertainment this side of the galaxy. Talking chimps on 35mm! Drug crazed beauties! Cannibals! Warring beauty queens and battling sweaty strongmen! Vicious hungry cats and insanely overwrought same-sex melodrama! You want it, you got it at this hearty session of Facets Night School.

Here’s the series:

Saturday, March 30
Jason Coffman presents:
Carnival Magic in 35mm!

“This long-forgotten classic of the chimp-sploitation genre is probably the weirdest, most inappropriate kids film ever made.” -Brisbane International Film Festival

Al Adamson was a legend of low-budget filmmaking. From 1961 to 1983, Adamson cranked out B (and often C-Z) movies like Satan’s Sadists, Dracula Vs. Frankenstein, Naughty Stewardesses, Black Samurai, Nurse Sherri, and Cinderella 2000. After a career making pictures for grindhouses and drive-ins, Adamson’s last two films were “kids’ movies.” One of these, Carnival Magic, disappeared shortly after its initial release. Long thought lost, a print of Carnival Magic was discovered in 2009, some 14 years after Adamson’s death. At long last, paracinephiles could get a look at Adamson’s legendarily bizarre attempt to make a movie for children. Unsurprisingly, it’s immediately obvious that Adamson had no idea how to do that. In the film, Markov the Magnificent (Don Stewart) is a small-time magician with a secret: he actually has magical powers. He also has a sidekick named Alex, a talking chimp. Markov reluctantly joins a struggling circus, and together he and Alex become the show’s biggest stars. At first it seems like Markov and Alex may save the circus from bankruptcy, but the show’s alcoholic lion tamer–angry at having his spotlight stolen by a talking monkey–cooks up a scheme to sell Alex to an animal research laboratory. Jason Coffman will present Carnival Magic from a 35mm print courtesy of the Chicago Cinema Society Film Archive, along with a discussion of Adamson’s career and trailers for the director’s other films.

Jason Coffman is a programmer and co-director of the Chicago Cinema Society. He is also a film writer, sometime filmmaker, and a regular contributor to FilmMonthly.com and Fine Print Magazine. His writing has also appeared in Horrorhound magazine and Cashiers du Cinemart. Coffman previously presented Spider Baby and The Sleeper at Facets Night School. 

Facebook: https://www.facebook.com/events/487105541349272/

Saturday, April 6
Jef Burnham presents:
Puritanical Peplum Panic: Hercules, Samson & Ulysses as Religious Battle Crossover

“Do you think it easy to fight against someone who believes he was sent here by his God?” -Aldo Giuffre as Seren, the Philistine King

By 1963, when he filmed Hercules, Samson & Ulysses (1963), director Pietro Francisci was no stranger to sword-and-sandal pictures, otherwise known as peplum. He also helmed 1958’s Hercules and 1959’s Hercules Unchained, both of which featured memorable performances by Steve Reeves as the Greek demigod. Although Reeves did not reprise his role in Hercules, Samson & Ulysses, Francisci compensates for the legendary muscleman’s absence by pitting Hercules’s greased-up Grecian girth against Samson’s bronzed biblical biceps! Join Jef Burnham as he explores the film’s relationship to the concept of the film franchise “battle crossover,” dating back to Universal’s classic horror films like Frankenstein Meets the Wolf Man (1943). He will also tease out the ramifications of depicting two muscle-bound representatives of ancient religions battling it out for theological supremacy.

Jef Burnham is a media scholar and film critic. He holds a degree in Film & Video from Columbia College Chicago, where he currently serves as a member of the Adjunct Faculty in Cinema Studies. He is also the Editor-in-Chief of FilmMonthly.com. In addition to his film criticism, Jef authored a chapter of Open Court’s Sherlock Holmes and Philosophy and has co-authored a chapter of Scarecrow Press’s forthcoming collection of essays entitled, Reading Mystery Science Theater 3000. He previously presented Yor, The Hunter From the Future and Rock ‘n’ Roll Nightmare at Facets Night School. 

Facebook: https://www.facebook.com/events/356116424504235/


Saturday, April 13
Dominick Mayer presents:
Knockoff Henchmen, Helicopter Seduction, and a Night of a 1000 Cats

“I would like to keep you forever…in a crystal cage.” -Hugo

In 1972, exploitation filmmaker Rene Cardona Jr. cranked out a cheapie horror film about Hugo (Hugo Stiglitz), a billionaire playboy who uses his suave charms, stalker-ish manners, and opulent wealth to seduce women into his home, where unspeakable, cat-related horrors await them. Somewhere along the line, a full half hour disappeared from the Spanish version before it reached the U.S. as Blood Feast (not to be confused with the Herschell Gordon Lewis cult classic). However, purists know the film’s true name: Night of a Thousand Cats (La Noche de los Mil Gatos). Dominick Mayer will examine the film’s shadowy origins, its place in the pantheon of Mexploitation cinema, and how this little-known bargain-bin curio may be deserving of a cult following of its own.

Dominick Mayer is a graduate student in Media & Cinema studies at DePaul University. He is also the features editor and head film critic for HEAVEmedia, a Chicago-based music and culture website. He is (as the session name would suggest) a regular at Facets Night School, having previously presented on Black Dynamite, Beyond the Valley of the Dolls, and Myra Breckinridge, among others. You can commonly find him at various movie theaters or professional wrestling events in the greater Chicagoland area.

Facebook: https://www.facebook.com/events/345650938874309/

Saturday, April 20
Chris Damen presents:
Who’s Bad: Lila Leeds’s One Bad Career Move In She Shoulda Said No!

“The story of a good girl gone very, very bad.” -Poster tagline

Sam Newfield’s 1949 anti-marijuana film She Shoulda Said ‘No’! is your typical drug exploitation piece with all the warnings and dangers, but has a very unique backstory. Lead actress Lila Leeds was actually arrested with Robert Mitchum for smoking marijuana. While Mitchum got off almost scot-free, Leeds was forced to make this career-killer. This lecture will cover the sad career of Lila Leeds, and will provide a short survey of the anti-marijuana film genre.

Chris Damen is an avid traveler and a local stand-up comic. In October of 2012, he became the head producer of Facets Night School. He has previously presented eight films a Facets Night School, including Pulgasari, Barfly, and Nekromantik.

Facebook: https://www.facebook.com/events/172598782887328/

Saturday, April 27
Michael Smith presents:
Eat the Rich: Manoel de Oliveira’s Unlikely Cannibals Musical

Imagine an unholy mash-up of Luis Bunuel’s The Exterminating Angel and Jacques Demy’s The Umbrellas of Cherbourg and you will have some idea of what is in store at this rare screening of one of the all-time great Portuguese films.

The Cannibals (Os Canibais) is one of the best but unfortunately least-known feature films by the prolific Portuguese master Manoel de Oliveira. Made in 1988 when the still-active writer/director was a comparatively youthful 79 years old, this delightful work of anti-bourgeois Surrealism is a kind of freakish filmed opera in which every line of savage satire is sung. Adapted from a novel by Álvaro Carvalhal, the plot concerns Marguerite (Oliveira’s favorite leading lady Leonor Silveira), a high-society woman who marries a wealthy Viscount (Oliveira’s favorite leading man Luis Miguel Cintra) over the objections of her jealous ex-lover, Don Juan (Diogo Doria). On their wedding night, the Viscount reveals to Marguerite his darkest secret, which leads to a devilish, uproariously funny climax that must be seen to be believed. Adding a layer of self-reflexive fun is an omniscient, singing narrator (Oliveira Lopes); at one point, he hilariously complains about the protagonists’ use of the “sententious language of poor melodrama” in the previous scene. This rare screening of The Cannibals will be shown via digital projection of a European import DVD. The film has never received an official home video release in North America.

Michael Smith is an independent filmmaker whose most recent short films, At Last, Okemah!! (2009) and The Catastrophe (2011), have won multiple awards at film festivals across the United States. Since 2009, he has taught film history and aesthetics at Chicago-area colleges including Oakton Community College, the College of Lake County, and Harold Washington College. His first book, Flickering Empire: How Chicago Invented the U.S. Film Industry, a non-fiction account of early film production in Chicago, will be released by KWS Publishers, Inc. in late 2013. He is also the creator and sole author of the film studies blog WhiteCityCinema.com. He has previously taught many Facets Night School sessions including, most recently, “Drilling Into The Slumber Party Massacre.”

Facebook: https://www.facebook.com/events/536765539678518/

Saturday, May 4
Lauren Whalen presents:
Girls, Guns and Glitter, Don’cha Know: Drop Dead Gorgeous and the Wild World of Mock Doc

“I shoved your tap shoes in my panties before I was blown out of the house. You go find the guy who cut ’em off.” –Annette Atkins (Ellen Barkin)

Before Kirsten Dunst met Sam Raimi and Denise Richards met Charlie Sheen, they went head-to-head in this darkly funny mockumentary. In Mount Rose, Minnesota, boys go to prison and girls compete in the American Teen Princess pageant. Sweet Amber (Dunst) dreams of escaping her trailer park and becoming the next Diane Sawyer, while nasty Becky Ann (Richards) has perfect teeth and the stage mother from hell (Kirstie Alley), a firearm-toting former American Teen Princess who’ll knock down (or knock off) anyone in her baby’s way. Directed by Michael Patrick Jann (of comedy collective The State), Drop Dead Gorgeous mixes slapstick and satire, straddles the fine line between irreverent and offensive, and has a killer supporting cast (Allison Janney, Ellen Barkin, Brittany Murphy, and Amy Adams in her film debut). Join Lauren Whalen as she explores the mockumentary subgenre, the art of parody, and Drop Dead Gorgeous’ premonition of a Toddlers & Tiaras-saturated culture. High heels optional.

Lauren Whalen spent ten years with Facets as an intern, volunteer, and full-time employee. She writes for Chicago Theater Beat and The Film Yap. Lauren’s previous Night School presentations involved destructive bunnies (Donnie Darko), messed-up lesbian dreams (Mulholland Dr.), and teenage drug rings (Brick). She is also a burlesque enthusiast, who unapologetically loves glitter, and is eternally grateful to her mother for never letting her do pageants.

Facebook: https://www.facebook.com/events/162632507223776/

Saturday, May 11
Legendary Lew (!) presents:
The Ben & Arthur Interactive Cinematic Experience, or Can a Cult Movie Sensation Be Created?

“I don’t make sense, you don’t make sense. I make sense. That’s who makes sense!” — Tammy Sheets  (Julie Belknap) in Ben & Arthur

“If Tommy Wiseau’s The Room is the over-wrought, melodramatic and self-pitying heterosexual camp classic of choice, then Sam Mraovich’s Ben & Arthur is its gay equivalent…This is a cult sensation waiting to be born.” –Rotten Tomatoes

In recent years, the internet and social media have helped create massive, rabid followings for cinematic “failures,” such as Troll 2 and The Room. Both films hovered in obscurity for years at the nadir of IMDb’s worst-film list until enthusiastic audiences resuscitated them with interaction styles first adopted by Rocky Horror Picture Show viewers. It’s high time the incredible film Ben & Arthur gets its second chance. Disappearing characters, horrendously mixed audio, palm trees in Vermont, passenger flights on FedEx planes, on-screen lighting tripods, cardboard crucifixes, card table “desks,” and cell phones, cell phones ,and more cell phones—Ben and Arthur has it all, including a blatant rip-off of a crucial scene in De Palma’s Scarface. Discovered by a film producer while working in a Pennsylvania Burger King, the multi-talented Sam Mraovich hails from Steubenville, OH. At age 22, Mraovich made the move to Hollywood and began production, direction, etc. on his gay marriage rights magnum opus, Ben & Arthur. Today, he is double-licensed as real estate agent and hair stylist in California. To date, this much-discussed cult film is his only directorial release. Lew Ojeda will discuss the history of these interactive films and how newly-discovered ones can help independent theaters attract moviegoers in current tough economic times.
Note: For the interactive screening experience of Ben & Arthur, you’ll want to remember to bring your cell phone, a newspaper, sugar packets and a stuffed toy cat or dog.

Special guest, film auteurd extraordinaire Ernie Tarté, will be on hand to help introduce the film and launch the evening with handheld mirrors and lilac kisses.

Lew Ojeda is the co-founder of The Underground Multiplex and host of the podcast Mediatrocities, celebrating weirdness in movies, music, and television. His production/direction credits include Rochester, NY’s landmark LGBT television show, The Word is Out, and his film reviews have appeared in The Empty Closet and Shock Cinema. As part of Facets for over a decade, Ojeda has previously presented Lady Terminator, Fuego, The Story of Riki-Oh, Seytan, Eat the Rich, Sisters of No Mercy 3D, and many others at Facets Night School.

Screenings will be on Saturdays nights at midnight from March 30-May 11
Facets Multimedia
1517 W Fullerton
Chicago, IL
Admission: $5, FREE for Facets members.
Check out Facets Multimedia: www.facets.org

 

 

Film “Director” Ernie Tarte Claims Steven Spielberg’s New Production of “Napoleon” is a Theft; Tarte Responds

Ernie Tarte XOXRecently, film auteurd and contributor to Mediatrocities, Ernie Tarté, was kind enough to allow me onto the set during the production of “Napoleon,” an epic Stanley Kubrick intended to create but could not before he passed away. Despite some production problems and what I perceived as unusual casting, Tarté’s film seemed to be flowing along.

Therefore, the news that Steven Spielberg took up Kubrick’s production idea came as quite a shock to my filmmaker friend. He called me immediately rather distraught and outraged with an email and voicemail he decided to share with me.

The following is the email Mr. Tarté sent to Mr. Spielberg. Just below that you will find the link to the voicemail he sent to the Oscar-winning film director. Needless to say, he’s rather angry and threatening legal suit.

Stevie, boy—

It’s my understanding that you have a new production of Napoleon in the works for a TV miniseries. You claim that Stanley Kubrick first began this endeavor years ago.

This email is to inform you that I, Mr. Ernie Tarté, had first dibs on this project and consider your project to be proprietary theft. I stole Kubrick’s Napoleon first, and you can’t have it.  Attached to this email is audio proof of my work on this picture. Please refer your high-powered, overpaid Hollywood lawyers to it.

It’s not enough that you’ve stolen my initials for my film (I’m still awaiting the royalty checks for E.T. ™ ), but you’ve now stolen the idea that I’ve stolen from the ultimate idea stealer. As such, you are now in violation of the law and everything decent that exists on Earth—all the cancer-curing plants, cute baby animals, laughing children at playgrounds etc., etc., etc.

Watch my jaws: I do not possess artificial intelligence, so you do not wish to have a close encounter with me. In so doing, you will embark on your last crusade. Should you enter a duel with me in this temple of doom, it will be terminal. I have combative lawyers who have always turned past defendants the color purple.

Under California’s Statute of Copyright Repossession, I am entitled to the return of all rights to Napoleon, plus a penalty fee of $250 billion. All checks should be made out to Ernie Tarté, 1060 W. Addison, Basement Apartment, Chicago IL 60613.

My lawyers will contact you immediately and incessantly at all hours, day and night, until this matter is settled.

Catch Me if You Can,
MR. Ernie Tarté

CLICK HERE FOR THE ERNIE TARTE VOICEMAIL TO STEVEN SPIELBERG.

Mediatrocities Minicast: Interview with Wednesday Rewind Film Series Host Katie Rife

killingofsatanThis week, Mediatrocities is proud to highlight the ongoing cult movie series “Wednesday Rewind” at The Logan Theatre in Chicago presented by film historian, author and co-founder of the fantastic site, Everything is Terrible, the wonderful Katie Rife.

Joining me in the interview is the “talented” film auteur Ernie Tarté. We spoke about the great rare films in store for those willing to shell out a measly $3 admission.

Playing tonight at The Logan is the craziness of Rollerblade, which combines the post-apocalyptic future with roller derby nuns. Katie joined me is discussing this and other odd finds for the Wednesday Rewind series. However, things did get a tad bit uncomfortable when the snide comments of Tarté nearly derailed the interview. Thank goodness, I was able to hold it together for the rest of her visit:

KR: We’re showing Rollerblade which is a really insane shot-on-video, sci-fi movie about a cult called The Cosmic Order of Rollerblade… They are like roller derby nuns…they cut each other with knives and then they bathe in a holy hot tub…their wounds get healed and then they skate around a post-apocalyptic landscape which is really just like a warehouse in L.A.
ET: It is called Rollerblade?
KR: It’s called Rollerblade. But, interesting fact, everybody thinks that it’s a movie about rollerblading but it’s not.
ET: Then why is it called Rollerblade?
KR: Because, it’s the Sisters of the Holy Order of Rollerblade.
ET: Oh Christ!
KR: Your attention to detail is not very good I gotta say for a film director.
ET: How dare you insult Tarte!

You can hear the rest of the interview by clicking on the link below. It’s a wild time at the movies!

Here’s the entire Wednesday Rewind roundup:

2/6    Intrepidos Punks
2/13  Fabio’s A Time for Romance
2/20 Rollerblade
2/27 Mankillers
3/6    The Killing of Satan
3/13  Boarding House
3/20 Seven Lucky Ninja Kids
3/27 Baby Huey’s Easter Adventure
4/3    Liquid Sky
4/10  Evil Speak
4/17  Nigerian Movie Night! (featuring Rad Brian)
4/24  Get Even
5/1     Exterminator 2
5/8    Raiders: The Adaptation
5/15  Turkish Star Wars
5/22  The Dragon Lives Again
5/29  Hamburger: The Motion Picture

All shows are on Wednesday nights at 10:30pm
The Logan Theatre
2646 N Milwaukee
Chicago, IL
Admission: $3

How can you resist this:

GO TO MEDIATROCITIES MINICAST #4.2: INTERVIEW WITH KATIE RIFE
 

 

 

 

Local Talent to Look For: Nonpronto

Nonpronto: (l.to r.) Dan Collins, piano/vocals; Josh Murtha, bass; Luke Angle, drums

Nonpronto: (l.to r.) Dan Collins, piano/vocals; Josh Murtha, bass; Luke Angle, drums

A new jazz trio Nonpronto will be performing their first gig at Tonic Room in Chicago. Comprised of Josh Murtha (bass), Luke Angle (drums) and Dan Collins (piano/vocals), they lay down some good solid grooves.

The Brain Kitchen was proud to have two of the trio, Josh and Luke, perform there last year.  They also performed as part of Captain Famous and the Dead Celebz, leading off a great night of entertainment topped off by the Chicago theatrical premiere of Scumbabies.

Give a listen to these guys on their website and then head over to Tonic Room for their debut public performance. You’ll dig them like I do.

“Sweet Times Run”:

 

Could a New Movie about the 1960s Cult Music Icon, Mrs. Miller, FINALLY be in the Works?

Annette Bening: the onscreen face of Mrs. Miller?

Annette Bening: the onscreen face of Mrs. Miller?

Right on the heels of our latest Mediatrocities podcast celebrating the work of the wonderful warbler from the 1960s comes word that a new movie about Mrs. Miller is currently in development.

The working title is “Will Success Spoil Mrs. Miller?” (same as the actual title of the singer’s second album). Annette Bening is being offered the project, but there’s no confirmation that she’s accepted. Hopefully, the script will be smart enough for her to say yes. She’s one of the best unappreciated talents out there–just like Mrs. Miller was in her day.