Conjured by o~ SeMeN SPeRmS ~o on February 28, 2017
Shot from his window, the forty minute video, called “Doin’ Time in Times Square,” includes everything you’d expect from candid 1980s Times Square footage—slow mo knock-out punches, neon XXX signs, plenty of cameos from the NYPD, and chaos. The chaos, however, is interspersed with quiet scenes from inside the apartment where all of this was being filmed from. It’s been described as “the home video from hell,” and was shown at the New York Film Festival in the 1990s.
“Described as the home video from hell, Doin Time in Times Square documents the view and action outside director Charlie Ahearns 43rd Street apartment window from 1981 to 1983. Charlie Ahearn, whose 1983 film Wild Style was a cult hip hop hit, was blessed with a generous view of the sleeze emporiums up Eighth Avenue and down 43rd. His window provides a view into midtown New Yorks street brutality in those dark years before it was cleaned up and Disneyfied, His Hi-8 camera captures rip-offs, drug sales, police stake-outs and fights – lots of fights. On any given day we see fist-fights, domestic squabbles and bad deals going down. It is both a social and personal document.”
Conjured by o~ SeMeN SPeRmS ~o on August 5, 2015
So, no one told yooou…
Jennifer Aniston and Matthew Perry, of America’s favorite 90’s buddy show ‘Friends’, shill Windows 95 in the first ‘Cyber Sitcom’.
Conjured by o~ SeMeN SPeRmS ~o on July 9, 2014
Tetsuo: The Iron Man (鉄男: Tetsuo) is a 1989 Japanese cyberpunk Film by cult-film director Shinya Tsukamoto produced by Japan Home Video. This, his third film, is an extremely graphic but also strikingly-filmed fantasy shot in the same low-budget, underground-production style as his first two films. Tetsuo established Tsukamoto internationally and created his worldwide cult following. It was followed by Tetsuo II: Body Hammer (1992) and Tetsuo: The Bullet Man (2009)
The film opens with a man (called only “the man”, or the “Metal Fetishist“), cutting open a massive gash in his leg and then shoving a large threaded steel rod into the wound. Later, upon seeing maggots festering in the wound, he screams, runs out into the street, and is hit by a car. The driver of the car, a Japanese businessman (Tomorowo Taguchi), and his girlfriend (Kei Fujiwara) try to cover up the mess by dumping the body into a ravine, but the dumped man gets revenge by forcing the businessman’s body to gradually metamorphose into a walking pile of scrap metal. This process starts when the driver finds a piece of metal stuck in his cheek while shaving. He tries to remove it, but realizes it is growing from the inside.
The scene shifts to the businessman at his home having breakfast, with a bandage over his cheek. The businessman receives a phone call, consisting of nothing but him and the other speaker (possibly his girlfriend) continuously saying “Hello?” to each other and thinking back to having sex after dumping the Metal Fetishist.
The first of several highly stylized chase scenes starts with the driver pursued through an underground train station by a woman whose body has been taken over by the Metal Fetishist. The businessman seems to win this encounter by breaking the back of the radically transformed woman (she begins the sequence as a demure office worker and ends it as a wild metal-infected woman) after even more metal has erupted on his ankles and arm.
The next segment is a terrifying dream sequence where the businessman’s girlfriend, transformed into an exotic dancer with a snake-like metal probe, terrorizes and rapes the businessman. After waking from this dream, the businessman and his girlfriend have sex at his apartment and eat erotically. As she eats each bite given to her, he hears the sounds of metal scraping. The businessman suddenly discovers his penis has mutated into a gargantuan power drill. A fight ensues where the businessman terrorizes his girlfriend, and acquires more and more metal on his body. She fights back and in the end impales herself on his drill and dies.
Helpless to do anything, the businessman, now the Iron Man, is visited by the Metal Fetishist, who emerges from his dead girlfriend’s corpse to show him a vision of a “New World” of nothing but metal and turns his cats into grotesque metal creatures. The Iron Man flees and is followed by the Metal Fetishist into an abandoned building. After the Metal Fetishist explains to the Iron Man how both of them became what they are, a final battle ensues. The Iron Man ends by attempting to merge himself with the Fetishist into a horrific two-headed metal monster. The two agree to turn the whole world into metal and rust it, scattering it into the dust of the universe by claiming “Our love can put an end to this fucking world. Let’s Go!” The duo charges through the streets of Japan in a horrific fusion of the two men and the accumulated metal, in a largely phallic form. The film ends with the words “GAME OVER” as opposed to “The End” after the closing credits.
Conjured by o~ SeMeN SPeRmS ~o on October 20, 2013
Der Fuehrer’s Face (originally titled Donald Duck in Nutzi Land) is a 1942 American animated propaganda short film produced by Walt Disney Productions and released in 1943 by RKO Radio Pictures. The cartoon, which features Donald Duck in a nightmare setting working at a factory in Nazi Germany, was made in an effort to sell war bonds and is an example of American propaganda during World War II. The film was directed by Jack Kinney and features adapted and original music by Oliver Wallace. The film is well known for Wallace’s original song “Der Fuehrer’s Face”, which was actually released earlier by Spike Jones.
Der Fuehrer’s Face won the Academy Award for Best Animated Short Film at the 15th Academy Awards. It was the only Donald Duck film to receive the honor, although eight other films were also nominated.In 1994, it was voted Number 22 of “the 50 Greatest Cartoons” of all time by members of the animation field. However, because of the propagandistic nature of the short, and the depiction of Donald Duck as a Nazi (albeit a reluctant one), Disney kept the film out of general circulation after its original release. Its first home video release came in 2004 with the release of the third wave of the Walt Disney Treasures DVD sets.
Conjured by o~ SeMeN SPeRmS ~o on July 28, 2012
Cannibal Ferox, also known as Make Them Die Slowly, is a 1981 Italian exploitation film written and directed by Umberto Lenzi. Upon its release, the film made claims to being “The most violent film ever made“. Claims were also made in promotional material that Cannibal Ferox was banned in 31 countries, though the official list of countries that have banned it has never been released.
Conjured by o~ SeMeN SPeRmS ~o on April 27, 2012
The Star Wars Holiday Special is a 1978 American television special set in the Star Wars galaxy. It was one of the first official Star Wars spin-offs, and was directed by Steve Binder. The show was broadcast in its entirety only once, in the United States and Canada, November 17, 1978, on the U.S. television network CBS from 8:00 pm to 10:00 pm, Eastern Standard Time (EST), and on the Canadian television network CTV from 7:00 pm to 9:00 pm, Eastern Standard Time.
In the storyline that ties the special together, Chewbacca and Han Solo visit Kashyyyk, Chewbacca’s home world, to celebrate Life Day. Along the way they are pursued by agents of the Galactic Empire, who are searching for members of the Rebel Alliance on the planet. The special introduces three members of Chewbacca’s family: his father Itchy, his wife Malla, and his son Lumpy (Later retconned to Attichitcuk, Mallatobuck, and Lumpawarrump, respectively).
During the special, scenes also take place in outer space and in spacecraft including the Millennium Falcon and an Imperial Star Destroyer. The variety-show segments and cartoon introduce a few other locales, such as a cantina on the desert planet of Tatooine and a gooey, reddish ocean planet known as Panna.
The program also features many other Star Wars characters, including Luke Skywalker, C-3PO, R2-D2, Darth Vader, Han Solo and Princess Leia Organa (who sings the film’s “theme song”, set to the music of John Williams‘ Star Wars theme, near the end). The program includes stock footage from Star Wars,and also features a cartoon produced by Toronto-based Nelvana that officially introduces the bounty hunter Boba Fett.
The special is notorious for its negative reception.Anthony Daniels, in a documentary promoting the worldwide tour of Star Wars: In Concert, notes with a laugh that the Star Wars universe includes “The horrible Holiday Special that nobody talks about”. George Lucas did not have significant involvement with the film’s production, and was unhappy with the results. David Acomba, a classmate of Lucas’ at USC film school, had been selected to direct the special, but he chose to leave the project, a decision supported by Lucas.
The Star Wars Holiday Special has never been re-telecast or officially released on home video. It has therefore become something of a cultural legend, due to the “underground” quality of its existence. It has been viewed and distributed in off-air recordings made from its original telecast by fans, which were later adapted to content-sharing websites via the Internet.
George Lucas himself has rarely commented on the special, or even acknowledged its existence. He is said to have nothing but the utmost contempt for it. For instance, Tom Burman, one of the costume designers for the holiday special, has said that Lucas once told him that he was very disappointed with the final product.
At one Australian fan convention, he reportedly said “If I had the time and a sledgehammer, I would track down every copy of that show and smash it.” In an online chat with fans, he reportedly said: “The Holiday Special does not represent my vision for Star Wars.” In an interview with Maxim in May 2002, Maxim asked the question, “Any plans for a Special Edition of the Holiday Special?” In response, Lucas said, “Right. That’s one of those things that happened, and I just have to live with it.”
Later, in a May 2005 interview with StaticMultimedia.com, Lucas was asked if the film had soured him on working in television. He replied: “The special from 1978 really didn’t have much to do with us, you know. I can’t remember what network it was on, but it was a thing that they did. We kind of let them do it. It was done by… I can’t even remember who the group was, but they were variety TV guys. We let them use the characters and stuff and that probably wasn’t the smartest thing to do, but you learn from those experiences.”
The official Star Wars site states that the holiday special “delivered mixed results,” and states that the highlight of the special was the Boba Fett animated segment. The official site also says, when referring to the fan interest in seeing the Wookiees on screen, “the 1978 Holiday Special didn’t cut it.” When asked at a fan convention, “So, you don’t like it (the holiday special) either?”, Lucasfilm head of content and fan relations, Steve Sansweet replied “No. I mean, I like the ten minute introduction of Boba Fett, but that’s about it.” The official site also refers to the Boba Fett animated segment as “a cult classic”.
On February 8, 2006, Harrison Ford made an appearance on Late Night with Conan O’Brien, and during the interview, Conan O’Brien brought up the special, and began asking various questions regarding it, such as inquiring whether he remembered making it. Ford said nothing, but looked away and shook his head nervously, then saying he had no memory of it whatsoever and it, therefore, “doesn’t exist.” The audience responded with laughter and applause. O’Brien then asked Ford what he would think if he played a clip of the special on the show, Ford jokingly grabbed him, then said that “[he’d] never seen it, maybe it’ll be nice.” Humorously acting anxious and distracted, Ford suffered through the clip (which featured a scene showing Ford as Han Solo telling Chewbacca and his wife that they are “like family” to him), and then muttered a gruff, sarcastic “thank you” to O’Brien, before continuing with the interview to promote his then newest film, Firewall.
On the 2010 television program Times Talk, New York Times columnist David Carr asked Carrie Fisher about the Holiday Special; she said that she made George Lucas give her a copy of the Special in exchange for recording DVD commentary for the Star Wars films. She added that she shows it at parties, “mainly at the end of the night when she wants people to leave.”
Conjured by o~ SeMeN SPeRmS ~o on December 20, 2011