Thursday, January 1, 2015

ART DECADES (Issue 2) Featuring The Raveonettes is Now Available!


Wednesday, October 15, 2014

ART DECADES (Issue 1) is Now Available to Order


Monday, October 13, 2014

Information on Issue One of ART DECADES plus subscription info

Issue one of ART DECADES will be out later this week.  It will initially appear for order on our Createspace page and then over at Amazon.  Our first issue ran much longer than expected so the price is a bit higher than we wanted it to be.  Because of this we are going to wait until Issue 2 to go with expanded distribution to keep the price as low as possible.  Future issues will be both cheaper (in the fifteen dollar range) and shorter (around 100 pages).  Kelley, Whitley and I are super proud of the issue though and we hope everyone enjoys it.  Putting together our first printed publication, with no previous experience, was a challenge to say the least but the numerous problems we faced will only make our upcoming issues all the better.  Here are a few details regarding Issue 1 and a few subscription/fan club opportunities for those interested.  Thanks to everyone for all the support...what a wild ride this has been!


THE 'REED ROTHCHILD' ($60.00):  A Year's subscription (four issues) at a discounted rate.

THE 'ROLLER GIRL'  ($70.00):  A Year's subscription (four issues) at a discounted rate plus a free poster of your choosing.

THE 'JACK HORNER'  ($80.00):  A Year's subscription (four issues) at a discounted rate plus a free poster and shirt of your choosing.

THE 'DIRK DIGGLER'  (85.00):  A Year's subscription (four signed issues) at a discounted rate plus a free poster and shirt of your choosing.

THE 'FLOYD GONDOLLI' ($100.00):  A Two Year subscription (eight issues) at a discounted rate plus a free poster and shirt of your choosing. 

ISSUE ONE:  $21.00, full color 138 pages. 

Monday, September 8, 2014

The Early Films of William Lustig: THE VIOLATION OF CLAUDIA (1977)

Most moviegoers back in the early eighties wouldn't have have blinked an eye at the casting but, for those in the know, Sharon Mitchell's brief bit as "2nd Nurse" in William Lustig's ferocious 1980 masterpiece Maniac was a small but significant milestone for the both of them.  The New Jersey native Mitchell was just shy of a year younger than the Bronx bread Lustig when they first met during a New York casting session in early 1977.  The close proximity of their ages wasn't all Mitchell and Lustig had in common during that first fateful meeting.  They were both hungry (literally and figuratively) and struggling to make a name for themselves in the electric, and sometimes insane, world of film in the New York cinema in the seventies.  Just past twenty in 1977, Mitchell was smart, feisty, lovely to look at and a junkie.  A former N.Y.U. film student, Lustig had a very small pot to piss in at the time but he had managed to find a small handful of investors in that sweltering summer of 77 to fund what would turn out to be his first feature as a director and Mitchell was his ideal, if surprising, leading lady.  Inexperience and youth be damned, the two were an perfect team and the little film they made together, The Violation of Claudia, would help launch two extraordinary and wild careers that would be as unpredictable as they were influential.  New York in 1977...a year of blackouts, Berkowitz and Billy 'fuckin' Bagg.

Written, edited and directed by William Lustig under the pseudonym Billy Bagg in just a few days for a measly budget even the most seasoned filmmakers could have barely cut a trailer on, The Violation of Claudia is a shockingly well made and effective feature.  An adult take on Bunuel's 1967 stunner Belle de Jour, Lustig's first film is a fascinating hour long time sex film that is both erotic and witty.  Label it exploitation but it is intellectually driven exploitation crafted by a man clearly immersed in film history and captivated by all things cinema.  

Dealing with sexual repression in an openly sexual arena, The Violation of Claudia would be an essential entry in William Lustig's filmography even if it wasn't his first feature.  What could have been a by the numbers quickie becomes a truly rewarding and satisfying experience.  You can sense Lustig's creativity and drive in every shot of The Violation of Claudia.  For a film shot so quickly by an artist so young, there is a real clarity and fluidity in the direction of The Violation of Claudia and Sharon Mitchell's performance as the frustrated title character is really quite wonderful.  Had she been around in Hollywood's Golden Age, Mitchell could have been a real contender, a Myrna Loy with a 'fuck me' smile.  Sharon Mitchell is more than a good actress, she is a unique one and her work in The Violation of Claudia is both endearing and surprisingly touching.

Mitchell isn't the only on-screen powerhouse appearing in The Violation of Claudia.  The mighty Jamie Gillis turns in a typically strong supporting turn and the legendary Long Jeanne Silver also makes a brief, but memorable, appearance.  

Distribpix's new special edition of The Violation of Claudia is another grand slam.  Paired with Lustig's second feature, Hot Honey (post coming soon), The Violation of Claudia has never looked or sounded better and the extras Distribpix have assembled include the original trailer, a slideshow of vintage articles, clippings and pictures and a terrific hour long podcast featuring Lustig talking about his background and films with Distribpix's Steven Morowitz.  The best extra is the incredibly informative and entertaining commentary track featuring Lustig and the extraordinary Nicolas Winding Refn.  Recorded while Refn was filming Drive, the commentary track alone makes this one of the great releases of this now not so young year.  

 More information on this release can be found the Distribpix blog, their main site and their sales section.  It can also be ordered at Amazon.

-Jeremy Richey, 2014-

Wednesday, August 20, 2014

DistribPix unleash the long awaited William Lustig 'Billy Bagg' Special Edition!!!

Before he electrified audiences with his legendary Maniac, filmmaker William Lustig shot two underground New York classics under the name Billy Bagg, The Violation of Claudia and
Hot Honey.  These long hard to see features, starring the likes of Sharon Mitchell, Jamie Gillis, Long Jeanne Silver and Serena, have been finally restored by the great folks at Distribpix and they are getting ready to come out on DVD via a brand new special edition set.  Special features include trailers, slideshows and best of all new audio commentaries with Lustig and Drive director Nicolas Winding Refn!  This collection promises to be one of the essential releases of the year.  More info can be found here

Tuesday, June 17, 2014

"This One Goes to Eleven!" Mike 'McBeardo' McPadden's HEAVY METAL MOVIES

An incredibly entertaining, and compulsively readable, book from journalist and former Hustler editor Mike "McBeardo" McPadden, Heavy Metal Movies is the newest epic tome from the great folks over at Bazillion Points and it is another knock out of the park. Coming in at well over 500 pages, this massive tribute to the sometimes surprising connections between films and heavy metal comes with the fitting tagline, "Guitar Barbarians, Mutant Bimbos & Cult Zombies Amok in the 666 Most Ear-And Eye-Ripping Big-Scream Films Ever!"  and it more than lives up to that ambitious promise. Brooklyn born McPadden worked for years researching and writing Heavy Metal Movies and the effort paid off as this is one of the most entertaining and exhaustive books on film in recent memory. Far from an overtly serious or critical guide, Heavy Metal Movies is a wonderfully humorous and witty work that is as engaging as many of the wild cult and exploitation films it covers. While McPadden's style is breezy and personal, make no mistake this is a guy who knows his stuff and many of the connections he makes in Heavy Metal Movies are both eye-opening and unexpected. Featuring hundreds of black white images, with a very striking color section, the layout of Heavy Metal Movies is a simple, but effective, A to Z listing of the 666 films that in some way or another have a connection to Heavy Metal music. The connections range from the very subtle to extremely strong and while some of McPadden's choices might seem odd his reasoning is almost always sound. While the tales of musicians who have been influenced by specific films are fascinating what I really like about the book is McPadden's way of making the reader perhaps look at a film they thought they knew as well as possible in a slightly different way. That said, the one flaw the book has is that it is at times a bit too far reaching on certain titles (should something like Jawbreaker be included just because "Rock Me Like a Hurricane" is featured) but that's a very small complaint as this is a very pleasing book that a lot of obvious love and work was put into. Heavy Metal Movies also includes a lively introduction by McPadden, Alice Cooper discussing his favorite 'Metal' film and some audacious lists focusing on things like the most Metal moments in movie history. Order it directly from Bazillion Points and get a limited color sewn patch (that you can slap on your cut off jean jacket next to your Iron Maiden and Angel Witch logos). Copies can also be obtained from Amazon and other online retailers.

-Jeremy Richey, 2014-

Tuesday, May 20, 2014

The Destroyed Girl: Alain Robbe-Grillet's EDEN AND AFTER

After years of being passed thru the hands of collectors via poor quality grey-market copies, one of the seventies greatest films has finally been granted an official home video release in The United States. Alain Robbe-Grillet's fourth feature film as a director, and his first color production, "L'éden et après" (Eden and After) can now finally be enjoyed by American audiences via a striking Blu-ray from Redemption and Kino Lorber. Mastered from the original 35mm elements, Redemption's new Blu-ray is absolutely dazzling and Robbe-Grillet's astonishing and bold use of color is serviced perfectly on this important new release. Robbe-Grillet admits on the thirty minute interview that graces the disc's supplements that he didn't have a script going into production of Eden and After and, astonishingly, the brilliant lead actress Catherine Jourdan was only brought on board three days before shooting began. The late Robbe-Grillet is still clearly haunted by the memory of the mesmerizing Jourdan during the interview and credits not only the success of the film to her but also states that the final film ultimately took its shockingly symmetrical shape around her. Born in France just a couple of weeks before Halloween in 1948, Catherine Jourdan was one of the most beguiling and puzzling performers who came out of the French New Wave. The great Jean-Pierre Melville was the first filmmaker to capture her haunting and unforgettable face in his 1967 masterpiece Le Samourai but appearing in such an auspicious debut did little to forward her career. Jourdan appeared in a few features throughout the late sixties but her film career was all but stagnate by the time she received a call from Alain Robbe-Grillet (who recalled a night dancing with her at a Parisian nightclub a year or so before) to appear in the new color production he was mounting. It is impossible to discuss Eden and After without focusing on the tour de force performance by the elusive Catherine Jourdan. She controls nearly every frame of the film and Robbe-Grillet's camera is clearly in love with her. Watching her performance today it is both baffling and troubling that she didn't have greater success after its release. While she appeared in a number of productions after Eden and After before her death in 2011, Jourdan was never again granted to the kind of role Robbe-Grillet granted her.
 Eden and After is the most 'painterly' film in Robbe-Grillet's iconic body of work. He admitted as much to Anthony Fragola in The Erotic Dream Machine by stating that, "there exist many references to painting in Eden and After-in particular a live reproduction of a famous painting by Marcel Duchamp, Nude Descending a Staircase, No 2." Duchamp, doppelgangers and an unnerving mathematical sense of structure guide Eden and After. Inspired by the twelve-tone music of Schoenberg, Robbe-Grillet used a chart her created of, "twelve recognizable themes", instead of any kind of traditional script to create Eden and After. As in all of his films Robbe-Grillet delights in destroying any sense of traditional narrative structure in Eden and After and it stands as one of the most authentically dreamy and hallucinatory films ever made...the viewer slips down the druggy rabbit hole with Jourdan and you will either want to escape or never emerge again.
 A lot of credit for Eden and After's success has to go to cinematographer Igor Luther, the great Czech artist who had previously worked with Robbe-Grillet on The Man Who Lies. Luther's use of color in Eden and After is never less than jaw dropping and the color red has never been quite as seductive and sinister as it is here. Robbe-Grillet told Fragola that he loved Red because it, "is the color of blood", and, "all my films shot in color involve it is the color red that interests me."
 Eden and After, and its companion film N Took the Dice (also included on Redemption's new disc) stand as bold reminders to cinema's great visual power. Watching the film on this new disc reminded me of just how depressingly unimaginative most modern films are. Robbe-Grillet's films are a gob in the face to anyone who questions films place as great art. Pretentious? Absolutely and in the best possible way.
Redemption's new Blu-ray is light on extras and is missing the Tim Lucas commentary track and Catherine Robbe-Grillet found on the British release but having the stunning HD print alone is well worth the price of the disc. Eden and After stands as not only one of the great modern films but perhaps the most stunning example of Robbe-Grillet's unbelievably distinctive cinematic vision. It also stands as a great tribute to a young woman who should have had a more successful career as an actress. As Robbe-Grillet stated in The Erotic Dream Machine, Eden and After is ultimately the "story" of Catherine Jourdan, and what a endearing and profound tale that turned out to be.

 -Jeremy Richey, 2014-

Tuesday, May 13, 2014


My friend Miranda's mom is running an Indie GoGo campaign to finance her neo-noir horror film IN THE DEAD OF NIGHT. The work, inspired by the likes of Dario Argento and Roman Polanski, looks very valuable and I would appreciate if everyone could possibly help out by sharing this link and, or, pledging. Thanks so much!

Friday, May 9, 2014

Dog Will Hunt: Tobe Hooper's THE TEXAS CHAINSAW MASSACRE 2

There is something downright heroic about Tobe Hooper’s The Texas Chainsaw Massacre 2. Almost three decades after its initial release, Hooper’s daring follow-up to one of the most iconic American Independent films ever made can now be viewed as one of the bravest, most unconventional and most confrontational works of the eighties. A wildly subversive blood-soaked black comedy that lays to waste the conservative landscape of the Reagan fueled era, The Texas Chainsaw Massacre 2 is a fully loaded work fueled by the visions of a combative and iconoclastic filmmaker, with something to prove, and an undervalued writer looking to chop away at what had become of the American dream. Tobe Hooper should have been riding high by the mid-eighties. After all he had just achieved the biggest commercial and critical success of his career just a few years earlier with 1982’s Poltergeist but that success had been undercut by widespread rumors that it was more producer Steven Spielberg’s work than Hoopers. Struggling to regain his footing Hooper delivered two high-profile failures, that have since become fan favorites, Lifeforce (1985) and Invaders from Mars (1986) before he finally decided it was time to revisit the legendary film that had put him on the map in the first place. The key to understanding The Texas Chainsaw Massacre 2 in relation to its more acclaimed predecessor is to look at the very different times in which they were made. Even though just over a decade separated Hooper’s films the cinematic and social landscape had changed dramatically between 1974 and 1986. The audiences that had flocked to the first Chainsaw were still reeling from Watergate, Vietnam and the crushing realization that the sixties were indeed over. In contrast by the mid-eighties it was commerce and consumption that was on most Americans minds and film audiences were no longer interested in supporting the paranoid fueled individualistic works of the seventies. For a nonconformist like Tobe Hooper, this must have been a most bitter pill to swallow. The man who had received worldwide acclaim just a couple of years before the premiere of The Texas Chainsaw Massacre 2, for his award winning screenplay for Wim Wenders’ mesmerizing art-house classic Paris, Texas (1984) might have seemed an odd-choice for Hooper’s misunderstood sequel, but renegade L.M. Kit Carson was the absolute perfect pick. Like Hooper, Carson hailed from Texas and, like Hooper, he had come of age in the liberal freewheeling era of the seventies. The two were actually a match made in heaven (or hell, depending on your point of view). Art-house meets the Grindhouse…and, as driven by Carson’s words and Hooper’s direction, The Texas Chainsaw Massacre 2 would indeed turn out to the kind of oddball avant-garde exploitation film that few creative minds could even hope to concoct. Of course they had to go through hell to get their peculiar vision on the screen; battling every step of the way with a company who pulled the financial rug out from their feet before the cameras had even rolled. The entire behind the scenes struggles and turmoil are documented on Arrow’s astonishing new limited edition box-set dedicated to The Texas Chainsaw Massacre 2. Like many of cinema’s great films, The Texas Chainsaw Massacre 2 is a compromised work but Hooper and his tireless crew worked through the compromises and delivered just the kind of searing and unhinged picture they promised.
The majority of sequels we see today crowding our local corporate owned megaplexes are essentially just remakes or retreads of the films that they are following. It has kind of become the norm to accept this and it is that attitude that still makes The Texas Chainsaw Massacre 2 feel so downright revolutionary. Audiences expecting the chilling coldness of the first film will be shocked by the anarchic humor on display in The Texas Chainsaw Massacre 2. It is an extremely funny film, thanks mostly to Jones multi-layered script and the demonic performances of both Dennis Hopper and especially Bill Moseley. Far from being just a ferociously funny and gory freak show though, The Texas Chainsaw Massacre 2 also works as a frenetic fright film, even though it wisely never attempts to reach the terrifying highs of its predecessor. If there is a clear thematic connection between the first Chainsaw and the second it can be found in Hooper’s decision to once again find a strong leading lady to guide the final act. Just as Marilyn Burns’ petrifying turn in the original helped give that extraordinary film the heart and soul it has the vastly underrated Caroline Williams, as the feisty D.J. Stretch, does the same for Hooper’s unexpected sequel. Williams is terrific in the film and gives a visceral, and at times oddly moving, performance that is the equal of Burns more well-known work.
The Texas Chainsaw Massacre 2 was slapped with an X rating when it his theaters in 1986 due to its violent content and generally chaotic nature. Cannon films had no idea what to do with it and both critical and fan reaction was wildly mixed. The film would quickly become a fan favorite once it hit video and by the time MGM released their own special edition DVD a decade or so ago it had become a bona-fide cult classic to many, although it has never garnered the same amount of acclaim and attention that the first film has. Arrow’s new collection is tremendous and it ports over all of the excellent material from MGM’s disc. There is new content as well including an excellent retrospective documentary featuring “Still Feelin’ the Buzz” and, best of all, a bonus disc entitled The Early Films of Tobe Hooper, which features 2 incredibly rare late sixties works from the man (The Heisters and Eggshells) with an additional commentary and a fascinating interview. It is a truly terrific collection dedicated to a very valuable film and filmmaker. The Texas Chainsaw Massacre 2 will never be granted the classic status of its more famous parent and, perhaps, that is fitting since the film was a bit like the unruly child few wanted. Hooper’s ferocious follow-up film had the misfortune (or perhaps fortune) to land in the cinematic dustbin that was American film in 1986 and many just won’t be able to separate it from a period when most of the renegade filmmakers of the seventies had either called it quits or sold out completely. Tobe Hooper would never again attempt to make something as wildly ambitious or challenging as The Texas Chainsaw Massacre 2 but, ultimately, he didn’t have to because he had already given American cinema not one but two of its most defining films. Jeremy Richey, 2014