Its nighttime in the city and your survival instincts kick in. But, now they better have a decidedly murderous edge…because Hooker Assassin is in town!
Conceived and set to be directed by the enthusiastic and talented Misty Dawn, Hooker Assassin, scheduled for a 2016 release, promises to be indie exploitation at its finest!
Be sure to keep up with all the delightfully seediness at http://www.facebook.com/hookerassassinfilm.
Until the next time – SWEET love and pink GRUE, Big Gay Horror Fan!
Her brilliant string of concept albums in the 70s told you that straight shooting R and B legend Millie Jackson knew exactly what she was talking about. So, when she went all Dr. Frankenstein on an errant fellow’s ass and told him that You Created A Monster– every listener took her at her word!
This track taken from the bestseller Feeling Bitchy, which, also, contains her celebrated take on AM staple Angel in Your Arms, definitively, gives you the everlasting impression that Jackson isn’t just a queen of soul – but The Queen of Soul!
Until the next time – SWEET love and pink GRUE, Big Gay Horror Fan!
There is one question that I just can’t get out of my head!
Who is the letter jacket killer?
Those lucky enough to be attending the North Carolina Gay and Lesbian Film Festival, on August 14th-16th, will be able to find out. Writer/director Steve Balderson’s award winning Hell Town, the nifty horror flick that boosts that awesomely questioning tagline, will be an official opening night selection of the event, along with Balderson’s equally intriguing Occupying Ed.
Balderson, best known for the successful indie Hitchcock-ian thriller Firecracker, will be in attendance, as well.
More information can be gathered at http://www.dikenga.com.
Until the next time – SWEET love and pink GRUE, Big Gay Horror Fan!
New American Folk Theatre’s charming production of The Summer of Daisy Fay, based on comedian-author Fannie Flag’s popular Daisy Fay and the Miracle Man, ultimately, shows how far and how little we have come with concern to women’s rights and the equality of the GLBT community.
As played, subtly and enthusiastically, by the adorable Charlie Irving, Daisy Fay recounts her adventures under the charming Southern tutelage of an urbane gay man. It’s the late 50s and, as the show opens, Daisy Fay’s distinguished sponsor is putting the finishing touches on his pliable creation in anticipation of her competing in the upcoming Miss Mississippi Contest.
Of course, Daisy Fay doesn’t find every recipient of small town masculinity quite so impressive. As bitterly recounted by Irving, the audience soon discovers that Daisy Fay’s dearest childhood friend has been the victim of a familial rape and is now indentured to her abusive father.
We, also, learn of how Daisy Fay helps a local businessman escape a raid at the local gay watering hole and eventually, in humorous detail, just exactly how her beauty crown ambitions play out.
Full of down home humor and hope, Daisy Fay, courtesy of Irving’s skilled commitment and playwright Ed Howard’s effective words, is eventually revealed to be the type of person that the world needs more of. Understanding and full of warm acceptance, this character would surely be mortified that, in contemporary society, women still must defend their right to proper birth control and that, despite major advances, that gay, lesbian and trans men and women (and their supporters) are still being attacked and murdered in the streets.
Lovingly directed by Anthony Whitaker, and produced in association with Redtwist Theatre, The Summer of Daisy Fay runs until August 17th at Redtwist Theatre, 1044 W. Bryn Mawr in Chicago. Please visit http://www.newamericanfolktheatre.org for more information.
Until the next time – SWEET love and pink GRUE, Big Gay Horror Fan!
Horror, She Wrote explores the episodes of the ever-popular detective series Murder, She Wrote, featuring Angela Lansbury’s unstoppable Jessica Fletcher, that were highlighted by performances from genre film actors.
What goes around most certainly comes around. Perhaps, cinematically, no one found this to be truer than the glorious Ann Blyth. Immortalized as the devious Velda in the classic 1945 adaptation of Mildred Pierce, Blyth eventually found herself on the other end of the victimization scale in the second season Reflections of the Mind episode of Murder, She Wrote.
As Francesca Lodge, one of Jessica Fletcher’s oldest and wealthiest friends, Blyth reacts with royal emotion as her character begins to behave erratically and soon appears to be losing her mind. Naturally, the deductive Fletcher soon begins to suspect that someone close to Lodge has watched an old VHS copy of Gaslight one too many times.
Enter Lodge’s daughter Cheryl, played with concerned enthusiasm by the radiant Stacy Nelkin. Best known to loyal fright freaks as the spunky Ellie in Halloween III: Season of the Witch, Nelkin combines levels of true sympathy with a carefree, rock-n-roll nature here, making her seem the least likely suspect in this shady narrative.
But the terror Nelkin experiences, one rainy night, may point to a possibly sinister direction, especially considering that Cheryl’s comrade-in-arms, Carl, is played with smooth tempestuousness by Wings Hauser, well known for his psychotic portrayals in such cult efforts as Vice Squad, The Carpenter and The Wind.
While this marked Blyth’s last acting appearance, the eclectic Nelkin would go on to play the deliciously demented Christy Russell on the short lived soap Generations and the notable Rita in the Academy Award winning Bullets Over Broadway before embarking on a successful career as a relationship expert.
Until the next time – SWEET love and pink GRUE, Big Gay Horror Fan!
A little spooky theatricality, on the daily, never hurt anybody! In fact, Nashville, TN’s graveyard darlings, Fable Cry, have been thriving with their sideshow blend of Frankenstein-style lore and roadside Gothicism.
They have recently dropped a video for their warped, music box blend of discordant jubilation The Good Doctor, in anticipation of their forthcoming album We’ll Show You Where the Monsters Are.
Be sure to keep up with these haunted pranksters at
https://soundcloud.com/fablecry and
https://www.facebook.com/fablecry.
Until the next time – SWEET love and pink GRUE, Big Gay Horror Fan!
Life as a circus act can have various connotations – for the better or worse.
Lately, though, no one is celebrating the joys of an unconventional existence better than the glorious Adrienne Barbeau. Barbeau, known to upscale terror connoisseurs as the eclectic face of such horror efforts as The Fog, Creepshow, Swamp Thing, Two Evil Eyes and so many others, is currently touring the country in the colorfully effective revival tour of Pippin.
The Tony Award winning show follows the adventures of Pippin, a recently graduated scholar, who longs to have a life of importance and meaning. Seemingly performed by a Middle Ages style burlesque troupe, this traveling production features a bevy of professional circus performers in its cast, who all add breathtaking flair to the proceedings and who help make Barbeau’s main musical number a truly memorable one.
After his first disheartening attempt at transcendence, via his participation as a soldier in one of his king father’s wars, Pippin (a sweetly bumbling Sam Lips) goes to visit his grandmother, Berthe (Barbeau), for encouragement. As played by Barbeau, Berthe is saucy, but tender and she, fully and lovingly, connects with Lips’ bedraggled wanderer. With vibrant voice, Barbeau, also, brings playful and subtle force to Berthe’s creed and grand advice to Pippin, No Time at All.
Skillfully engaging with the audience throughout the song, which encourages everyone to live as though there were no tomorrow (because, indeed, there may be no tomorrow), Barbeau eventually truly amazes with some daring, high wire feats.
Ascending on a swing, center stage, Berthe/Barbeau flips around and under the floating apparatus with the aid of a flexible, bare chested fellow performer. It is simply a wonder to behold and proof positive that anything is possible if one puts a mind to it.
Most importantly, though, Barbeau, who began her career on Broadway in Fiddler on the Roof and the original production of Grease, seems to be having an amazing time reconnecting with her roots. Pippin, which radiates with a darkly magical flair, also, seems to be a return of sorts to her work as Ruthie in Carnivale, one of her favored roles. These circumstances add up to make her the delicious heart of the production.
The Pippin touring schedule is available at http://www.pippinthemusical.com/tour.php.
Barbeau, meanwhile, is reachable at http://www.abarbeau.com and https://www.facebook.com/4abarbeau.
Until the next time – SWEET love and pink GRUE, Big Gay Horror Fan!
That Catholic upbringing never quite leaves you, does it? I’ve been a card carrying Agnostic for years now, but the thought of Satan still gives me the willies!
Thus, unlike a seeming majority of film critics, I truly enjoyed current theatrical release The Vatican Tapes. Revolving around the dissolution of the life of a young woman named Angela (a multileveled Olivia Dudley); TVT eventually promises the rise of a female Anti-Christ, a genre awesomeness that set my little red rebel heart tittering with joy.
Director Mark Neveldine and writer Christopher Borrelli, also, supply the necessary ingredients that every lover of The Omen series might, readily, expect. There is the presence of ominous ravens as Angela’s spiritual guides and plenty of physical mayhem occurs to anyone who might threaten her ascent. The film’s most sensational sequence involves a group of restless mental patients who are lured into homicidal activity by one of Angela’s ominously whispered chants. Kathleen Robertson (Scary Movie 2, Psycho Beach Party), also, compels as Angela’s psychiatrist, who is the chilling recipient of the otherworldly tortured woman’s prescient gifts. Best of all, this feature offers up a female horror figure that isn’t a wispy ghost (Darkness Falls, Insidious, Stay Alive, Woman in Black) but a complicated, flesh and blood anti-heroine.
Neveldine’s casting choices are, also, spot-on with character actors like Michael Pena, Dougray Scott, (B-movie King) Michael Pare, Djimon Hounsou and Gossip Girl’s John Patrick Amedori providing appropriate texture and Shakespearian gravitas to the proceedings.
Granted, it doesn’t break the waves into a superhumanly new form of cinema, but The Vatican Tapes does deliver exactly what everyone wants in a possession flick. It’s a well done, (fairly) standard operation that torch bears the way into spooky fun for anyone who is willing to take the ride.
Be sure to keep up with all the fiery levitating at https://www.facebook.com/TheVaticanTapes.
Until the next time – SWEET love and pink GRUE, Big Gay Horror Fan!
There are some things that you just can’t keep down. That bottle of whiskey you slammed last night, for instance, and, naturally, those very aggressive, highly enjoyable killer shrews!
Yep, director-writer Bart Grieb is, happily, revamping the 1959 camp monster classic The Killer Shrews with the upcoming Revenge of the Killer Shrews. It really feels like a (toothy) dog’s life now, no?
….and I, for one, can’t think of a better way to honor the filmic legacy of James Best (1926-2015), that Dukes of Hazzard stalwart and the original film’s lead, than by revisiting this stranded island of corrupted celluloid, once again!
Be sure to keep up with the project at https://www.facebook.com/RevengeoftheKillerShrews and http://www.revengeofthekillershrews.com.
Until the next time – SWEET love and pink GRUE, Big Gay Horror Fan!
Like wisps of cotton candy brought to vibrant life, 60s starlet Joey Heatherton looks almost edible in the teen thriller My Blood Runs Cold. Her lusciousness here is underscored by her credible sauciness as a spoiled heiress – and the sexy vocal chills she provides with the song (of the same title) that she recorded to cash in on the film’s hoped for success.
Heatherton, who, also, faced down the murderous wraith of Richard Burton in 1972’s Bluebeard, adds an appropriate sense of fear to the girl group atmosphere on this enjoyable number, one that isn’t actually featured on the film’s soundtrack, itself.
Until the next time – SWEET love and pink GRUE, Big Gay Horror Fan
Big Gay Horror Fan 