CMT - The Monster Squad

Every proper story has a beginning, middle and end. The goal of such a production is to entertain and leave the audience satisfied. Sometimes though, a single hit is not enough. Properties want to be franchises, and films often plan for sequels. 

I don't have any insights, regarding the process behind "Monster Squad". I do love to speculate though, and it seems like they hoped for a long running series. The most important thing to remember, is that each movie has to deliver. This one has the ingredients, but there is such a thing as overselling the product.


Classic Movie Trailers - The Monster  Squad (1987)


Generally, I like the idea of "The Monster Squad". I also had fun just kicking back and watching Universal's creations. It's kind of like Marvel's "Avengers", with so many awesome characters packed into a single film. The logic behind it seems to point to a big hit; but that's the thing, it feels like a contrivance.

I can even see the meeting occurring in my head. I'm sure every important suit sat down, to discuss what they had and what they could sell us. It's clear they thought this would score with the teenagers. Unfortunately, young people can see through a weak pitch.

Before you misunderstand, I don't think this horror outing is a horrible film. There's a lot of fun to be had here, and it's hard to deny the childlike appeal. Given that however, it's a thinly veiled attempt to win over a certain demographic. A lot of work was put into making it "rad", but to me that just makes it corny.

I also think that  "Squad" tries way too hard. These kids cuss like sailors and pack serious heat, but that's if they're not smoking and peeping into a dressing room. I know full well that Fonzie was cool, but we didn't need his little bro to come and give us "attitude".  The concept of the movie is good enough on its own; you just have to make sure it's well handled.

Anyone can put kids in a room with a bunch of icons. Ultimately, the difference between a good and a bad treatment, is how well the idea is thought out. If Dracula teams up with Wolf-Man and Frankenstein, that's cool by itself, but we still need a good reason why. There are no reliable shortcuts to an entertaining story, and there's more to it than a simple combination of elements.

Look at it this way: you can dump sugar and butter and syrup and chocolate, into a bowl without effort. If you do all that and cook a dessert, the dish will be amateurish. This isn't a cake walk folks; this is the culinary arts, and the chefs are going to get all the repeat business. Any piece of fiction is up on the shelf, right next to a great deal of tasty competition.

I'll freely admit however, that the producers had the crux of something great. I just think they got the cart in, before the horse. "Monster Squad" has its moments though, and I also find it funny in a cheesy way, though I'm not sure if that was intended. Regardless, it's definitely a product of its time, and maybe nostalgia is that spice that you are looking for.

Personally, I see it as an amalgamation of "awesome". It's everything they think we want, served up on a platter. The main pitch behind it is the massive amount of "cool", but some products are better when you remove some of the features. If it means that the result is thoughtful and smart, less is definitely more, as far as I'm concerned.

You can't put Venom in with Spider-Man, Sandman and Goblin just because. Piling on the thing just makes it ready to tip over. Every selling point has to justify itself, and you can't combine popular trends to make something popular. Keep in mind, that "Batman Begins" earned its sequels; it was a focused, it was quality, and it set it sights on a single experience. The trilogy came later.



Trailer Here.

---------------------

@ChannelSeals 

See "Monster Squad" on Netflix!

Happy Halloween!      

CMT - Wes Craven's New Nightmare



People often talk about immersion, when they refer to their experiences with fiction. In that context, the word is used metaphorically and non-native speakers may struggle to understand. When you can be immersed into a story, you’re allowed to forget that it isn’t real. You may also, for a time, forget the media being used to deliver that story to you.

Think about what happens when you dive into a pool of water. The environment that you’re familiar with, is replaced by a different reality which is governed by different rules. As a result, you can’t move or even breathe in the same way. Initially, it would take some getting used to, but if you’re under water frequently and for extended periods of time, you may grow more accustomed to living in it than out of it. You might even forget that the water is there.

When we watch a movie, we’re looking at a completely different reality. We cannot interact with anything in that space, and the amount of images bombard us, instead of remaining constant. Unlike other forms of entertainment, there are no physical requirements to meet, once the show has started; in other words, there are no pages to turn and the controller can be laid aside. So by its very nature, a film is a window into another world, and if that world is engaging enough we might forget the frame.

Every valuable storyteller wants a captivating tale. They know the audience wants to accept and lose themselves in the narrative. If the quality of the work isn’t an issue, then the techniques they employ are very important. Films depend on illusion, and you can either enforce it or cause it to flee.


Classic Movie Trailers: Wes Craven’s New Nightmare (1994)


Often, trained actors refrain from looking at the movie camera. They follow a well established practice, that exists for good reason. The viewer plays the role of an unseen observer, and the lens is the substitute for the human eyes. If that lens is acknowledged, the onlooker becomes aware of their position in the chair, or on the couch, watching the screen.

The point of using films as an escape, is to forget about ourselves. We have to live in our homes and bodies, for each and every second of every day without reprieve. The only real cure for identity is death, and the only breaks available are sleep and distraction. So in a way, fiction is a kind of voluntary hypnosis, and the worst thing you can do is pull your patient out of the trance.

Of course, people are different and with respect to that, we’re not going to have the same reaction to the same event. If I read a book and a character in it says, “This isn’t some novel,” I’ll instantly remember that it is. Personally, I find that kind of dialogue to be jarring, but you might go right past that without a second thought. “New Nightmare” doesn’t boldly announce that it isn’t a film in that way, but it does a number of things that certainly question it.

A lot of actors are playing themselves here. Robert Englund got to respond to his own name, as did Heather Langenkamp and Wes himself. That device might have been used, to help plunge the audience into the depths. As far as I’m concerned however, it’s troublesome.

My main gripe with the use of that method, is the fact that they were still ignoring the camera. The lens, on the other hand, was making its presence known. Why were they acting like it wasn’t a movie, when my view was still panning and zooming, and there were obvious cuts between scenes? It might have benefited them, to treat the show like a documentary; if we knew the cameraman and we could place him in the scene, that would add to the pretense and the possible victims.

With the film as it is, I was simply confused. Don’t get me wrong, I felt I knew the score, but it made me think about their reasoning and I focused on that, instead of the plot. I’m also the kind of guy that can’t jump back in the pool once I’m out of it. If I see through your trick once, my cynicism kicks into overdrive, and you will fail me as a magician.

With that said, I’m not sure if the goal was trickery at all, and if it was I can’t see the intended purpose. The screenplay was actually shown on film a couple of times, and the character dialogue followed what was written. I can’t think of  another picture that has done the same thing and admittedly, I don’t get the point. You reveal the falsity to both the characters and the audience, but the characters in this case, are still bound by the words.

The job of the cast is to help maintain the fantasy. If someone onscreen is acting unnaturally, or if they are known to be unwittingly following a script, it’s harder to become invested in the product. You can still keep watching the screen of course, but you may lose all concern for the characters that you’re watching. After all, the actors are playing pretend, and if they do their best to remind you of that, you’ll realize the plot isn’t important.

As a general rule, this series of articles isn’t about criticism. However, I am still allowed to have an opinion. If the goal is to create a worthwhile experience, the choice to break from convention in this way, is a risky proposition with little reward. Some people aren’t going to have the desired reaction and you will divide your audience as a result.

If you check rottentomatoes.com, you’ll see that this movie is critically approved. You’ll also note that the audience score is just as satisfactory. The only thing that disappoints, is the box office performance; Wikipedia claims it’s the worst grossing film in the series. I have little doubt that the narrative style is partly to blame.

Perhaps the intention of the movie was to equate films with dreams. You can’t always escape a nightmare, even if you’re lucid. The issue for me, is whether or not we care for the cast’s well being. If you watched “New Nightmare” terrified, about the lives of an actress and her child, then I have no doubt that the story worked for you. Unfortunately, the rest of us were left out in the cold; we can’t sink into the warmth of an environment alien to us.


Trailer Here.

-------------------------

@ChannelSeals

See “Wes Craven’s New Nightmare”, on Netflix!

 

CMT Bonus - A Nightmare on Elm Street ('84)

Fred Krueger was a big idea. He's a lot more than that now, but before this movie debuted he was nothing but a dream. I can only imagine the elation that was felt, when his creators sat back and realized their success. As someone that has made dozens of characters, when you feel that one could be a hit, there's a lot of doubt that you have to wade through.

When Wes Craven pitched his idea to the studio, he was probably nervous. Even if he was armed with drawings, photographs, charts and bullet points, I'm willing to bet his heart raced in his chest. A lot of work goes into a big idea, and as calm as one may appear, I can't imagine that you can stay detached. It can also be very difficult, for others to see your vision at first, but a good idea will still catch and spread like wildfire.

Classic Movie Trailers - A Nightmare On Elm Street (1984)

I wouldn't change a thing about Freddy Krueger. Everything, from his hat to his shoes is perfect. When you think about it, Superman, Thor, Mickey Mouse and Bugs have all subtly changed. Fred's design is flawless, and it's remained the same for over thirty years. There have been different takes on the character, and even the glove was made into an interesting variant, but it's hard to hit a home run farther than his initial appearance.

There wasn't anyone quite like him at the time, and there really hasn't been one since. Leatherface paved the way for the slasher craze, and Jason and The Shape really popularized it. Krueger was the exclamation mark and since then, the genre has tried and failed to top him for decades. Chucky doesn't come close, and Pinhead is far behind them all in ticket sales. Leprechaun and Pumpkinhead aren't even in the conversation

Really, to find a comparable character, you have to look to Hannibal Lecter, who is still a step behind. What Freddy has, that the other ones do not, is a powerful and unique concept you can't find anywhere else. Since Krueger is the killer that stalks you in your dreams, the fact that you can run and hide is meaningless. He's not bound by space, time is on his side, and every waking moment is filled with horrible tension.

That isn't to say that the sequels capitalized on that brilliance. Personally, I think too much comedy crept into the films over the years, This movie is dark and serious; it also has the advantage of being the first of its kind. Like "Alien" and "The Matrix", the "Nightmare" franchise loses some novelty, once you're aware of the concept.

Still, this guy is a stroke of genius. You can fail to use him correctly, but you can't ruin the brand. He has plenty of comics, toys and memorabilia, along with a very loyal following. Hopefully, he'll get another worthy treatment; it happened for Batman, so I think it's inevitable.

My only concern is the actor that they'll choose. You have to give credit to Craven, but Englund is arguably co-creator. It was his look and performance that kept the series going, and there is no memorable foil to prop up his replacement. In other words, Freddy doesn't have a Joker.

What he does have, is a claw that has frightened children and adults alike. His ruined face turned cinematic dreams into real life nightmares. A character like his becomes part of a generation, and he also helps to define our very culture. No longer just an idea, now he is a shared one, that unites people around the entire world.

Every serious creator aspires to reach a similar goal. There are financial benefits, but the real reward is the influence, that an idea can have on lives. If something that you made can affect so many people, in such a profound way, there's a responsibility and a drive to keep going.

It's akin to being a scientist, en route to a great discovery. You can also dive into math and solve a quandary in the same way. Artists want their masterpiece and writers want their Pulitzer, so every craft has a pinnacle, but that of the creator isn't ceremoniously recognized. When it happens however, it's pretty hard to deny.

The reward is so great that it's worth all the risks. Even if you lose time and money in your pursuit, the payoff is a personal mark on history. Edgar Allan Poe's work survived him for over a century, and I highly doubt that recognition will wane. People may not remember Craven and Englund, but the world will remember Krueger, and that's the name that counts.

Trailer Here.

-------------------------------------

@ChannelSeals

See "A Nightmare on Elm Street" on YouTube / Amazon Instant Video

CMT - The Omen ('76)

There isn't much that bothers Christians more than the Anti-Christ, so choosing that subject for a horror film, is an obvious yet brilliant decision. You already know some people are on edge, as soon as they enter the theater. All you have to do is push them over the line, but that's easier said than done.

The antagonist of this movie is a five year old child. That's a unique problem, when you're dealing with this genre. After all, the audience wants to be frightened, and one way or the other, you're going to have to deliver. Ultimately, "The Omen" handles the problem in a creative way.

Classic Movie Trailers - The Omen (1976)

They could have tried to make Damian a physical threat. If they went in that direction, they might have ended up with a comedy. While "Child's Play" proved, that a pint-size demon can work onscreen, a toddler is not Chucky and Chucky is not a toddler. That is to say that we really don't have a frame of reference, for a doll that has come to life, but we know how threatening little boys are and you can pretty much kick 'em around.

What they could have done, was jump the story forward a bit, to when the child becomes a young man. That would have been an entirely different movie and I'm not sure how that would have played. After a quick Wikipedia search, I didn't see much competition for "The Omen" in '76; Freddy debuted in '84, Jason wasn't big until '81, and Michael Myers was still a few years off. We'll never know now, but a grown Damian could have been a thing.

Interestingly, "Carrie" also opened in '76. So, if "The Omen" went with option number three, it would have beat that film by five months. As I see it, that was one of the more viable solutions. All you would have to do is hoist the boy up on a wire, add flying objects and wind effects and you have your Son of Satan.

If the kid can roll his eyes towards the back of his head, that's perfect. Admittedly though, that's probably asking too much. Contact lenses is definitely out of the question, but a few cheap effects would have sold it just fine. The only real problem with that kind of approach, is that you lay all your cards on the table right away.

Instead of doing that, the filmmakers used misdirection. Damian wasn't the problem himself; it was the people, animals and things around him, that went and did the horrible things. With that sort of scenario, you actually gain a bit of mileage you wouldn't have otherwise. For one thing, this movie has more variety than its peers.

With most pictures like this, it's the same thing over and over. A slasher film, for example, is just a guy with a mask and some sort of weapon. You can only knife characters so many times, before it gets boring and repetitive. Even if Damian succumbed to the Dark Side, he would have to use the Force like MacGyver, just to keep things interesting.

Here though, you're never quite sure how the death is going to happen. You know it's coming, you just don't know from where. Personally, I sensed evil as soon as I saw that nanny. The dog was a hell hound obviously, but everything was ominous; there wasn't a safe place anywhere.

Honestly, I can't say the little brat was totally innocent. There were a few, unfortunate events, that he may or may not have influenced. Granted, he did cause a pretty serious spill, but boys will be boys and you can't prove intent.

The final scenes brought us back to the very first obstacle. Damian's still five, and he needs a lot more than a spanking. Unfortunately, you can't do a lot more without demonizing your hero and leaving the audience in shock. He may be the root of all evil but it's kind of hard to tell for sure, and a child so young will still elicit sympathy.

So I think the end was appropriate, given what we saw. There was enough doubt to keep us from wanting blood, and there was enough fun to justify a sequel. In hindsight, I'm sure that was planned from the start. Otherwise, he wouldn't have needed to drag the kid to church, to give the cops time and every excuse to stop him.

Trailer Here.

-----------------------------------------

@ChannelSeals

See "The Omen" on Netflix!

CMT Bonus - Interview With The Vampire

Ground beef is the mutilated and pulverized remains of a cow. That leg of meat that we use for food, was ripped off the body of a corpse. Before the wings were wrenched from his body and his breast was cut out and seasoned, a rancher grabbed him by the neck and snapped it in half. It was an incident of murder that would be repeated, time and time again, with his neighbors and family being the victims in his stead.

Yet we ignore all of this. We walk into the grocery store, see the prepackaged body parts and pretend they're something else. We don't have to see the light and life fade from their eyes. We don't have to remember that they were on our land, just a few hours before, grazing and drinking and playing amongst themselves.

There isn't much difference between them and the family pet. You feed them, shelter them and care for them when they're sick. You get to see how they express their emotions and personalities, without the use of language. It's only because of custom and practice, that we cuddle with one and lead the other to slaughter.

Even if a strip of meat hasn't passed your lips in a decade, you're only alive because you take the life from others. Those leaves that you depend on are living appendages. Do you assume that all of the plants survive to replace them? Like it or not, you're either a killer or an accessory to murder. I say, why not accept what you are?

Classic Movie Trailers - Interview With The Vampire (1994)

From all of the monsters we know, there are none so like ourselves. They have all our manners, our clothes and our countenances. They must feed and sleep as we do, and they have the same need of companionship. Vampires however, are closer to their own bestial natures.

Humans deny that they're animals all the time, whether or not they do so vocally. We separate, in many cases, the name of the food from the name of the prey. For the vampire, there is no such thing as a hot dog, or a steak, or a hamburger, or even a lamb chop. The reality is the lamb, squealing, gasping and convulsing until death.

This film shows us something ironic. I was aware that a big part of the vampire's appeal, is his role in wish-fulfillment. After all, what human doesn't dream of immortality? It's such a strong desire that it permeates our fiction, and yet, this fiction shows that immortals want what mortals have.

I'm sure we can all understand, that a young girl wants to be a woman. I wonder how many also realize, that a young man might want to age. It's more than just the pain of the long centuries. It's more than the lack of family and friends, fatherhood and retirement. What he might miss even more, is the ability to deny the animal.

Look at how we live. We cover ourselves with silk and wool and leather and cloth. We talk philosophy, recite poetry, and we dine with tools to keep us apart from our meals. We use so many containers to hold our drinks, that lapping from a well is an alien practice.

There are no such illusions for a vampire. No dinner plate will curb his hunger, and no flask will kill his thirst. When he takes a life he sees the transfer; he hears the begging, feels the struggle and experiences the fear. On and on it goes, as the price for his life is the trail of death that he leaves.

Think of how cold you must become. Think of how hard and immune you would need to be, to the suffering of others. Human beings live a long time, in relation to their kin. I imagine that fact is due to mood and a clearer conscience.

We're allowed to sleep soundly, without being haunted by the faces of our victims. If we so wish, we can pretend that they didn't exist at all. The grocery store allows us, to make it the source of the food that we need. As a result, we can live in blissful ignorance and die peacefully; surprisingly enough, that's a reward that many don't appreciate.

Remember that a hellish curse is exactly that. If the offer wasn't tempting, The Devil couldn't get you to sign. He counts on your zeal for the reward and your ignorance of the costs. As a mortal; your time on this earth is limited; you may occasionally wish for more but I say, why not accept what you are?

Trailer Here

-------------------------------------------

@ChannelSeals

See "Interview with the Vampire" on YouTube / Amazon Instant Video

CMT - Rosemary's Baby ('68)

Women face a lot of challenges. Their instincts drive them to become mothers, but choosing the proper father is a daunting task. He has to be able to provide for the child and her, if necessary. He also has to be trustworthy and you can never really be sure about that; ultimately, it's a judgment call.

If she's able to withstand the cheaters, the womanizers, the liars and the abusers, she just might be fortunate enough, to fall in love with a man that loves her. Of course, that doesn't mean he's going to propose, and she can watch the rest of her youth pass by while she waits. Emotions may tie her to him, but in the end she'll do what's best for her. I can only imagine how much it must hurt, to know that the time with her love has run out.

If she's determined, strong and willing to compromise, a woman may be able to find a good husband. I suppose the tears that fall on her wedding day, are largely due to relief; a great weight is lifted off your shoulders, when you finally know what direction your life is headed in. When the worries and doubts have faded from memory, the day will come when she is blessed with pregnancy. If at first she is overjoyed, it doesn't take long for the fears to return and expand into terror.

Classic Movie Trailers - Rosemary's Baby (1968)

I'll never know what it feels like. If I stumble and fall, I only have to be concerned for myself. I won't ever know the kind of anxiety, that lingers between each kick from an unborn child. All I can try to do is understand.

With what I do know and from all I can tell, there isn't a worse hell on Earth than what Rosemary went through. An expecting mother is dependent upon support, from her family, her friends and her significant other. I wouldn't want to be put in a situation, where everyone is out to get me, especially when I'm at my most vulnerable. What do you do when there's nowhere to go, no one that will listen and no one to trust?

The uncertainty of the situation adds to the dread, which is amplified by the normalcy. In a different setting, with an all-too-familiar plot, you can watch a woman in danger and be disengaged. We've all seen the masked killer in the dark hallway. We know what those scenes look like and we know what to expect.

I didn't know what was coming in this film, and I was more frightened for that woman, than any other character in recent memory. We know what a normal pregnancy is and that's pretty far from what we got here. To see her host that party, in that horrible shape, was a surreal and dreadful experience I haven't found elsewhere. Every time she clutched her midsection I cringed, and every time she took a drink I wanted to snatch that glass from her hands.

I was the big brother that was watching off screen, powerless to stop what was happening. I couldn't be in the room to keep them from abusing her. I couldn't ride in and whisk her away. I listened while she told her doctor everything, and my head was in my hands. I finally knew what was going to happen, but even then I didn't want to believe it.

"Rosemary's Baby" defined the genre for me, in a way that I did not expect. It shows the abuse and violation, of a woman that cannot protect herself and yet, that's only half the story. As averse to that as I am, and as repugnant as I find that crime to be, the trap that she found herself in was just as bad. The deceit, the lies and the cruel manipulation, terrified me more than The Devil himself. Yes, the situation was fantastic, but the duality of human nature rang horribly true.

This is one of the best films of its time. It takes the terror from our nightmares and inserts it into our daily lives. For me personally, it reveals a vulnerability that I did not know existed. My instincts drive me to protect those in need, and a mother in distress makes me feel more than most.

Trailer Here.

---------------------------------------

@ChannelSeals

See "Rosemary's Baby" on Netflix!

CMT - Night of the Living Dead ('68)

Predators are important. They're life-threatening and terrifying things, but they're essential for the ecosystem and the animals that thrive in it. Even the prey benefits, from having a species around that it must avoid. As a result they become wiser, healthier animals, that are better able to work and survive together.

If a species is allowed to multiply, without the threat of predation, it becomes a danger to its environment and itself. Let's say for example, that bats become extinct one day. According to infoplease.com, a single bat can consume six-hundred, to a thousand mosquitoes in one hour.

What fresh hell would we find ourselves in, if all of those insects bred unchecked? Imagine the amount of disease, that would spread among the livestock. Imagine the amount of protection you would need, just to walk outside. Now let's replace that pest, with a species that currently has no natural predator, and let's see what damage the human race has wrought..

Classic Movie Trailers - Night of the Living Dead (1968)

Some of us don't believe that people are animals. Though science has proved that we are, I can appreciate the mindset. No animal in their right mind, would willingly poison the environment they live in. I also know of no other example, where a group of anything living has caused so much death.

I'm sure I don't have to prove the amount of devastation to you. I don't have to find the graphs that record the losses of rainforests, or the losses in lives, or the amount of chemicals we dump into every available space. For many years, we churned a pot of soot and all but ignored the toxic smoke. We've changed the weather literally and for the worse, endangering the entire planet.

But all of that stuff isn't important to us. What's important is the iPhone 6, the latest sports car and our favorite sports. We've become so accustomed to these comforts, that it's hard to imagine life without them. As a direct result of that fact, we don't have all the tools we need to survive.

In "Night of the Living Dead", we're presented with a fictional scenario. A new

predator enters our environment and we have to quickly adapt. The people in the film largely fail to do so. By observing them however, we can learn what our weaknesses are.

Take Barbara for example. Her fear led straight into hysteria, and the pain of her loss led to false hope. If we're unable to quickly come to terms with the situation, our physical readiness will count for nothing. Your self-preservation instinct should guide your judgment and allow you to mentally catch up

We also have some baggage that comes from our personalities. If you're the type of person that puts pride ahead of logic, you are going to struggle. If you're argumentative and you believe that compromise is a sign of weakness, you're weak as a result. A clan of prairie dogs can escape with minor losses, because they work together; loners like Harry are tragically and sometimes fatally isolated.

It's true however, that we're looking at a work of fiction. There's no threat of a zombie apocalypse and I doubt there ever will be. Still, there's no guarantee we can stay as spoiled as we are. Unrest is common, war is sure as death and taxes and no one knows the future. We cause so much trouble for ourselves, that a predator might find easy prey.

As human beings, we differ in height, weight, strength and speed. We have different mental capacities to work together and to deal with stressful events. Our current environment has no predator, to demand our best at all times. If a new one enters our space, we might face extinction.

The slow would die. The weak would die. The distraught, the argumentative and the proud would fall soon after. In the end, if any are left, they would have the qualities to continue the species. The ecosystem would stabilize, our prey would rebound and we'd be better overall, with something keeping us in check.

Trailer Here.

---------------------------------------------

@ChannelSeals

See "Night of the Living Dead", for free on YouTube!

CMT Announcement #3 - Halloween Highlights Update!

The decision to cover Netflix movies, was the best call I've made for this blog to date. Millions of people already use the service and it's a cheap pass, to thousands of hours of content. Even though my essays stand on their own, the comments I write are intended to be "final thoughts". They are the unofficial "Afterword", that follows the last chapter

I believe firmly, that you'll enjoy the blog entries more, if you watch the movies beforehand. I also envision the future of "Classic Movie Trailers", to be that of an online movie club. Having said that, the Netflix association works, but I can't say that it's perfect. After all, there's no guarantee that they can keep the movie licenses.

YOINK!

I just announced "Night Of The Living Dead", as the subject of the next essay for Monday, October 5th. I watched it (again), decided on the focus of the companion piece and got to work on it. The next day I watched "Interview With the Vampire", which is another film I was planning to cover. Today I woke up and found that it had been removed from the service.

SCREAM!

"Night Of The Living Dead" was gone too. In a sudden panic, I checked My List to see if anything else was missing. To my dismay, "A Nightmare on Elm Street" was nowhere to be found. There was always a possibility, that one of the movies I chose for this month could vanish. Two would go missing if I was really unlucky, but three? Yikes.

HOW IT'S SUPPOSED TO WORK.

I've been using Netflix for a while. Normally, when a movie or TV show is on it's way out, they will post the date on the introduction page. It'll say "Available until August 1st", or something like that. Unfortunately, they are not required to do that by law.

:)

SO, NOW WHAT?

There's still some good news to be had. Due to a distributor goof, way back in '68, "Night Of The Living Dead" is in the public domain. That means, you can see the movie for free on YouTube, Hulu and the Internet Archive. There is no piracy involved here; the film is public property and you can watch it without fear of breaking the law.

So that leaves the Interview and the Nightmare. Well, I said I was going to cover those movies, so that's what's going to happen. The only change is, instead of being posted on Mondays, those particular essays are going to be bonuses. They will be announced on Fridays, for a Wednesday release.

Get Tuned In (@ChannelSeals)

THE SHOW MUST GO ON.

So "Night" is still coming this Monday, on schedule. Again, it's free to watch that movie wherever you can find it, but YouTube is a great source. Go ahead and give it a look. It's actually creepier in black and white, so that's how I suggest you view it.

"Interview With The Vampire" is a pretty popular movie. I wouldn't be surprised if half of you reading this already own it. For those of you that don't, if you want to see it again, it's available on YouTube and Amazon Instant Video, for $2.99 USD. "A Nightmare on Elm Street" is also there and dag nabbit, I'm watching that movie regardless. Screw what Netflix says!

Taking their places in the schedule, you're going to see "The Omen" and "Wes Craven's New Nightmare". Those movies are certified fresh, on rottentomatoes.com. and the updated nightmare gives me a cool idea. I'm interested in Freddy Krueger at his scariest. So, the Wednesday before we look at "New Nightmare", I'll be covering the original film. 

FAREWELL TO THEMED?

I did a CMT theme month back in May. It featured all Dustin Hoffman movies and I really enjoyed it. All of them stayed on Netflix, so there was no problem there, and I finally had an excuse to watch "The Graduate". Overall, I think these kind of things are a blast. I can also see them being used for promotional purposes later, so they won't be going away.

In fact, I've got my eyes on Harrison Ford, for yet another theme month. Here's hoping that goes well. Until then, I'll keep you posted.

B.A.S.

October 2015