Chris Hardwick's Blog, page 2129

BATMAN Reanimated – ‘Double Talk’ Shows the Dark Knight’s Softer Side

Stemming almost entirely because I taped it and an episode of Animaniacs one afternoon when I was a kid, I’ve seen the episode “Read My Lips” of Batman: The Animated Series about a million times, and as such the character(s) of the Ventriloquist and Scarface became favorites for me. Such a weird idea: a meek nobody has a split personality that he puts into a wooden dummy of a crime boss, and he’s good enough that criminals follow him. He only had a couple appearances in TAS, and returned for only one episode of The New Adventures of Batman, fittingly titled “Double Talk.”

This episode actually feels the most to me so far like it could have fit in Batman: TAS; it’s told mostly from the villain’s point of view and there’s a fair amount of nightmare sequence/mental breakdown stuff which the earlier show did so often, and brilliantly. It’s also one of the more optimistic and redemptive episodes. I’ve always had the sense that Batman’s at his best when he decides to help the criminally insane instead of just beat them up. He clearly hates Penguin and Riddler and Scarecrow, but he has compassion and pity for Mr. Freeze and Two-Face, and Arnold Wesker.

The episode opens with Wesker—known in the criminal world as the Ventriloquist—getting released from Arkham Asylum with a clean bill of health, free of his alter-ego Scarface. He moves into a halfway house owned by the Wayne Foundation, and Bruce Wayne even gives him a job in the mail room of Wayne Enterprises. Everything seems to be looking up for Wesker, except he runs across Scarface’s old henchmen, Rhino and Mugsy. They try to taunt the poor man into bringing back Scarface, and Batman has to come and beat them up.

It doesn’t stop there, though. Wesker starts getting phone calls from Scarface, and even seeing him across the street and on city buses.

Batman and Batgirl keep tabs on Wesker, who is slowly losing his grip on reality and finding himself slipping back into his old ways. One night, Batman even sees what looks like the dummy itself running on the rooftops surrounding Wesker’s apartment and this pushes Wesker over the edge, fully embracing Scarface again and plotting a new heist: Lucius Fox has just put millions of untraceable bearer bonds in the Wayne Enterprises safe. Clearly someone is trying to drive Arnold Wesker back to a life of crime. But who, and why?

“Double Talk” is an episode that presents a quite effective mystery plot where you’re never sure—as Wesker isn’t—if “Scarface” is real, just in his head, or an elaborate hoax. Either way, the result is the same, and it’s something Batman clearly wants to prevent. It’s rare to see Batman in the role of rehabilitater instead of crime-stopper, but it’s actually quite refreshing. And since this is his last appearance in the animated series, we can sort of take solace in the notion that just this once, Batman’s efforts were successful.

And, for you Easter egg fans out there, there’s a blink-and-you’ll-miss-it cameo during the scene in which Wesker goes to the park in the middle of the day. He walks through the scene of people sitting on the lawn and playing catch and what not and in the back of the frame for half a second you can see Clark Kent and Lois Lane sitting on the grass enjoying a summer’s day. Weird, huh?

Next week, we’ll hit some sweet-ass Joker business in the episode “Joker’s Millions,” a comedy based on the movie Brewster’s Millions. Get it? Let me know your thoughts on “Double Talk” in the comments below!

Images: WB Animation

Kyle Anderson is the Associate Editor for Nerdist. He’s written the animation retrospectives Batman: Reanimated, X-Men: Reanimated, Cowboy Rebop, and Samurai reJacked. Follow him on Twitter!

Sad R2-D2 Remembers His Past with a Forgetful Obi-Wan

Some people might look at the Star Wars prequels as a missed opportunity, but others know that couldn’t be further from the truth, because when life gives you lemons, you make hilarious YouTube videos. Like this one of a sad R2-D2, despondent over Obi-Wan Kenobi not remembering him, thinking back to all of the adventures they once shared together.

This comes from the YouTube channel of Jeffim Sheroky, and it is set in A New Hope, with old Ben Kenobi telling Luke that he doesn’t seem to remember ever owning a droid, even though he should definitely remember Artoo who is standing right there. That sends R2-D2 on a trip down memory lane, to the years before the Empire, when he and Obi-Wan were running around the galaxy far, far away together. Making his memories far more crushing–and therefore much funnier–is that his recollections are (perfectly) set to Gary Jules’ cover of “Mad World.”

The obvious, major discrepancy of Obi-Wan not remembering R2-D2 has caught the ire of Star Wars fans ever since The Phantom Menace hit theaters, but how many of us have ever taken the time to think about how it must have made Artoo feel to hear his old friend say he couldn’t recall even owning him?

For so long we’ve focused on our own issues with the prequels, like midichlorians, Gungans, and younglings, that we forgot about the real victims of those movies, the people…err, droids…in them.

Obi-Wan might not have remembered the role R2-D2 played in them, about how many times that little droid saved his life, but we haven’t forgotten.

No matter how much we wish we could.

What’s the best explanation you’ve ever heard for why Obi-Wan didn’t remember Artoo? We’ll be sad if you don’t tell us in the comments below.

Images: Lucasfilm/Jeffim Sheroky

Snoke theories! You want ’em, we got ’em!

The AMERICAN GODS Cast on Season 1’s Biggest Surprises

When you step to Ricky Whittle, you best come correct. Pablo Schreiber learned that the hard way when he was filming a fight scene with his co-star Ricky Whittle for Starz’s upcoming Neil Gaiman novel adaptation American Gods. Schreiber, who plays a gigantic, surly leprechaun named Mad Sweeney, revealed during an interview at Nerdist’s Backyard Bash at SXSW that he split his head open while filming a bar fight scene opposite Whittle’s Shadow Moon during the American Gods pilot. Having seen the pilot episode and read the book, I can attest that it’s a bloody, violent affair, but now it’s even bloodier and more violent knowing that the dynamic duo accidentally went method with it.

In addition to regaling us with tales of the “hardest head in show biz,” the American Gods cast told us which of the shows dueling deities they would fear the most in real life. Many were quick to say Ian McShane’s Mr. Wednesday, but I think the one, true answer here is Yetide Badaki’s Bilquis. Anyone who has read the book will know what I’m talking about here. Plus, the cast and creators of American Gods also told us which characters they think will surprise viewers most when the show hits TV screens on April 30, 2017.

American Gods premieres on Starz on April 30, 2017.

What moment from the book are you most excited to see in American Gods? Let us know in the comments below.

Image: Starz

Dan Casey is the senior editor of Nerdist and the author of books about Star Wars and the Avengers. Follow him on Twitter (@Osteoferocious).

Woody Harrelson Reveals His STAR WARS Character!

Earlier this year, word broke that Woody Harrelson signed on for the Han Solo stand alone film as Han’s mentor. And in perhaps a nod to the classic Star Wars Extended Universe, Harrelson himself confirmed his role as Garris Shrike, a character who mentored Han in one of the Star Wars novels. It’s pretty rare for an EU character to make the jump into the post-Disney Star Wars continuity—and as it turns out, it may not have happened this time. Today’s Nerdist News has the latest details on Harrelson’s character, and it’s not what anyone was expecting!

Join host and famed explorer of Kashyyyk, Jessica Chobot, as she breaks down Harrelson’s recent comments on The Tonight Show with Jimmy Fallon. When asked about his role in the Han Solo movie, Harrelson told Fallon that, “I play a guy named Beckett, who’s kind of a criminal and a mentor to Han. That’s all I can say.” Given that we already expected Harrelson to play Han’s mentor, that part wasn’t a surprise. But Beckett isn’t a very Star Wars name, is it? And that would seem to indicate that he won’t be Garris Shrike in the new film.

Why was Shrike left out of the new continuity? It’s entirely possible that the new Disney overlords may have had a problem with Shrike’s more abusive side, as shown in The Paradise Snare. But it’s also likely that Lucasfilm wanted a clean break from the old continuity, and the freedom to redefine Han’s history for the new film. That said, there is also the possibility that Beckett is a composite character who may combine aspects from more than one of Han’s previous mentors. Remember, Kylo Ren wasn’t too far away from Jacen Solo, Han’s son from the novels. So there is a precedent for that.

What do you think about Harrelson’s new character? Be sure to shoot first and leave a comment below! 

MONDO Celebrates the Spider-Verse with Limited Edition Poster and Pins

Ahhhh, Spider-Man. Is there any Marvel character more iconic than Peter Parker? Except, you know, Miles Morales. And Venom, I guess. Also Spider-Woman, Jessica Drew. Then there’s Cindy Moon, and Anya Corazon, and Ben Riley, and the alternate universe Gwen Stacy who’s also Spider-Woman, and Peter Porker, and… jeez, there are a lot of Spider-heroes, huh?

Of course, you know all of this if you followed Marvel’s recent Edge of Spider-Verse storyline in 2014, during which every single Spider-Man, Woman and Child teamed up across reality to take down a common foe. Now, Mondo’s got just the thing to help you commemorate that event: a limited edition poster designed by DKNG that features 64 different versions of your friendly neighborhood Spider-Man and all his buddies.

This 24″x36″ screen printed, hand-numbered poster (and its blue-colored variant edition) will only be available for 72 hours from today, Thursday March 23, to Sunday March 26, so look sharp — if you want it, better order it now.

Like your superheroes a little more wearable? Mondo’s also adding a few Spider-Men and Women to its already-large collection of classic Marvel head enamel pins, all of which are designed by Tom Whalen.

First up, the man himself, complete with those trademark Ditko eyes:

Next up is Miles Morales:

Then we have my personal favorite, Spider-Gwen:

And finally a special “Spidey Sense” version of Peter Parker. Man, I know it’s not the ’60s anymore, but why’d he ever give up those sweet Harry Potter glasses?

Unlike the poster, these pins aren’t limited edition, but you probably shouldn’t wait on pre-ordering the whole set. You know, just in case.

Which Spider-Verse character would you want to see next in MONDO’s collection? (Japanese Spider-Man, please!) Let us know in the comments below!

Images: Mondo

LIFE Mixes Science and Horror…and It’s Pretty Darn Good (Review)

Sometimes it’s not what you say but how you say it. Variations on a familiar theme are what the movie business is built on these days, and so often those feel stale and threadbare after the nine billionth time you’ve seen it. But if there’s enough of a new spin, even the most revisited plot or concept can feel fresh and new. The new film Life definitely falls into this category; we’ve seen an “uh oh, we found an alien but it’s a monster gon’ kill us” movie every year since 1952 it seems like, but this one manages to make it fresh, new, and thoroughly exciting.

What Life does that most of these other movies don’t is both make the science in it feel real and inexplicable. Plot points seem totally plausible but because they’re based on things we currently have no comprehension of—and neither do the characters—there’s not endless amounts of exposition trying to explain why and how things are happening. I’m being vague here, but it’s just because I don’t want to give away some of the finer moments of the movie’s story, which moves along at an almost breakneck pace from beginning to end.

A satellite orbiting Mars has picked up space debris and it appears that there are signs of life. A crew aboard the International Space Station (including Jake Gyllenhaal, Rebecca Ferguson, and Ryan Reynolds) catches the satellite as it returns to Earth and they begin carefully examining what they’ve found, which does indeed include a piece of alien cellular material. The cell responds rapidly to glucose and water and begins to grow at an alarming rate, and it’s suddenly abundantly clear that the creature—which looks and acts like nothing we’ve seen on Earth before—is predatory and could spell doom for all the people of our planet should it reach the surface, and only the ISS stands in the way.

We’ve definitely seen movies like this before, but again, it’s not what you say but how you say it. Life was written by Rhett Reese and Paul Wernick, the genius scribes behind Deadpool, and just like that movie, they took a familiar genre and concept and turned it on its head. Things movie incredibly quickly, but we’re able to get to know all six main cast members through brief conversations and context clues. As is compulsory for a movie like this to work, we like all of them and don’t want to see them in peril, of which this movie has plenty.

The direction by Daniel Espinosa is what truly elevates the already smart material by having the entirety of the action take place in the weightless atmosphere of the ISS—even the camera seems to float around untethered to gravity, especially during the dizzying opening scene which appears to be a single take. The movie feels both cramped like living aboard a space station and as expansive as space itself, which is aided immeasurably by the gorgeous score by Jon Ekstrand. The music helps the movie feel like the beautifully twisted offspring of 2001: A Space Odyssey and Alien that it is. Seriously, get this score when it comes out; it’s amazing.

A good, solid, scary sci-fi movie that knows exactly what it is but rises above it, Life is the kind of movie we’ve been missing. Not everything needs to be a franchise, not everything needs to be connected to something else; sometimes you can just have a sciencey movie about people and creatures in space, and you’re happy it’s there.

4 out of 5 alien-finding burritos:

Images: Sony

Kyle Anderson is the Associate Editor for Nerdist. You can find his film and TV reviews here. Follow him on Twitter!

What would xenomorph blood actually do?

Gorillaz Announce New Album HUMANZ, Share 4 New Songs

It looks like Gorillaz leader Damon Albarn finally decided that we had been teased enough. First, we thought we were getting a new album in 2016. That obviously never came to pass, but then there was word of new music with Vic Mensa (and perhaps even David Bowie). When 2017 finally hit, the mysterious album promotion train started chugging along. We got social media “books” for each of the band members, a new song and video, a new music festival, and now, we’ve finally struck gold. Today, a post showed up on Instagram that announced a new Gorillaz album, titled Humanz, is scheduled for release on April 28, 2017. Check out the artwork below.

You can listen to the new song “Saturnz Barz” in the above animated feature by Gorillaz visual mastermind, Jamie Hewlett. The band also dropped “Ascension” featuring rapper Vince Staples; “We’ve Got The Power,” featuring Noel Gallagher and Jehnny Beth; and “Andromeda” featuring D.R.A.M.. Take a listen to all of those below:

The album features a packed lineup of guests, which includes Danny Brown, Vince Staples, Mavis Staples, Carly Simon, Grace Jones, De La Soul, Pusha T, Kelela, D.R.A.M., and Savages’ Jehnny Beth.

Gorillaz will play the complete album live for fans for the first time, at a secret London location tomorrow, Friday, March 24. If you are in the London area, check out tickets here.

With a month until the album is scheduled to drop, are you excited? Let us know what your first impressions of the new music is!

Humanz Tracklist:

01 Ascension feat. Vince Staples

02 Strobelite feat. Peven Everett

03 Saturnz Barz feat. Popcaan

04 Momentz feat. De La Soul

05 Submission feat. Danny Brown and Kelela

06 Charger feat. Grace Jones

07 Andromeda feat. D.R.A.M.

08 Busted and Blue

09 Carnival feat. Anthony Hamilton

10 Let Me Out feat. Mavis Staples and Pusha T

11 Sex Murder Party feat. Jamie Principle and Zebra Katz

12 She’s My Collar feat. Kali Uchis

13 Hallelujah Money feat. Benjamin Clementine

14 We Got The Power feat. Jehnny Beth

Deluxe edition bonus tracks:

15 The Apprentice feat. Rag’n’ Bone Man, Zebra Katz, and RAY BLK

16 Halfway To The Halfway House feat. Peven Everett

17 Out Of Body feat. Kilo Kish, Zebra Katz, and Imani Vonshà

18 Ticker Tape feat. Carly Simon and Kali Uchis

19 Circle Of Friendz feat. Brandon Markell Holmes

Featured image: Gorillaz, Nasty Little Man

Puck Soup #43: Dimitri Filipovic

Greg and Dave welcome Sportsnet hockey analytics smartypants Dimitri Filipovic for a chat about the warring factions of stat nerds, his work with an NHL team, what numbers we should trust, the media’s ignorance and whether you can sell hockey with math. Plus,the boys debate the Olympics and the NHL; look at the Vezina Trophy field, and ponder the merits of Corey Crawford as a franchise goalie; give a March Mute-This tournament update; play a round of ‘London Tube Stop, U.K. Crime Series or Sexual Slang’; and answer your listener mail about ‘Lethal Weapon’ vs. the ‘Ocean’s’ movies, Subway sandwiches, peanut butter on hamburgers, how we shower and the merits of jellybeans. Sponsored by Seat Geek and Blue Apron!

Follow @wyshynski, @davelozo and @PuckSoupPodcast on Twitter!

THE LEGEND OF MASTER LEGEND Delusionally Saves the Day (Review)

Tangled raven locks flowing in the wind, uncomfortably deep commitment to fighting the forces of evil tucked into his back pocket, Master Legend races through the touristic danger of Las Vegas as if his soul is on fire. Sporting a homemade black tank top boasting a Dio logo draped over his scrawny frame, he cares. Really cares. Cares probably too much.

One of Amazon’s latest pilots, the John Hawkes-starring The Legend of Master Legend comes straight from the real-life story of one of the first people to publicly emerge out of the Real Life Superhero movement. Within its first few moments, the show vibes off the natural absurdity that comes with someone dressing up in puncture-proof rubber to roam the night—as if the dude wearing hockey pads in The Dark Knight was the star of the show.

Master Legend is one part The Dude, one part Brampton Batman, and simultaneously stone-cold serious about beating bad guys (even if it’s a bit bumbling in that mission). Hawkes (no surprise) brings a heightened level of sincerity necessary to the character such that you feel an uncomfortable sense of respect among the pity as he flails his way through local mascot status.

He’s got a beat-to-hell panel van. He jams out to heavy metal. He’s registered as a superhero in two counties. Whatever that means.

Master Legend (whose ex-wife annoyingly keeps calling “Frank”) spends most of the episode unmasked, poorly navigating a shaky personal life with the ease of the oblivious. His ex-wife Tana (Dawnn Lewis) works two jobs and hopes in desperation that Frank will leave Master Legend behind, all while raising their daughter Cody (Anjelika Washington), who is on the cusp of flirtation with her STEM partner Ashleigh (Giorgia Whigham).

When Master Legend discovers his underage daughter drinking beer with Ashleigh and a college-aged crew, he goes into full-on superhero/embarrassing dad mode, busting up a pizzeria and ending up in the back of a police cruiser. The scene is exacerbated by his fresh-out-of-prison brother Peanut Head (the glorious Shea Whigham), who appears to have snorted jet fuel before physically assaulting the bad guys.

The physicality of the show is surprisingly intense, shot with a street-level grit that wakes you up from the melancholy normal life of the muscle-less hero. Likewise, the episode ends with a tease that proves how seriously director James Ponsoldt and the crew are taking the darker parts of vigilantism.

On top of the main problems facing our lovably delusional moron, there are also little threads of the story to come. A few incipient romances, a hidden wad of money, a crew of fellow supers who have since moved on with their lives. And at the center: a guy who can’t win a fight, but can hand out bagged goods to the homeless and pay for strangers’ cab fare.

More hurt puppy than adult male, nothing sums up Master Legend’s existence better than his friend Ray (Robert Longstreet) day-drunkenly belching “Life could be easier for you my friend.”

There’s a slight Breaking Bad feel to it. The wash of the desert, the economic stagnation, the middle-aged mortifying discomposure. The biggest difference is that Master Legend doesn’t seem bothered at all by his lapsed relationships, wearing them on his sleeve as sad facts of life instead of agonizing over his own role in pushing people away. He’s also a fully cooked figure already, firmly over the weirdo horizon, who will probably creep toward normality (or something like maturity) over the course of the series.

For now, he responds peculiarly to normal conversations, bolstered by his drunken sidekick Ray—who, though “retired,” throws ninjas stars in Master Legend’s backyard secret hideout and gives him opportunities to say stuff like “She bears don’t mess around.” It’s all quietly goofy, like someone turned the camp knob on Super way down. While protecting good and thwarting evil, the two options Master Legend finds himself stuck between are low class comfort and something grandiosely meaningful.

If he hates being called Frank, how much of Frank is still in there? Can he be a good man and a great one at the same time? Oddly enough, our shoulder-to-shoulder walk alongside Master Legend in this pilot makes it obvious why he wants to be a hero. The grueling question of why someone would put on the suit and fight crime so thoroughly mined over a century of superhero stories is answered here with obvious immediacy. He’s a little crazy, his life is missing something, and he’s absorbed that fact to reach a comfortable stasis with what seems insane from the outside.

The Legend of Master Legend is promising, yet slight. The first episode is an enjoyable introduction to its needy cast of characters, and while Hawkes is a subtle genius, Master Legend’s single track plays equally empathetic and cloying. It feels a bit like we’re about to dive deep into a shallow character, but there may be a lot of tragic fun along the way.

You can watch The Legend of Master Legend for free on Amazon and help choose whether it becomes a full series.

Rating: 3.5 out of 5 heavy metal burritos:

Images: Amazon Studios

Schlock & Awe: Cushing and Lee Take on THE SKULL

As much as I love Hammer Films and their impressive dominance of the horror genre between roughly 1958 and 1970, a lot of their movies became very samey, with sequel after sequel of their Dracula and Frankenstein series, and more Victorian Gothic than you could shake a stake of holly at. This is when the upstart British horror companies, who lacked the depth of budget to create a constant stream of movies, could excel. Hammer’s only major competition was Amicus Films, who were best known for their portmanteau horror flicks, but when they made single-story movies, sometimes they’d give us brilliance like 1965’s The Skull.

I haven’t talked about Amicus as much as Hammer, for obvious reasons, but they made some excellent films that I’ve written about, including the anthology film Tales from the Crypt, the funky werewolf movie The Beast Must Die, and even the two feature film Daleks movies. Amicus made the most of Hammer stars and creative types not being signed to exclusive contracts, which is how you can have an Amicus movie starring Peter Cushing and Christopher Lee and directed by Oscar-winning cinematographer Freddie Francis.

The Skull is notable among the crop of Amicus titles for being an incredibly artful, weird, and macabre masterpiece. The script was based on a short story called “The Skull of the Marquis de Sade” by the great Robert Bloch (he who wrote Psycho among many, many other great TV and movie scripts and short stories) concerning all the evil that befalls a collector upon obtaining the titular skull of the infamously evil French aristocrat. I mean, the term “sadistic” only exists because of the Marquis de Sade for pity’s sake. The script — by producer and Amicus co-founder Milton Subotsky — was reportedly way too short so director Francis had to fill out the runtime with new scenes conceived of on the fly, and they resulted in some of the most surreal and expressionistic British horror moments ever put to celluloid.

The movie opens with a French phrenologist in the 1800s who decides to see if he can tell whether evil exists in a person by looking at their skull. Naturally, he decides to dig up a renowned evil person, the Marquis de Sade, but the skull seems to attack and kill him. We then cut to modern day when Christopher Maitland (Cushing), a collector and writer on the occult, is at an auction for strange old artifacts and finds himself bidding on purportedly evil-causing totems against his friend, Sir Matthew Phillips (Lee), who seems oddly compelled to bid an exorbitant amount on the objects. This confuses Maitland, but as Sir Matthew is a rich guy, he can’t possibly outbid him.

Maitland has an associate named Marco (Patrick Wymark), an unscrupulous finder and dealer in the kind of strange artifacts that Maitland adores. The scholar secretly loves that Marco gets these pieces via nefarious and salacious means, but pretends to be above it, and Maitland’s wife (Jill Bennett) hates when Marco visits. One evening, Marco claims he’s got a lead on a piece that Maitland will surely want to have: the skull of the Marquis de Sade. He acts against such a piece, but given the strange history of both the man and his cranium’s supposed evil powers, Maitland is persuaded.

It turns out, Marco’s lead on the skull is that it belongs to none other than Sir Matthew, and following a break-in and robbery, the scoundrel obtains the piece. Maitland is invited over to Sir Matthew’s house, where surprisingly the nobleman tells his friend that he was aware of the robbery and wants Maitland to get rid of the skull immediately. It made him do strange things, like buy more and more evil ephemera, and he’d hate for his friend to befall the same fate. However, Maitland’s sick fascination refuses to let him give it up, and starring at it in his home puts him in trances, gives him horrendous nightmares, and even makes him kill.

On the surface, a movie about a skull that makes a guy go nuts is not necessarily praise-worthy, but Francis fills it with truly weird visuals and dream sequences. A notable one has Cushing’s character in a Kafkaesque courtroom where the bewigged judge fires a pistol at him. Another later in the movie shows the skull floating around his home, where we see from the skull’s point of view. A lot of these scenes feel like a silent movie from Fritz Lang or F.W. Murnau, where the camera movements and Cushing’s brilliantly unhinged performance are the only factors. In fact, the final 25 minutes of the movie contains only about four lines of dialogue. It becomes more about the skill of the people involved than the story itself, and boy does it ever succeed.

The Skull now looks as good as it ever has thanks to an HD transfer on the new Blu-ray release by Kino Lorber. On top of the movie — itself very fun to watch — there’s also a highly informative commentary by film critic Tim Lucas and two half-hour discussions with British scholars Kim Newman and Jonathan Rigby. I would highly recommend checking out both the movie itself and this release, because if you’re a fan of ’60s Brit-horror the way I am, few movies will give you so much to mull over.

Images: Amicus/Paramount

Kyle Anderson is the Associate Editor for Nerdist. He writes the weekly look at weird or obscure films in Schlock & Awe. Follow him on Twitter!