Roger Corman

Although it seems they are synonymous with found-footage horror, low budget movies that will still be financial successes if audiences stop turning out in droves to see them, Blumhouse Productions are arguably something far more interesting. Their prolific output can easily be read as an updating of Roger Corman’s low budget exploitation aesthetic for the 21st century, albeit one that reflects pop culture’s increasingly low standards when it comes to genre filmmaking.

The Fantastic Four are the first family of Marvel Comics. Created in 1961 by Stan Lee and Jack Kirby (apocryphally, the result of an edict by Marvel publisher Martin Goodman to tryout a superhero team, a la rival DC Comic’s super-successful Justice League) and heavily inspired by the monster comics Marvel was publishing at the time, their tremendous popularity and success is responsible for launching Marvel’s Silver Age superhero renaissance, transforming a middling publisher of romance and sci-fi comics into one of the “Big Two” publishers of superhero adventure stories, leading to the creation of some of pop culture’s most enduring and beloved characters. Without the Fantastic Four, there would arguably be no Spider-Man, no Hulk, no X-Men or Avengers. Fantastic Four #1 is, simply, the Big Bang of Marvel Comics.

Cinema is a kind of uber-art form that’s made up of a multitude of other forms of art including writing, directing, acting, drawing, design, photography and fashion.  As such, film is, as all cinema aficionados know, a highly collaborative venture. One of the most consistently fascinating collaborations in cinema is that of the director and …

Somehow we’d fallen into calling her “Luce the Moose.” No one even remembers why. After that, I used to buy her some kind of moose – a stuffed doll, a carving, anything – every Christmas. Her given name was Lucy Sylvia Mesce. Lucia, actually, but other than her immigrant parents, I don’t think anybody ever …

As happened for so many other genres, the 1960s/1970s saw a tremendous creative expansion in crime and cop thrillers. The old Hollywood moguls had died off or retired, most of the major studios were bleeding red ink, attendance had gone off a cliff since the end of WW II, and a new breed of young, …

We know the greats; movies like Metropolis (1927), Invasion of the Body Snatchers (1956), 2001: A Space Odyssey (1968), Star Wars (1977). And there are those films which maybe didn’t achieve cinematic greatness, but through their inexhaustible watchability became genre touchstones, lesser classics but classics nonetheless, like The War of the Worlds (1953), Godzilla (1954), …

The Masque Of The Red Death (1964) Directed by Roger Corman Nicolas Roeg was one of the more successful cinematographers to graduate from the apex of the camera team to the director’s chair, a difficult transition which he arguably traversed with far more dexterity and than his European peers Freddie Francis, Jan De Bont, or Jack Cardiff. …

It is horror season again, my favorite time of year, which means my dear friend Justine and I reprise our rivalry and do our best to out-watch each other, for no other prize other than bragging rights for the year. Really, it is an excuse for two horror fanatics to cram their brains with as …

Throughout history, standing to the right of every great king one usually finds a great prime minister turning the king’s vision from abstract ambition into fact. During critical years for Roger Corman’s Concorde studio, the man at Corman’s elbow was Mike Elliott. Look up Mike Elliott on the Internet Movie Data Base (www.imdb.com) and you’ll …

If Roger Corman was the commander-in-chief, and Mike Elliott his field marshal, than Travis Rink was among the front line troops who actually had to carry the fight. Writing several scripts for Concorde in the early 1990s, Rink had a close-up look at the factory-like process which made Concorde’s prodigious output possible. Rink had made …

There have always been moviemakers who operated just outside the major studio spotlight; showmen, hucksters, exploiters working on small budgets.  Before the advent of home video and the multiplex, they could sometimes be found hand-carrying their single print from one movie house to another.  Post-World War II, many of them found small, survivable niches specializing …

Body Count: Volume 12 Some of my earliest horror movie memories are in the early 80’s. I was a cartoon junkie like most kids my age and you know how it goes on any saturday morning. Or maybe you know how it used to go. Get up wicked early, pour a massive bowl of cereal …