THE USUAL SUSPECTS
THE USUAL SUSPECTS (1995)
D: Bryan Singer
Stephen Baldwin, Gabriel Byrne, Kevin Spacey
The Usual Suspects is the kind of movie you have to sit and watch. You can't thumb through a magazine, you can't be doodling in a sketchbook, you need to douse the lights-- pop yourself some popcorn and watch the movie from beginning to end. Be prepared to watch it a second time when you're done.
The New York police and FBI are called in to investigate a massacre at one of the docks involving a foreign ship. The only survivor's are a burned nearly to death Hungarian sailor who lies hysterically in his hospital bed indicating that legendary criminal mastermind Keyser Soze is involved, and Verbal Kint, a crippled mousy informer who is questioned by Investigators and tells his side of the story.
Give this one a chance-- it's an amazing bit of storytelling and an example of how assembling a great cast with a great script can't fail.
D: Bryan Singer
Stephen Baldwin, Gabriel Byrne, Kevin Spacey
The Usual Suspects is the kind of movie you have to sit and watch. You can't thumb through a magazine, you can't be doodling in a sketchbook, you need to douse the lights-- pop yourself some popcorn and watch the movie from beginning to end. Be prepared to watch it a second time when you're done.
The New York police and FBI are called in to investigate a massacre at one of the docks involving a foreign ship. The only survivor's are a burned nearly to death Hungarian sailor who lies hysterically in his hospital bed indicating that legendary criminal mastermind Keyser Soze is involved, and Verbal Kint, a crippled mousy informer who is questioned by Investigators and tells his side of the story.
Give this one a chance-- it's an amazing bit of storytelling and an example of how assembling a great cast with a great script can't fail.
THE INVISIBLE MAN (1933)
Introducing actor Claude Rains to the world THE INVISIBLE MAN is a dark and horrific comedy with some visually stunning special effects.
Rains develops a formula to turn himself invisible and the result is that he is slowly driven paranoid and mad, sending him on a murderous rampage while his friends try to stop him.
The elements we'll see in THE BRIDE OF FRANKENSTEIN are touched on here which will top this one when it's released in 1935.
THE DEVIL BAT (1940)
Lugosi was a serious actor (even playing Jesus) back in his home country of Hungary, but here in the states he gained most of his fame from playing Dracula and other horror figures.
One of the best of the worst is THE DEVIL BAT. There's just no way you get through this one without multiple "What?" responses.
Lugosi is an under appreciated well loved town scientist and family doctor who works for a perfume company developing new scents. Yes, you read all that right. Maybe you should read it again.
He is so neglected by the sinister family that he works for that they throw a dinner in his honor and present him with a check for $5000.00 as a bonus-- and remember that's 1940 dollars so we're probably looking at close to a half million today.
Lugosi decides to seek revenge on them in the only way he knows how-- by first developing a system of turning ordinary bats into GIANT killer bats and THEN developing a cologne that attracts them to their intended victims. It's not like he could just show them a picture of who they should kill, right?
Lugosi slathers the foul smelling cologne on one family mamber (Lugosi accent there) after another and then wishes them GOOD-buhy which is the code for you are dead now.
The movie travels briskly and is so bizarre you'll understand what inspired Ed Wood a few years later.
Movie Monday: This Week
This week on TCM;
Tuesday at 8pm is LAWRENCE OF ARABIA-- I recommended David Lean's movie to you once before, and this time with an 8pm start time you'll still be able to go to work tomorrow when it's over. A lavish spectacle and an incredible film.
10pm on Thursday night is ROAD TO MOROCCO which is possibly the best of the Bob Hope/ Bing Crosby road pictures-- and that's saying something. The chemistry between these two comes across on the screen and it's still funny even after 70 years.
If you're still up when it's over ABBOTT AND COSTELLO MEET THE MUMMY as an example of a classic comedy duo at the end of their career. It's a bit on the sad side to see these two former giants of Hollywood but overall not a terrible entry in their long series of movies.
Since jumping over to DirecTV Satellite service there is a whole new slew of movie channels, so effective next week I'll be looking what's on a few of them as well. I recommend DTV and if you're considering getting it shoot me an email and we both get $100 credit if you sign up.
Tuesday at 8pm is LAWRENCE OF ARABIA-- I recommended David Lean's movie to you once before, and this time with an 8pm start time you'll still be able to go to work tomorrow when it's over. A lavish spectacle and an incredible film.
10pm on Thursday night is ROAD TO MOROCCO which is possibly the best of the Bob Hope/ Bing Crosby road pictures-- and that's saying something. The chemistry between these two comes across on the screen and it's still funny even after 70 years.
If you're still up when it's over ABBOTT AND COSTELLO MEET THE MUMMY as an example of a classic comedy duo at the end of their career. It's a bit on the sad side to see these two former giants of Hollywood but overall not a terrible entry in their long series of movies.
Since jumping over to DirecTV Satellite service there is a whole new slew of movie channels, so effective next week I'll be looking what's on a few of them as well. I recommend DTV and if you're considering getting it shoot me an email and we both get $100 credit if you sign up.
KING KONG
KING KONG
1933 Directed by Meriam B. Cooper
Fay Wray, Robert Armstrong, Bruce Cabot
Forget Peter Jackson's travesty against the legend of Kong-- that four hour muckiest featuring Jack Black (!) and a chubby Kong who ICE SKATES in central park is not my Kong.
I'm talking about the original. Yes, it's made in that period of the early 30s when film making was a bit creaky and the creators were still figuring out the best way to work in the new medium of Sound-- but get past that. Fay Wray is perfect, Robert Armstrong is himself and Bruce Cabot does his best to imitate the better choice of Joel McCrea (who had to pass) but it's the special effects of Willis O'Brien that really make this work. Meticulously filmed in stop motion using techniques that are still employed to this day. If you dig Nightmare Before Xmas you need to see this film.
***** Stars
THE BIRDS
One of Alfred Hitchcock's only foray's into outright horror/supernatural-- THE BIRDS still has impact in it's story of society girl Melanie Daniels (Tippi Hedren) finding herself in the Northern California community of Bodega Bay under attack from ravenous birds.
The film has an other-worldly feel to it owing much to Hitch's preference of working in a studio environment over location shooting. It's Hitch's first film after PSYCHO and the beginning of the change he would experience in the final 1/4 of his brilliant career.
I'm not of a mind that everything Hitch did was genius, there are a few clunkers in his bag, but this one is good-- falling right in the middle of the spectrum and it will keep you in suspense.
SUSPIRIA (1977)
SUSPIRIA
1977 Directed by Dario Argenta
I'm glad I didn't see this when I was a kid. Frightened to almost hysterical levels by Vincent Price in THE ABOMINABLE DR PHIBES this one would have caused me to run out into the middle of traffic while consecutively pulling out my hair and wetting my pants. It would have been tough to live down.
SUSPIRIA plays like a bizarre nightmare that you can only vaguely recall, and though it drags a bit in the middle it's a movie that you won't soon forget.
Not suggested for those inclined to run towards traffic when frightened.
1977 Directed by Dario Argenta
I'm glad I didn't see this when I was a kid. Frightened to almost hysterical levels by Vincent Price in THE ABOMINABLE DR PHIBES this one would have caused me to run out into the middle of traffic while consecutively pulling out my hair and wetting my pants. It would have been tough to live down.
SUSPIRIA plays like a bizarre nightmare that you can only vaguely recall, and though it drags a bit in the middle it's a movie that you won't soon forget.
Not suggested for those inclined to run towards traffic when frightened.
THE BLACK CAT (1934)
If you bought the Lugosi set for MURDERS IN THE RUE MORGUE then you're in luck cause you have this one too.
THE BLACK CAT (1934)
Directed by Edgar Ulmer
Stars Boris Karloff and Bela Lugosi
Based on the Edgar Allan Poe story only in that they have the same title. It's hard to describe this one.
A honeymooning couple decide to travel to Eastern Europe on their honeymoon and end up in the Fritz Langish style home of devil worshiper Boris Karloff. Lugosi plays kind of the good guy here but that's not why this movie remains one of my favorites of all time-- right up there with Citizen Kane.
The acting is particularly hammy-- David Manners is the bride groom but he probably should have worn the dress to the party since he's the most foppish and least heroic hero ever committed to celluloid. He says things like "Papier Mache" and insists Lugosi leave his bedroom door open to their adjoining rooms in the Karloff house while his wife sleeps alone down the hall.
Lugosi is outrageous as the (by comparison) he-man who has a terrifying fear of cats-- to the point that when he see's one he throws a knife at it once time while another it causes him to fall backwards through a plate glass window. That's what I call fear. I admit to a hatred of Spiders and the instant reaction to kill 'em, but I've yet to stumble backwards out a window due to their sudden appearance.
This one is delightfully over-acted and melodramatic. You won't be sorry if you give it a chance.
THE BLACK CAT (1934)
Directed by Edgar Ulmer
Stars Boris Karloff and Bela Lugosi
Based on the Edgar Allan Poe story only in that they have the same title. It's hard to describe this one.
A honeymooning couple decide to travel to Eastern Europe on their honeymoon and end up in the Fritz Langish style home of devil worshiper Boris Karloff. Lugosi plays kind of the good guy here but that's not why this movie remains one of my favorites of all time-- right up there with Citizen Kane.
The acting is particularly hammy-- David Manners is the bride groom but he probably should have worn the dress to the party since he's the most foppish and least heroic hero ever committed to celluloid. He says things like "Papier Mache" and insists Lugosi leave his bedroom door open to their adjoining rooms in the Karloff house while his wife sleeps alone down the hall.
Lugosi is outrageous as the (by comparison) he-man who has a terrifying fear of cats-- to the point that when he see's one he throws a knife at it once time while another it causes him to fall backwards through a plate glass window. That's what I call fear. I admit to a hatred of Spiders and the instant reaction to kill 'em, but I've yet to stumble backwards out a window due to their sudden appearance.
This one is delightfully over-acted and melodramatic. You won't be sorry if you give it a chance.
Arsenic and Old Lace
ARSENIC AND OLD LACE
1944 Directed by Frank Capra
Cary Grant, Peter Lorre, Priscilla Lane
Classic screwball farce from 1944 about a young man (Cary Grant) who discovers his two adoring aunts are actually delicate well meaning serial killers. An amazing cast and a lightning fast pace that doesn't have the sappiness of a lot of Capra's other films.
Five stars on this one-- you'll want to watch it a second time.
1944 Directed by Frank Capra
Cary Grant, Peter Lorre, Priscilla Lane
Classic screwball farce from 1944 about a young man (Cary Grant) who discovers his two adoring aunts are actually delicate well meaning serial killers. An amazing cast and a lightning fast pace that doesn't have the sappiness of a lot of Capra's other films.
Five stars on this one-- you'll want to watch it a second time.
MURDERS IN THE RUE MORGUE (1932)
The original director/actor team for Universal's FRANKENSTEIN (1931) was initially announced as being Robert Fleming and Bela Lugosi when suddenly the studio turned the whole project over to James Whale and it took a different direction.
The team was assigned MURDERS IN THE RUE MORGUE so we get a glimpse as to what might have been had they gotten the original gig.
Set in Paris in the mid nineteenth century and based loosely on the story by Edgar Allan Poe this movie goes into territory the novel never explored and it's amazing that it made it by the censors.
Bela Lugosi is Dr. Mirakle-- a circus sideshow barker who displays his captured ape ERIK for any who want to see the mysteries of the rest of the world. There is a little more to the relationship however, as we see Lugosi convinced he can both talk to and understand what the ape is trying to communicate. Mirakle has a pretty interesting idea-- if he can mate his gorilla with a young woman he'll have something more than just a sideshow curiosity. He begins kidnapping women and tying them to a giant cross in his laboratory and injecting them with ape blood to see the results.
It goes on from there, and many of the most horrific aspects of Poe's original make it into the film version. Something that could have never happened with the self censorship of Hollywood which began in the mid thirties.
The team was assigned MURDERS IN THE RUE MORGUE so we get a glimpse as to what might have been had they gotten the original gig.
Set in Paris in the mid nineteenth century and based loosely on the story by Edgar Allan Poe this movie goes into territory the novel never explored and it's amazing that it made it by the censors.
Bela Lugosi is Dr. Mirakle-- a circus sideshow barker who displays his captured ape ERIK for any who want to see the mysteries of the rest of the world. There is a little more to the relationship however, as we see Lugosi convinced he can both talk to and understand what the ape is trying to communicate. Mirakle has a pretty interesting idea-- if he can mate his gorilla with a young woman he'll have something more than just a sideshow curiosity. He begins kidnapping women and tying them to a giant cross in his laboratory and injecting them with ape blood to see the results.
It goes on from there, and many of the most horrific aspects of Poe's original make it into the film version. Something that could have never happened with the self censorship of Hollywood which began in the mid thirties.
Movie Monday: Happy July 4th
Big Holiday here in the States-- shove a hot dog in your mouth to celebrate our defeat of the English Monarchy and then read all about Kate and William in People Magazine-- doesn't make much sense to me either.
Movies this week:
At 10:15 tonight is THE ROARING TWENTIES which is a pretty important film that comes across as very corny and cliched today. Jimmy Cagney is a WWI vet (yes I said One) who comes back to find the country in the midst of the great depression and he's got to try to make his way in the world-- should he slide down the slippery path of gangsterism? Find out.
At 12:15 is NETWORK (1976) which is one of the most powerful films ever made-- and yup, also very 70s cliched-- loaded with sour attitudes and counter culture narcissism it's still a great movie.
Tuesday night starting at eight are a bunch of silent films-- which is always a nice treat and something I encourage all illustrators to have a go at.
On Saturday around Noon you could watch TARZAN AND THE SLAVE GIRL, you could, but I'd advise against it-- this is the era when the Tarzan films really slumped.
But next Sunday at 6 is CASABLANCA-- which if you've never seen you should be ashamed of yourself.
Movies this week:
At 10:15 tonight is THE ROARING TWENTIES which is a pretty important film that comes across as very corny and cliched today. Jimmy Cagney is a WWI vet (yes I said One) who comes back to find the country in the midst of the great depression and he's got to try to make his way in the world-- should he slide down the slippery path of gangsterism? Find out.
At 12:15 is NETWORK (1976) which is one of the most powerful films ever made-- and yup, also very 70s cliched-- loaded with sour attitudes and counter culture narcissism it's still a great movie.
Tuesday night starting at eight are a bunch of silent films-- which is always a nice treat and something I encourage all illustrators to have a go at.
On Saturday around Noon you could watch TARZAN AND THE SLAVE GIRL, you could, but I'd advise against it-- this is the era when the Tarzan films really slumped.
But next Sunday at 6 is CASABLANCA-- which if you've never seen you should be ashamed of yourself.
The Original Frankenstein Trilogy
FRANKENSTEIN
1931 Directed by James Whale
Stars Boris Karloff, Colin Clive
BRIDE OF FRANKENSTEIN
1935 Directed by James Whale
Stars Boris Karloff, Colin Clive, Ernest Thesiger
SON OF FRANKENSTEIN
1939 Directed by Rowland V Lee
Stars Boris Karloff, Basil Rathbone, Bela Lugosi
The original trilogy featuring Boris Karloff as the monster is a powerful, moving and outstanding entry in the classic horror genre. These were the JAWS of their day-- mega blockbusters that cemented these characters into popular culture.
The original feels nightmarish in its lack of a soundtrack, in these early days of sound film background music had yet to be thought of as an integral part of the movie. Karloff gives a moving performance as the man brought back from the dead and Colin Clive is outstanding as the frantic Henry (called Victor in the novel) Frankenstein who realizes pretty quickly he has created a murderous creature.
The weak points in this one are the father, played as a blustering windbag for "comedy relief"-- and there's nothing worse than comedy that isn't funny, and Mae Clarke as Elizabeth who is just lost in the whole film. Still a **** star film.
BRIDE is more a dark comedy than it is a horror film, and James Whale (who was the Tim Burton of his day) pulls out all the stops. This time Henry is aided by his old college professor Dr. Pretorious, played with delightful evil by Ernest Thesiger, and Elizabeth is now played by 18 year old Valerie Hobson who brings passion to the role.
The musical score is outstanding and later became a staple of Universal films, especially the Flash Gordon Series from the mid to late thirties.
A perfect example of a Universal Horror Classic firing on all cylinders. ***** stars.
SON could have been a contender. Had James Whale returned to the director's chair this might have been something. Initially announced as a color film we could have had Universal's answer to the WIZARD OF OZ. This time around Basil Rathbone is the Dr Frankenstein, playing Clive's son-- Clive died tragically a few years earlier and Rathbone is certainly a suitable replacement. The sets this time around are decorated in sparse German expressionistic style and Bela Lugosi is brought in as Ygor, who was supposed to have been Colin Clive's assistant in the earlier films. He delivers a bizarre and sometimes hilarious performance that counters the horrible acting of the kid playing the baby son of Frankenstein and helps to balance the sub par and very wooden performance of Karloff as the Monster.
This film marked the transformation of the Monster from sympathetic and misunderstood to lumbering brutish monster, which is the direction the series continued on for the duration of the 1940s.
**1/2 stars but worth watching.
1931 Directed by James Whale
Stars Boris Karloff, Colin Clive
BRIDE OF FRANKENSTEIN
1935 Directed by James Whale
Stars Boris Karloff, Colin Clive, Ernest Thesiger
SON OF FRANKENSTEIN
1939 Directed by Rowland V Lee
Stars Boris Karloff, Basil Rathbone, Bela Lugosi
The original trilogy featuring Boris Karloff as the monster is a powerful, moving and outstanding entry in the classic horror genre. These were the JAWS of their day-- mega blockbusters that cemented these characters into popular culture.
The original feels nightmarish in its lack of a soundtrack, in these early days of sound film background music had yet to be thought of as an integral part of the movie. Karloff gives a moving performance as the man brought back from the dead and Colin Clive is outstanding as the frantic Henry (called Victor in the novel) Frankenstein who realizes pretty quickly he has created a murderous creature.
The weak points in this one are the father, played as a blustering windbag for "comedy relief"-- and there's nothing worse than comedy that isn't funny, and Mae Clarke as Elizabeth who is just lost in the whole film. Still a **** star film.
BRIDE is more a dark comedy than it is a horror film, and James Whale (who was the Tim Burton of his day) pulls out all the stops. This time Henry is aided by his old college professor Dr. Pretorious, played with delightful evil by Ernest Thesiger, and Elizabeth is now played by 18 year old Valerie Hobson who brings passion to the role.
The musical score is outstanding and later became a staple of Universal films, especially the Flash Gordon Series from the mid to late thirties.
A perfect example of a Universal Horror Classic firing on all cylinders. ***** stars.
SON could have been a contender. Had James Whale returned to the director's chair this might have been something. Initially announced as a color film we could have had Universal's answer to the WIZARD OF OZ. This time around Basil Rathbone is the Dr Frankenstein, playing Clive's son-- Clive died tragically a few years earlier and Rathbone is certainly a suitable replacement. The sets this time around are decorated in sparse German expressionistic style and Bela Lugosi is brought in as Ygor, who was supposed to have been Colin Clive's assistant in the earlier films. He delivers a bizarre and sometimes hilarious performance that counters the horrible acting of the kid playing the baby son of Frankenstein and helps to balance the sub par and very wooden performance of Karloff as the Monster.
This film marked the transformation of the Monster from sympathetic and misunderstood to lumbering brutish monster, which is the direction the series continued on for the duration of the 1940s.
**1/2 stars but worth watching.
July Experiment: SPider Babies
They say July is the hottest month of the year here in New England-- I'd argue that August holds that title, but I'm not a weatherman. I hate the HHH days-- hazy, hot, humid. Ugh.
A few of my friends love this weather and I honestly can't understand why. Maybe they were baby spiders in a previous life so they love the heat and wet that reminds them of their days in the cocoon. I hate spiders too, so I guess the universe is tied together.
To get through this god-awful month I'm turning the blog's attention to the thing I love almost as much as art and telling stories-- movies.
A different movie each day, recommended to you and why you should hunt it down. Most of these will be readily available, but some may take some work to find. If you're interested in locating the ones that are not commercially available drop me a line and I'll send you the email of a couple of collectors who might be able to help you, or just jump over to IMDB and see what they have to say about my picks. Either way-- a month of movies to get us through these days of cookouts, bugs and changing your clothes three times a day.
First up;
SPIDER BABY
1968 Directed by Jack Hill
Stars; Lon Chaney, Carol Ohmart
Genre; Horror, Cult Bizarre
Spider Baby is one of those movies that make you scratch your head and wonder exactly what pills the film makers took when they came up with this one. The story of a cannibalistic family who trap visitors who come to call on them is nowhere near as graphic or disgusting as it would be if they filmed it today. It's done very much in the style of George Romero's NIGHT OF THE LIVING DEAD (1968) in that the violence is very stylized.
A strange and odd film which has become a cult classic. Available from Netflix, occasionally shown on TCM (Usually in the middle of the night) and at Amazon.
A few of my friends love this weather and I honestly can't understand why. Maybe they were baby spiders in a previous life so they love the heat and wet that reminds them of their days in the cocoon. I hate spiders too, so I guess the universe is tied together.
To get through this god-awful month I'm turning the blog's attention to the thing I love almost as much as art and telling stories-- movies.
A different movie each day, recommended to you and why you should hunt it down. Most of these will be readily available, but some may take some work to find. If you're interested in locating the ones that are not commercially available drop me a line and I'll send you the email of a couple of collectors who might be able to help you, or just jump over to IMDB and see what they have to say about my picks. Either way-- a month of movies to get us through these days of cookouts, bugs and changing your clothes three times a day.
First up;
SPIDER BABY
1968 Directed by Jack Hill
Stars; Lon Chaney, Carol Ohmart
Genre; Horror, Cult Bizarre
Spider Baby is one of those movies that make you scratch your head and wonder exactly what pills the film makers took when they came up with this one. The story of a cannibalistic family who trap visitors who come to call on them is nowhere near as graphic or disgusting as it would be if they filmed it today. It's done very much in the style of George Romero's NIGHT OF THE LIVING DEAD (1968) in that the violence is very stylized.
A strange and odd film which has become a cult classic. Available from Netflix, occasionally shown on TCM (Usually in the middle of the night) and at Amazon.
How to Draw Comics Intensive Workshop 4 Weeks
WHERE: Worcester Art Museum
WHEN: Thursday Nights 6-9pm Jul 7, 14, 21 and 28
I've been pushing for a shorter more intense version of the 8 and 10 week class we've been doing at WAM since 1999 and here it is. Going through it to prepare my notes and lesson plans I've trimmed off a lot of the excess and fine tuned a program that will be beneficial for newbies and seasoned pro's alike.
We'll cover things like;
Studio Setup for productivity.
Setting (and meeting) deadlines.
Staying Organized.
How to get the most out of the time you work.
Storytelling choices.
Working faster, better and more effectively.
Understanding your characters.
One trick that I've been using for a number of years is to put a movie on in my studio that I've seen a thousand times. The movie runs the right length for whatever project I'm on, for example;
PSYCHO- Alfred Hitchcock's 1960 classic fits perfectly for me. It has some pivotal scenes which you can't miss even if you're only vaguely paying attention-- the shower scene for one-- and this allows me to have it on for background noise and to be able to establish whether my current pace is on track. I know where I should be on a page at any given time during the film, and if I'm off my target I can speed up, slow down, or just start the film again.
I can usually complete a page in the span of the film, and knowing I need to be 1/3 of the way done at the point where Miriam buys a car, etc., allows me to hit those mini deadlines.
Yes, the downside is I've seen the movie a million times, but that's not the point. I realize I've seen it, I'm not watching it.
When I'm painting I like to work with music, usually with headphones, but with comics I like to work with movies on. I need the background noise and I find I'm fussing with my iPod for some reason if I'm sitting down drawing comics. With a painting I'm standing and seem to not notice as much if a particular song is not to my liking.
This class will explore other techniques, tricks and lessons both from my book, HOW TO DRAW GRAPHIC NOVEL STYLE and Stan Lee's recent how to book.
Learn How to Draw Comics
I'm offering a 4 week intensive class at WAM starting next Thursday July 7th and running the whole month-- 6pm - 9pm and we'll cover everything in a clear and concise structure. From plotting out your story to giving yourself deadlines that work covering technical tricks to make you faster and more productive this class is something I've been pushing for. Normal 10 week comic classes have a slightly relaxed pace-- and that doesn't represent what the lifestyle of hitting deadlines is like at all.
For example-- each student's drawing station will be set up with illustration boards set at an angle, and week 1 will look at The Idea/the plot/the inspiration/the plan-- which will ensure success. Serious students will find they are able to work at the speed that is needed after taking this course and following the rules I cover.
If you want to do this, learn how, or get a feel for what it's like to work in a deadline driven environment this is the class to take.
Give the WAMr's a call at 508.79.4406 or sign up on the website.
Werewolves of Wisconsin Update
My latest graphic novel, WEREWOLVES OF WISCONSIN is coming along-- a lot of you have been asking about it-- it will detail some of the most well known as well as the most obscure tales of ghosts and monsters all around the USA-- this particular example covers the meeting of the ghost of Abe Lincoln with LBJ in the White House.
It'll be 125 pages full color from McFarland Press-- available in the fall.
Movie Monday: HITCHCOCK!
One of my favorite directors is featured tonight at 8 with a lineup of some of his lesser known films;
Starting with STAGE FRIGHT, followed by I CONFESS, DIAL M FOR MURDER, THE WRONG MAN and STRANGERS ON A TRAIN-- although you won't be turning in until about 5:30am if you stay up for all of the features.
I confess I've never seen Stage Fright or I Confess and The Wrong Man remains one of the few Hitch films pre 1964 that I don't like. I've never dug Marnie up from the maestro-- and I've watched The Wrong Man at least twice and it just doesn't work for me.
But even bad Hitchcock is better than 90% of the dreck that passes for movies so give 'em a shot.
THE BIG SLEEP (1946) is on at 10am Tuesday-- one of my absolute favorite films and it stars Humphrey Bogart and Lauren Bacall (my favorite Hollywood couple).
Thursday night's Monster Movie Bash comes to an end featuring some really great sci-fi entries from the golden age including THE H-MAN from Toho (the film company responsible for Godzilla and Seven Samurai).
The Journal of Artist and Writer Andy Fish. Expect a wide range of topics, but it'll be updated everyday so check on back. Tomorrow's might be better.
2025 APPEARANCES
OAX 2025 ORLANDO FLORIDA JAN 24-26
SC COMIC CON GREENVILLE, SC. APR 5-6
Contact Jack Mucciano to arrange Andy & Veronica Fish personal appearances
jackmucciano@gmail.com (774) 275-3023
Andy Fish is a freelance Comic Artist interested in Freelance Jobs.
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