Sunday, November 17, 2019

The Genius of Charles B. Pierce

DISCLAIMER - My blog is an attempt to show respect to films some small minded, intellectually dishonest hipsters automatically label "bad". There is no film I discuss here that I believe to be bad at all.  The title of the blog comes from a discussion that took place some years ago when I was trying to explain the appeal of these films. The title is not meant to suggest I think these films are bad in the least.  Remember - ART IS ART!




Charles Pierce hard at work.



I consider the 1970s to have been a gift. So many great names come to mind when I think about that era and the amazing genre films it gave us. But I always feel like one name fails to get mentioned as often as it should - Charles B. Pierce.

Pierce, born in 1938, wrote and directed several great pictures.  But, perhaps his two best known and classic drive-in pictures, are The Legend of Boggy Creek and the truly spectacular The Town that Dreaded Sundown.

Classic newspaper ad


He began his career as a Television weatherman and afternoon kid's show host (not unlike the late, great Briggs Gordon who portrayed Uncle Briggs on WSIL's The Funny Company in the 70s until the early 80s.  A man who deserves an article as well).  From there he moved into commercial work with an advertising agency that was quite successful.  He took the success he had in commercial work and began a mockumentary style film about the Foulk Monster of Arkansas - a Bigfoot type of monster which had terrified the locals for a number of years.

In the 1970s, the topic of Bigfoot (or related creatures) was big business in books, television and especially genre pictures.  In fact, Pierce's work was not the first Bigfoot themed movie of the 1970s.  The John Carradine picture "Bigfoot" (yes I know 1970 is actually the last year of the 60s but work with me here). But in the 70s alone you also could enjoy The Legend of Bigfoot, The Creature from Black Lake, The Mysterious Monsters, The Capture of Bigfoot, and even the picture I discussed last week - Shriek of the Mutilated.  A search for Bigfoot on Amazon Prime or Hulu indicates the topic is alive even in the 21st century (although I'd have to imagine undisputed drone footage would be available by now to prove the existence once and for all).

Boggy Creek Lobby Card


Key to the thick tension of The Legend of Boggy Creek is the use of the mockumentary style of the film.  I wouldn't go so far as to say the film is a predecessor of the found footage film.  But the style is used in such a way one does get the feeling they are almost participants in the film and not simply observers. 

Seeing this film at the old Star-Vue drive-in was a thrill.  The movie unnerved me sufficiently as a kid I kept looking behind the car into the wooded area that surrounded the screen wondering what creatures lurked in the dark.  Realistically, probably just neighborhood kids hoping to catch a free movie but still...

Pierce's use of locals for the picture certainly adds gravity to the film.  Much the same way the first 15 minutes of 1999's The Blair Witch Project did.  Or, even to a greater extent, the classic Texas Chainsaw Massacre two years later. I think it is a commonality in the great horror films - that exciting but horrifying feeling you are watching something you weren't meant to see which makes you more implicated in what you are watching.  It is there to a small extent in Psycho, but it truly ramped up in the 70s with pictures like Boggy Creek, TCM, and with the killer POV motif, Halloween.

Boggy Creek Lobby Card


The picture was released in 1972, but I don’t recall seeing it until 1975 or 1976.  It was not unusual for films to make the drive-in circuit year after year, sometimes under different titles although that practice had declined significantly by the 70s.  For instance, I didn’t see The Texas Chainsaw Massacre or The Last House on the Left until the early 80s when those pictures would make the annual rounds.  Of course, with interest in Bigfoot being almost unwavering until the end of the decade, the film would manage to rack up profits for much of the decade.

As much as I adore The Legend of Boggy Creek, Pierce’s masterpiece would be the 1976 horror/mystery The Town that Dread Sundown which he directed from a screenplay by Earl Smith (also with a role in the film).  Part documentary and part conventional film, it tells the story of murder unsolved to this day in Texarkana. Over years of watching the film, I’m certainly not immune or unaware of some shortcomings.  But the deficiencies are few and far between and are in no way sufficient enough to reduce the overall classic nature of the film.  

...a true story

This film can also boast some amazing acting from the entire cast which features Ben Johnson, Andrew Prine, Dawn Welles and Charles B. Pierce himself as Patrolman A. C. “Sparkplug” Benson.  I may be a bit biased, but, I’ve always felt Pierce’s acting in the film is outstanding and he easily could have made a solid career as a character actor.

Pierce as Patrolman Benson


The film was successful enough, and ostensibly accurate enough, to generate a number of lawsuits from the families of some of the victims of the slayings.  In fact, just the legal wrangling after the films success is wild enough to write an entire essay detailing the complaints and the results.

The final sequence of the film is extremely well executed, and I think indicates the raw talent Pierce possessed.  A talent that was not entirely unnoticed as Pierce moved to California for a time where he became an acquaintance and associate of Clint Eastwood.

Pierce continued to work until 1988 and declining health began to take its toll. Even eventually having his arm twisted into making a 1984 sequel to Boggy Creek…which is not his finest work.  Pierce died in 2010 at the age of 71 living in a nursing home the last seven years of his life. However, Pierce left a rich legacy of amazing film.



In fact, his work made a significant enough impression that in 2014 “meta-sequel” also titled The Town that Dread Sundown.  The film is unique in that Pierce film is discussed and is, in fact, being watched by the residents in the park as the film opens.  It is an enjoyable film, but, one that is not altogether complimentary to Pierce or his son.  I would certainly suggest viewing it, but, being familiar with the original will help you enjoy the remake? reboot? Sequel? Even more.

I hope, as time goes on, Charles B. Pierce is mentioned along with the other titans of drive-in cinema. Although his work was not as visceral as H.G. Lewis or Romero I think film historians will one day discover his influence is felt in film today.  And I think every kid who got freaked out watching The Legend of Boggy Creek at the drive-in owes Mr. Pierce a sincere thank you…

The man... the legend


…so thank you Charles B. Pierce for being among those that made growing up in the 70s amazing!







Sunday, November 10, 2019

Shriek of the Mutilated



DISCLAIMER - My blog is an attempt to show respect to films some small minded, intellectually dishonest hipsters automatically label "bad". There is no film I discuss here that I believe to be bad at all.  The title of the blog comes from a discussion that took place some years ago when I was trying to explain the appeal of these films. The title is not meant to suggest I think these films are bad in the least.  Remember - ART IS ART!




When it comes to writing about under appreciated classics, I generally find that I’m always about two dozen steps behind others who have done a better job of discussing the movie than I ever will.  For instance, this entry from Groovy Doom about Shriek of the Mutilated is an amazing read.
 

What I do have in my favor, generally due to my advanced age, is, although I am behind in writing about these movies, I believe I’m among the happy few who discovered them long before video stores and the Internet made films like Shriek better known. 

From time to time I’ve been asked how it is I can watch some movies multiple times.  I generally provide some pre-packaged pap.  But I can watch a film like Shriek of the Mutilated several times a year because, each time is like stepping into a time machine.  Whether it is Buckaroo Banzai, Evil Dead, The Texas Chainsaw Massacre 2 or Shriek of the Mutilated, I am transported to the first time I watched the movie.  The emotions, sounds, even the odors that surrounded me the first time I saw the film come flooding back to me.  That is the reason there are some films I can’t watch again – I’m looking at you Nightbreed.





Each time I watch Shriek of the Mutilated I’m transported to a fall night in 1979. A small house on the south side of Cape Girardeau. Not a particularly nice part of town.  A few years later I would be told that West End Blvd. only existed so people like me knew which side of town to stay on.  But that evening I didn’t have a care in the world as my Dad and I sat on a couch waiting for the movie to start.  I must admit, I don’t recall if it was on KPLR, a station out of St. Louis, or on WTBS.  I do remember the Slim Whitman and Boxcar Willie commercials (where you had your option of LP or 8-track tape).


This is not a film I discuss out loud very often because that would require me to actually verbalize the title, and how do you say the words Shriek of the Mutilated and not have people turning their heads and wondering if they should head towards the door.  So, I am thankful for the opportunity to write a bit about this film.





In all candor, I’d forgotten this film for some years.  Then Fred Olen Ray (I’m always looking for a reason to mention Fred) released the film on DVD (sans the song Popcorn) and I grabbed a copy right away (back in those heady days of going to Best Buy with their aisles and aisles of DVDs).  Sadly, it is one of four DVDs I’ve lost by lending them out… so I don’t loan out movies any longer.


Luckily, by the time I lost the disk, a copy had made its way to an online outlet and I could still watch it.


One thing I notice about the film, and other films from that era is the title.  Horror films used to really have some crazy titles used to entice thrill seekers into the drive-ins and theaters to see if they could withstand the terror.  For instance, in 1972 alone you had titles like The Gore-Gore Girls, Blood Freak, and Three on a Meat hook. Of course, with the exception of HG Lewis’ films, the titles were often the most horrific part of the movie.  I suppose, based on your taste, the same could be same for Shriek of the Mutilated.


Few films came with a better grindhouse pedigree.  With a screenplay by Ed Kelleher (Invasion of the Blood Farmers) and Ed Adlum (Blonde on a Bum Trip) directed by Michael Findlay, there could be little doubt about the lusty, bloody bravado of the picture.  




This seems like an opportune time to talk about the Grindhouse power couple that was Michael and Roberta Findley (although I don’t believe Roberta worked heavily if at all on this particular picture). They got their start making adult films including the flesh trilogy – The Touch of Her Flesh, The Curse of Her Flesh and The Kiss of Her Flesh. Both of them, under a variety of names (just check out their IMDB pages) wrote, acted and shot a number of adult films before making the shift to the horror genre with Shriek of the Mutilated. 




It should be noted, this film was their second attempt to enter the horror market.  A film by the title Slaughter was, in fact, their first.  But. discussion of that is an entirely different article.


Tragically, Michael Findley died in a helicopter accident in New York City in May 1977 (fans of genre cinema would also lose William Girdler in a helicopter accident in Manila six months later). Roberta Findley, thankfully, continued to make movies for another 10 years, with her last film, acting as Cinematographer, being 1988s Prime Evil. 


Shriek of the Mutilated follows a hunt for the elusive Yeti, headed up by Professor Prell (Alan Brock) who takes a variety of students with him to the home of a friend, Dr. Karl Werner (Tawm Ellis) on a remote, upstate New York island. Early in the film, we discover that Dr. Prell believes one of his students is talented enough to become his protégé and begins to groom student Keith Henshaw (Michael Harris) to continue his work.




Although warned to get a good nights sleep by Professor Prell, a number of the students head off to a party, where a survivor of one of Prell’s previous expeditions (everyone else perished at the hands of the beast) arrives at the party, leading up to a surreal sequence that serves little to the plot, but provides substantially to the “What the fuck did I just see?” element…and sometimes that is more important than plot.


The trip begins the next day and, stopping for fuel, the Prof and his students are warned by a gas station attendant not to continue on, but, of course, what kind of film would it be if they turned around and headed back?
Upon arrival to the island, Dr. Werner regales them with his latest encounter with the elusive Yeti.  At first light, Professor Prell and his students head off looking for the mysterious beast. As you might expect, things take a turn for the worst.




Say what you want about Shriek of the Mutilated, the ending is still one of the most amazing conclusions ever and I would be a fool to spoil it for you here.
A short perusal of the films IMDB page indicates this is the only feature for most of the cast.  I’m not certain why that is, I don’t believe it was a talent issue.  I think most of the performances are strong and would love to see a reunion piece on a special edition Blu-Ray someday. 


I’d also love to see Roberta Findlay get a bit more love.  Joe Bob Briggs did a wonderful commentary for her film Nightmare Sisters and praised her a great deal.  Still, I think it would be wonderful if more people knew her name and showed her the appreciation she deserves, not only for her work with her husband, but, for her own work.  Fans like me owe her and her late husband a great deal.


Shriek of the Mutilated is available on several streaming platforms – none of the transfers are particularly good, but that is to be expected.  Be prepared for one of the best twist endings in film history.





Sunday, November 3, 2019

The tale of BIOHAZARD

DISCLAIMER - My blog is an attempt to show respect to films some small minded, intellectually dishonest hipsters automatically label "bad". There is no film I discuss here that I believe to be bad at all.  The title of the blog comes from a discussion that took place some years ago when I was trying to explain the appeal of these films. The title is not meant to suggest I think these films are bad in the least.  Remember - ART IS ART!


Sometimes I get a little behind - it is the sad side effect of having had to grow up whether I wanted to or not. So, I only recently picked up the special edition blu-ray of Fred Olen Ray's Biohazard originally released in 2015.



I certainly have soft spot for this film.  I consider it the picture that really started my video collection.  To be sure, like most everyone in the late 80s, I picked up a tape here and there - Burton's Batman and a used copy of Tremors were always a possible "go to" in my youth.  But, this was during the time when video tapes were expensive and priced to be used as rentals, so collecting video tapes was still a pricey proposition.

However, by the early to mid-90's, that began to change with outlets like Suncoast Motion Picture company and "record stores" selling more moderately priced tapes, some even letterboxed instead of the standard "pan and scan".

Where it began...



...and where it is today.
Biohazard was a Christmas gift in 1994 and not only did I love watching it, loved seeing it sitting on my shelf and realized I had now become quite greedy...and wanted to see more of them sitting on my shelf.  So, I picked up a copy of Trancers, then Glen or Glenda and went ahead and paid a bit too much for a new copy of Flesh Gordon.  I was now addicted to collecting movies, an addiction that never significantly waned except in times when funds were a bit tight.

This brings us finally to my thoughts on the Blu-ray for Biohazard.  But, more specifically about Fred Olen Ray.  

The plot of Biohazard is a bit difficult to summarize.  Don't believe me?  Check out the Wikipedia page for the film (Biohazard at Wikipedia).  But, you know what?  I don't care - I love this movie. And, listening to Fred Olen Ray and Dave Decoteau discuss the film during the commentary I finally had the information I needed for an epiphany - its not about the story, its about the visuals.  Its about what a geek like me (or Fred Olen Ray) want to see in a movie...and this film is full of the things I want to see.  I don't want to speak for Fred Olen Ray, but, I think Joe Bob Briggs (John Bloom) summarizes it best with "The 3 B's - Blood, breasts and beasts". 

I mean - I can't speak for you, but, my job can be stressful...sometimes really stressful.  When the weekend rolls around, I want entertainment.  I'm not looking for soul shattering truths at 10:30 on a Friday night while I'm drinking some cold brews.  I want a film like Biohazard...and it is that kind of art that Fred Olen Ray has been providing me and other like minded people for 3 decades.

And this allows me to segue into some additional thoughts about Fred Olen Ray.  I've mentioned Fred and others in passing in this blog here.

But, I've never really taken the time to fully share my thoughts on someone I think is truly a national treasure. And having listened to Fred Olen Ray's commentaries on Hollywood Chainsaw Hookers, Scalps and now Biohazard, I feel I've gone long enough without discussing how much I appreciate him, how many Friday nights he saved and just how generally impressive he is as a person, a father and a filmmaker. 


When I was in high school - I wanted very badly become a filmmaker. I went so far as to apply to SIU Carbondale ( I think they called the degree cinematography).  But, when I went to the orientation, I was confronted with the daunting cost of the degree as well as a bunch of young film studs from Chicago with 16 milometer rigs, money and five or six "student" films under their belt.  I'd made one silent, 8mm movie my Sophomore year in High School.  So, at the lunch break, I left, got in my car, drove back to Cape Girardeau and eventually found myself a History major.  I wimped out.  I quit. For me, it was only just a dream and I didn't have the spine, force of will or character to pursue it. At an age when I could have done anything, I did nothing.


But - this was not the case with Fred Olen Ray.  He is an artistic force of nature that would not be stopped. As a single father, with very limited resources, he didn't let anything stop him.  When you listen to him speak about the things he had to overcome, especially making his early films, it is completely impossible to not be both impressed and inspired by what he has accomplished. Even more so when you see that his son Chris, who plays the alien in Biohazard (at the age of 5/6) is following in his footsteps.

I think it really hit home in the interview with Fred's son Chris on the Blu-ray extras. For both Fred and Chris, the stories of late nights shooting on weekends, sleeping on floors and scraping up money to get a meal are not "woe is me" stories but a badge of honor or what can be accomplished when a person wants to be a filmmaker...and will not let anything or anyone tell them no.  When Fred posts pictures on Facebook of dinners with the people he's worked with for years, my first reaction is always a pang of jealousy. But, then I grow up and think, no one deserves that cigar and martini with friends more than he does.

No one.


Fred Olen Ray - The Man Himself

I mean this in all sincerity - someone needs to make a movie about the life of Fred Olen Ray.  In a world filled with people (like me) who always have an excuse for why they didn't do this or blame someone for preventing them from living their dream - Fred Olen Ray is a living, breathing, prolific examples of what can be accomplished if you have a dream that cannot be stopped.

I never made it...but Fred did, and for that every movie geek and lover of genre films should be eternally grateful.

Saturday, October 26, 2019

Phantom of the Paradise...or The Portrait of Swan

DISCLAIMER - My blog is an attempt to show respect to films some small minded, intellectually dishonest hipsters automatically label "bad". There is no film I discuss here that I believe to be bad at all.  The title of the blog comes from a discussion that took place some years ago when I was trying to explain the appeal of these films. The title is not meant to suggest I think these films are bad in the least.  Remember - ART IS ART!



Where to begin with The Phantom of the Paradise...?

From a purely old man, sentimental perspective I have to realize there are three films that entirely encompass the degree to which my late father and I shared a brain.

1.  The Groove Tube
2.  Raw Force

and 3. Phantom of the Paradise.  Number 3 being the first movie I distinctly recall my Dad saying "Don't tell your Mom you saw the movie, let's just say you fell asleep".  Certainly a passable excuse in the drive-in days when the more adult-themed movie was the second feature counting on the kids to have fallen sound asleep having exhausted themselves on the playground equipment directly under the screen combined with the late hour.

A concept that makes me laugh...

 However, from the artistic point of view I have to approach the film from a "classics" perspective. There is a saying, coined I believe coined by Lord Byron or Hunter S. Thompson that says "There is nothing new under the sun".  And studies have shown that is, in fact, the case as most literature, film, comics... you name it, really all follow the same 10 literary themes.  Genius comes in to play when those ten themes are expressed in ethereal ways that speak so directly to the heart and mind as to leave a lasting impression. You know, like Old Yeller or The Evil Dead.  And, of course, Phantom of the Paradise.
 
I was in first grade when Phantom of the Paradise was released, and so, it was safe to say, that unless I had unknowingly encountered the story of Faust during one of the weed induced "Young Democrats Club" meetings my parents hosted at their house when I was but a wee child this film would have been my first introduction to Johann Wolfgang von Goethe's Faust. But, short of going directly to the source material...what a brilliant introduction, by a director/writer and cast in their absolute prime.

Brian De Palma.  I've found that people feel about him the way some  feel about Kubrick.  Which is to say, they love him or they hate him.  That is also to say, those who love him think "his shit don't stink" and those who hate him fail to appreciate his moments of genius.  I like to think of him as I think of ALMOST any artist, sometimes you nail it...and sometimes it nails you.  It is hard to love a man who made Phelps the bad guy in Mission: Impossible (excuse the spoiler but for fuck sake, if you haven't see that movie yet...), but, hard to hate a man who gave us Phantom of the Paradise, Carrie and The Untouchables.  Hell, I'll throw Body Double in there as well.

But, if De Palma had made a single film, and it was Phantom of the Paradise, his place in the annals of film history would be assured.  Everything in the film is inspired.  Oh sure, it hops on the hood of car, twerks like a middle-age, saggy assed Miley Cyrus while screaming "It's the 1970s".  But, you know what?  It WAS the 1970s and this film is not only a fascinating, brilliant retelling of Goethe's Faust, but, it also serves as a glorious time capsule of when music was controlled by a precious few and distributed by the rulers of the musical kingdom.  A story of the music industry if Apple controlled music the way they do now... only Steve Jobs is played with more class by Paul Williams (Swan).

Our protagonist is Winslow Leach, played by the great late William Finley, who two years later would work with Tobe Hopper in the film Eaten Alive...which is a whole other essay.  Eaten Alive is not only one of Hopper's finest, but, perhaps the darkest film I've ever seen (I can only watch it every couple of years).  Winslow is a great composer, working on a whole cantata based on, you guessed it, FAUST.  Meanwhile, Swan is looking for the perfect music to open his Xanadu (I mean Kublai Khan's Xanadu not Olivia Newton-John's.  As an aside I was well into grade school before I realized she wasn't the sister of Elton John, but, then I've been told I am a dumbass).


Things take an ugly turn for Winslow when he realizes his music has been stolen, and being performed by the 70s equivalent to N'Sync.  Along the way, Winslow meets the voice he wants to perform his music... Phoenix, portrayed by the ALWAYS brilliant Jessica Harper.  By the way, although she is great in this film, as well as Suspiria and Shock Treatment, he performance in Pennies from Heaven seems forgotten by all except me.  That film still haunts me.

All this leads to a stunning conclusion played out on live television.  Members of the younger generation probably won't understand the gravity of that, but, in the days of three channels, live TV was an event.  Hell, the wedding of Tiny Tim and Miss Vicki is a prime example of massive events that didn't even require live coverage to alter the general zeitgeist.



Further evidence of De Palma's brilliance is indicated by the fact the he knew you can't have a film about the music industry without great music.  The soundtrack is amazing all these years later.  Some of the songs are not as heady as others, but, that is, after all, the point.



A beautiful transfer is available for viewing now if you have Amazon Prime, and I'll be picking up the Blu-ray after my next pay day.  Do yourself a huge favor and check it out, you'll be glad you did.  If you aren't feel free to yell at me at jakebanzai1@gmail.com






Sunday, August 18, 2019

Scared to Death.. the OTHER Slithis

DISCLAIMER - My blog is an attempt to show respect to films some small minded, intellectually dishonest hipsters automatically label "bad". There is no film I discuss here that I believe to be bad at all.  The title of the blog comes from a discussion that took place some years ago when I was trying to explain the appeal of these films. The title is not meant to suggest I think these films are bad in the least.  Remember - ART IS ART!




If you've read other posts of mine, you no doubt deduced that I am a fan of the film Slithis.  Growing up in the mid-west, I loved watching films with a lot of Los Angeles area exterior shots.  They always severed to convince me Southern California was beautiful and laid back.  Every day just life in a Beach Boys song.  You can imagine my surprise when I moved to Southern California and found it hardly relaxed or laid back.  Hearing a car horn in the mid-west was somewhat of a rarity but pretty much just par for the course when driving around Los Angeles or the Inland Empire.  Given the release date for Slithis, it seems likely it was not riding the "Alien" train but was attempting to be more of a "Jaws homage".



However, released in 1980, "Scared to Death" is clearly a response to "Alien" with a Giger inspired creature stalking the dark of both the city streets and the sewers below Los Angeles.  Although it is as enjoyable as "Slithis", "Scared to Death" doesn't boast quite the amount of Los Angeles footage but, still manages to capture a moment in time before the Me Decade got underway in earnest.

The plot of the film centers on a rash of homicides...with a significant amount of what appears to be KY Jelly left behind.  As an aside - I've always wondered what posses a character in a film to so robustly put their fingers in whatever viscous fluids that tend to turn up at murder scenes. Having worked in the "custodial arts" at least twice after grad school I can tell you, emulsified fluids of any kind were more cause of concern than curiosity... and I never considered sticking an ungloved digit in the mess.  There is no mystery for the viewer, we know right away some horrific creature is responsible for the murders, the film is more about investigators and law enforcement coming to grips with the cause of the murders.



Det. Lou Capell (David Moses) desperately wants to bring in former LAPD detective, and now paperback novelist Ted Lonergan (John Stinson) on the case as brutal and bloody murder was right up his alley before departing the force.  But, Police Chief Dennis Warren (Walker Edmiston) wants the best-selling author far from the case.  So... of course Lonergan becomes involved.



There are some slow spots and some obvious padding to the make the run time, but, I've long since learned to ignore these issues in my beloved low-budget films. Sometimes it just a necessity.  Occasionally it is handled brilliantly like the opening of H.G. Lewis's "The Gruesome Twosome" and sometimes handled with a bit less aplomb like the lengthy first murder in "Scared to Death".  But, first time director William Malone can be forgiven these pacing issues.  The only way a director conquers those issues is simply be continuing to work and study so I never find them scene breakers.

"Scared to Death" is a film I've been familiar with since I was a kid.  But, only managed to see recently on Amazon Prime (Oh...how well you know me Amazon Prime).  I was really excited to see it up pop up in my recommended movies.  And, I loved something about it that might put off other viewers.  The transfer is just horrible.  The sound drops, the video appears to be dubbed from an old VHS tape and the film itself is just swimming in artifacts (see the phone screen capture).  For an old fart like me it was almost synonymous with the cracks and pops you get from vinyl when you throw the second album by The Rainmakers (or the first from The Hooters) on the old turntable.


So, if you have 93 minutes and are looking for a fun throwback film to clear your palette of the over produced CGI brain candy around today, look up Scared to Death on Amazon Prime and enjoy your trip down memory lane.

Miss you Pops!