follow us in feedly
‘The Wall’: Stunning behind-the-scenes images from Pink Floyd’s harrowing cinematic acid trip

A behind-the-scenes images of Bob Geldof as ‘Pink’ and actual skinheads from the 1982 film ‘Pink Floyd - The Wall.’
I don’t know how many nights I spent in my youth tripping balls on acid in a dark movie theater with 100 or so of my stoned out peers watching 1982’s WTF film Pink Floyd - The Wall for the 20th time (I guess I answered my own question there: 20). It was truly a rite of passage where I grew up back in Boston and I know that wasn’t the only place where young minds were getting blown apart by visions of marching hammers or a bloody, soon to be eyebrowless Bob Geldof screaming “TAKE THAT FUCKERS!” as he tosses a television out of a window.

Before I continue, I’ll give you a minute to recover from that mini-flashback you just had.

Bob Geldof being transformed into your worst drug-induced nightmare.
If you are following the news at all these days (and I wouldn’t blame you if you and the “news” are on “a break” right now as most of it makes me want to hide under my bed) you’ve likely seen some of the comparisons from last week’s GOP Convention to scenes from director Alan Parker’s brilliant adaptation of Pink Floyd’s 1979 conceptual masterpiece, The Wall. As I am about as nostalgic as they come I decided to watch the film once again (sans acid this go ‘round) and it should be of no surprise that despite a lack of chemicals cavorting around in my head the film is still quite impossible to look away from. It is also quite possibly even more terrifying to watch now when you allow yourself to consider the parallels some scenes seem to run with the ugly rhetoric spewing from the mouths of elected officials and a man who is currently vying to occupy the highest political office in the United States.

But as I often do, I’ve once again digressed away from the point of this post which is to share with you some remarkable behind-the-scenes photos from The Wall that I had never seen before as well as an interesting tidbit about the film’s star Bob Geldof. Apparently Geldof (who’s allegedly the leader of a new liberal political “party” in England called the “Sneerers” in case you were wondering what he’s currently up to) couldn’t swim and was also massively phobic when it came to blood. So when it came time to film the scene where Pink is bleeding out in a swimming pool, the reluctant Geldof was placed on top of a see-through plastic body mold so he could appear to be floating in the pool among a cloud of his blood for the sequence. Yikes. Many of the images in this post can be found in a must-own book for any Floyd fan by David Appleby, Pink Floyd - Behind The Wall.


Director Alan Parker on the set of ‘The Wall’ with ‘Little Pink’ played by actor David Bingham.

Alan Parker and an eyebrowless Bob Geldof.
More glimpses behind ‘The Wall’ after the jump…

Posted by Cherrybomb | Leave a comment
Body Horror: David Cronenberg’s mad doctors… dissected
09:56 am


David Cronenberg

Oliver Reed as Dr. Hal Raglan in The Brood (1979)
David Cronenberg really directed some doozies between about 1975 and 1990…. actually he never stopped making remarkable movies, but that first big chunk of material represents most of what we think about when we throw out the word “Cronenbergian.” The prosaic yet unsettling visions he presented in Shivers, Rabid, The Brood, Scanners, Videodrome, The Dead Zone, The Fly, and Dead Ringers are the most thorough expression of the “body horror” genre and have no true equal in the canon of world cinema.

Until I watched L. C. Durham’s intriguing, er, dissection of Cronenberg’s repeated inclusion of unreliable medicos in this period, it had never occurred to me that the pattern was that strong. Get a load of this murderer’s row of medical professionals: Dr. Antoine Rouge, Dr. Emil Hobbes, Dr. Dan Keloid, Dr. Hal Raglan, Dr. Paul Ruth, Dr. Sam Weizak, Drs. Beverly and Elliot Mantle. It’s a lovely bunch, no? We can only wonder why Cronenberg had quite so much to say about doctors.

Keep reading after the jump…

Posted by Martin Schneider | Leave a comment
Cosplay Couture: Felted ‘Metropolis’-inspired Sci-Fi costume
12:28 pm



It’s never too early to think about Halloween and, really, it is just right around the corner. If you really want to do something extra special and cool this year, why not sport this awesome needle felted costume inspired by Fritz Lang’s Metropolis by Etsy shop RaeStimson?

My approach to this art project was to create an outfit that had the appearance of what I imagine a 1920’s sci-fi costume would look like.

This is a one of a kind costume. If you wish to purchase it I will adjust it to your size before sending it to you. Send me your measurements and please allow an additional two weeks before shipment.

It’s selling for $800.00 which seems a bit pricey for cosplay couture to me, but then again, I have no idea how long it would take to make something like this.

More after the jump…

Posted by Tara McGinley | Leave a comment
‘Slumber Party Massacre II’: Bonkers, totally 80s musical driller killer thriller cult ‘classic’
10:58 am


Slumber Party Massacre II
Wednesday Week

Slumber Party Massacre 2 Cover
Slumber Party Massacre II, written and directed by Deborah Brock, is a horror comedy musical cult film that you need to see. Pay no attention to the haters at Rotten Tomatoes who called it a “a horrible movie, not a horror movie”—so the killer in Slumber Party Massacre II breaks into song. Like that’s a bad thing? How often do you see something like that outside of Sweeney Todd? Released in 1987, Slumber Party Massacre II was the sequel to (how’d you guess?) Slumber Party Massacre and there were others in the Slumber Party Massacre franchise, but sequels, prequels people, who cares about those other films…? This is the one you need to watch.

The story is all about girl rocker Courtney and her badass band of preppies going on a weekend getaway to a parent-free condo to have a girly slumber party. OF COURSE, their very 80s boyfriends show up and so does the driller killer. Before I even discuss that guy, Courtney’s awesome band of stone foxes “plays” (mines along to) music courtesy of LA-based group Wednesday Week.

The first number they “perform” called “If Only” takes place during a scene at their garage practice spot before they leave town.

Keep reading after the jump…

Posted by Izzi Krombholz | Leave a comment
‘A Short Movie About Suicide’
09:14 am


Alan Vega
Martin Rev

November 1970 poster for a series of Suicide shows at “A Project of Living Artists” on 729 Broadway

The news of the death of Alan Vega of Suicide came down over the weekend. As all such deaths do, it has given rise to an outpouring of heartfelt reminiscences, providing an occasion to reflect on what a blazing, contradictory, committed, special band Suicide was. Famously early in defining the possibilities of the term “punk music” (via 1970 gig ads, one example of which is above), Suicide became one of those rare bands you absolutely had to have a reaction to, as they perhaps learned to their chagrin when they accepted an offer by the Clash to open for the London-based punk band in Britain in 1978. Many of the punks in the audience despised Suicide, leading to an incident in Glasgow in which an audience member threw an axe at Vega’s head.

Living up to its name, “A Short Film About Suicide” (2007) lasts roughly 15 minutes. It mostly consists of Vega talking, which is an unimpeachable strategy. The movie opens with Vega recalling the September 3, 1969, gig at the Pavilion on 42nd St. when the Stooges opened for the MC5 and Iggy (and, improbably, Johann Sebastian Bach) changed Vega’s life forever. The movie features Vega and Martin Rev, of course, plus Chris Stein of Blondie, Mick Jones of the Clash, and others. Howard Thompson tells of hearing Suicide’s incredible first album for the first time (mistakenly playing side B first) and then realizing that he absolutely had to put it out in the U.K.

If “A Short Film About Suicide” lasted 5 hours, no part of it would be boring.

More after the jump…

Posted by Martin Schneider | Leave a comment
How To Make a David Lynch Film: Perfect parody cleverly disguised as Lynch film within a Lynch film
12:51 pm


David Lynch

One of our stock moves here at Dangerous Minds on a slow traffic day is to post something related to David Lynch. Like almost anything about the guy or even tangentially Lynch or Twin Peaks-related (like a cherry pie recipe) is guaranteed to be shared on social media. A lot. People seem to love David Lynch… or do they really?

To be honest, I’m not so sure how genuine all this supposed rabid Lynch fandom actually is. I think people think they’re supposed to like his work and if they don’t get it, then they aren’t cool. How else to explain the Emperor’s new clothes-ishness of Lynch fans, most of whom, if pressed, have rather a difficult time explaining why they like his films so much. Even smart people will twist themselves into pretzels offering pointless interpretations and tenuous excuses for his work. Ask one of them to be specific sometimes, the resulting word salad, it’s a good laugh.

Don’t get me wrong, I love the earlier part of Lynch’s filmography: I first saw Eraserhead projected on a wall in my parents’ basement on a 16mm film projector with a print that was acquired via an interstate film library lending system. I’d read about it and I HAD TO SEE IT and that’s the kind of hoops I had to jump through back then to be able to clap my eyes on the film. I saw The Elephant Man in a cinema by myself when I was 14. I must’ve watched Blue Velvet five times in a movie theater. I saw each and every episode of Twin Peaks as it aired. Wild at Heart, I’ve seen this multiple times, too.

But after that… I mean come the fuck on! From Lost Highway onwards, his films (for the most part) simply stop making sense. Moody? Sure. Sexy? Often. Nice to look at. Okay. They’re also incoherent self-parodies and ultimately say nothing. Frankly I think people extolling the virtues of Lynch’s incomprehensible later films are fooling themselves into believing that there is some occult profundity contained therein. The message? Go ahead and search for one. I’ll just wait here until you’ve given up.

Writer/director Joe McClean seems to feel the same way I do about David Lynch. McClean made a step-by-step guide on How To Make A David Lynch Film and cleverly disguised it as a David Lynch film within a David Lynch film.

It’s plain and simple. I watch David Lynch movies and I just don’t understand them. I decided I was going to try and figure them out so I stapled my eyes open and had a Lynch-a-thon. It didn’t help. I thought if I forced myself to watch, at some point it would just click and it would all make since. That never happened. I believe that good and bad are subjective terms so I allow others to spew forth praise and amazement at the genius of Lynch’s work, and I fully believe they have a right to their opinion.

This movie is my opinion.

See if you agree too, after the jump…

Posted by Richard Metzger | Leave a comment
‘Night Tide’: Moody, atmospheric 1961 killer mermaid film was Dennis Hopper’s first starring role
07:17 pm


Dennis Hopper
Marjorie Cameron
Curtis Harrington

The late Curtis Harrington’s darkly atmospheric Night Tide (1961) was the first film to star a young Dennis Hopper. The plot revolves around a sailer (Hopper) who has an affair with a mysterious and beautiful woman (the gorgeous Linda Lawson) who portrays a mermaid at a sideshow on the Venice Beach boardwalk. The sailor begins to suspect that his lover is an actual mermaid who commits ritual murders of her lovers during the full moon.

Witchy artist Marjorie Cameron, who memorably played the Scarlet Woman in Kenneth Anger’s Inauguration of the Pleasure Dome (Harrington shot Anger’s Puce Moment and appeared in Pleasure Dome as well) has a small but pivotal role as a super intense woman who seems to hold a strange and fearsome power over Lawson’s character. There is also a fantastic jazzy/beatniky soundtrack by David Raksin (who worked on the soundtrack to Modern Times with Charlie Chaplin and composed the haunting theme to Otto Preminger’s Laura which became one of the most frequently recorded jazz standards).

Night Tide—which many people place in same category as Carnival of Souls or Val Lewton’s Cat People (I can see that) was restored by the Academy Film Archive in 2007. A Blu-ray release of the film struck from a 35mm print came out in 2015 from Kino Lorber.

Posted by Richard Metzger | Leave a comment
Can’s ‘Mother Sky’ as it was used in the creepy British cult film ‘Deep End’
02:13 pm



“Mother Sky” from Can’s Soundtracks album was used to great effect in Jerzy Skolimowski’s Deep End (AKA “La Ragazza Del Bagno Pubblico”) the tale of a teenage stalker obsessed with a beautiful young woman (model Jane Asher, Paul McCartney’s pre-Linda 60s girlfriend) who is his coworker at a pool and bathhouse. 

Deep End was thought to be “lost” but a new film print was released in British cinemas in 2011, with a deluxe BFI produced Blu-ray DVD coming soon after. You can occasionally catch it on Turner Classic Movies. In a 1982 interview with Kristine McKenna for the NME, director David Lynch described Deep End as the only film he ever liked that was shot in color.

Below, the frantic “Mother Sky” as the number was used in the film:

Blistering live version of “Mother Sky” on German television after the jump…

Posted by Richard Metzger | Leave a comment
‘Disney presents Cannibal Holocaust on VHS’ and other killer fan-art mashups
09:19 am


VHS tape
Cannibal Holocaust

Collecting horror and exploitation films on the VHS format has become a huge deal in the past five years with several Facebook collector groups popping up, newsworthy lists of tapes that fetch hundreds of dollars on the open-market, and the excellent documentary film Adjust Your Tracking: The Untold Story Of The VHS Collector covering the obsession.

Graphic artist and collector Bobais B Borris has been making waves in the VHS collector community recently with his fan-art mash-ups of classic classic VHS box art and reimaginings of modern film art, had they been released in the VHS era.

Borris has created a series of, in his words, “silly mockups” of the most notorious films in the world—had they been released in the VHS era by Disney. There’s just something hilariously unsettling about seeing the Disney logo above Cannibal Holocaust or Pink Flamingos.

Borris runs Afraid of the Basement, which is a fanzine, website, and video label. The fanzine covers “dark and freak culture,” highlighting subjects like goth and deathrock music, occultism, history, extreme film, and esoteric art.

Borris started AOTB Video about two years ago, beginning with making custom VHS covers for modern horror films like The Babadook, The Conjuring, Curse of Chucky, Noroi: The Curse, and other films that he wanted for his own VHS collection. He found a market in that and it began to take off. Borris started licensing actual films about a year ago, mostly concentrating on obscure live music and documentaries. As of this article he’s licensed about seventeen official releases, as well as over 100 custom fan art mock-ups including Star Wars: The Force Awakens, Mad Max: Fury Road, and Deadpool among various others. His most popular fan art releases, however, have been the series of faux Disney films that have found their way all across the Internet.

Borris’ art is available on his Instagram page, @afraidofthebasement, while his official licensed releases are available for purchase along with his custom poster designs on the website


Plenty more after the jump…

Posted by Christopher Bickel | Leave a comment
Red Meanies, Blue Meanies: The Cold War roots of the Beatles’ ‘Yellow Submarine’

Yellow Submarine is such a brilliantly fun movie experience and so perfectly in the Beatles’ mass culture, mind-evolving spirit that it takes an effort to recall that the Beatles themselves didn’t really have very much to do with it. It says a lot, perhaps, about the strength of the Beatles brand at that time that Yellow Submarine could work so splendidly, even with most of the artists involved being forced to intuit what jokes and artworks constituted an acceptably “Beatles” and “fun” sort of thing. Not much doubt that they succeeded, eh?

The man in charge of the operation was a Czechoslovak-born German named Heinz Edelmann, an artist with a wide portfolio who seems to have become somewhat chagrined at always being thought of as the “Yellow Submarine guy”—that is, unless Peter Max (who was never involved with the movie in any way) was being called the “Yellow Submarine guy” in his stead!

Heinz Edelmann
In 1993 Edelmann consented to appear on Baltimore’s Best 21st Century Radio hosted by Bob Hieronimus, a fervent admirer of the movie.

Edelmann explained that he was contacted for the Yellow Submarine project by Charlie Jenkins, the art director in charge of the special effects who was responsible for the glorious “Eleanor Rigby” section of the movie, among other sequences. He also pointed out that Yellow Submarine did not represent the first attempt to “do” the Beatles in animation. Starting in 1965 there were also the series of short cartoons that made up the Beatles TV series. and in fact the producer and director of Yellow Submarine, Al Brodax and George Dunning, had also worked on the more rudimentary television shorts.

Things were moving so fast, Edelmann pointed out, that when the TV series was being made, the Beatles were primarily thought of as a Liverpool phenomenon, with the plots staying more or less true to that, but by 1968, when Yellow Submarine was released, that was no longer the case, they belonged to the world, and the tone had to be more universal.

That may explain one of the more intriguing false pathways the movie might have gone down—but didn’t. According to Edelmann, as hard as it seems for such a thing to be possible, the original conception of Yellow Submarine hewed to a Cold War framework. And it actually might have stayed a Cold War allegory—but someone ran out of red paint. Here’s Edelmann:

The point, I think was, what I thought the one meaningful thing about it all was, in ‘68 this was more or less the end of the Cold War. Even in the Bond movies they gave up the KGB as the enemy and turned to self-employed villains. So, one had in ‘67, one had the feeling that (a.) the Cold War’s over, that Russia is changing. But also our world is changing with new values to which, with a new vision of the world in which the Beatles played an important part. So, the Meanies, in a way to me, represented a symbolic version of the cold war. And originally they were the Red Meanies.


And only because the assistant who came in to do the coloring, she either did not quite understand my instructions, or deliberately did not understand them, but it also could be we didn’t have enough red paint in the place. So they became the Blue Meanies.

Certainly Edelmann’s status as a German, coming from a country that was split in two by the Cold War, half of which was experiencing repression from Moscow, would have had something to do with this—because it’s really rather difficult to derive any Cold War meanings out of the Beatles’ own lyrics, which tended to focus on a specific story or else espoused an adherence to universal values. Obviously a message like “All You Need Is Lovewas in some sense about the Cold War, but—well, suffice it to say that the choice to make the movie more about intolerant conservatives and power-hungry buzzkills of all stripes was surely a wise one.

More after the jump…

Posted by Martin Schneider | Leave a comment
Page 1 of 260  1 2 3 >  Last ›