I’m of the opinion that The Hidden is an underseen movie. I saw it when it first played in the theaters, and even then it seemed to float under the radar. Directed by Jack Sholder, of Nightmare on Elm Street II fame, The Hidden is a nice blend of horror,science fiction, and buddy cop movie with Kyle MacLachlan as “FBI agent” Lloyd Gallagher, and Michael Nouri as Tom Beck chasing a body hopping alien across Los Angeles. There’s a couple moments where it delves into cheese, but rights itself at the end with a therapeutic vanquishing of the alien. – M.Avrg
Tag: midnight movies
NUART – reopens!
Places are starting to reopen here in California. I have no idea how long that will last, or if we will ever close down again at all. With the vaccines getting around, and after a year of “we’re turning a corner” only to see the numbers rise it’s tough to be positive about much at the moment.
That said, the Nuart opened it’s doors up last Friday, March 19, 2021. No idea when the midnight movies will return, but I’m looking forward to that moment when I can sit in my seat, finish my soda and candy before the trailers finish, and watch whatever classic horror is projected onto the big screen. It will be epic. (MA)
The Nuart: “I see you shiver with anticipation.”
The legendary Nuart Theatre switched up their marquee recently with this quote from The Rocky Horror Picture Show, “I see you shiver with anticipation.”
For those who don’t know, The Nuart was one of the first movie theatres to begin showing Rocky Horror on a regular basis back in 1976. I have yet to attend a screening of that movie there, but I do know the line tends to wind around the building, and the crowd is full of hardcore fans. When we are finally able to return to the movie theatres safely I will definitely go and get in line
I’m also missing seeing this beautiful marquee lit up at night, and look forward to the nights when it’s lit up advertising whatever movie is playing on the screen, as well as their Friday midnight programming. Someday….. (MA)
PULP FICTION (1994)
PULP FICTION (1994)
Director: Quentin Tarantino
Starring: Samuel L. Jackson, John Travolta, Bruce Willis, Amanda Plummer, Tim Roth, Ving Rhames, Uma Thurman, Eric Stoltz, Frank Whaley, Phil LaMarr, Rosanna Arquette
Director: David Lynch
Starring: Jack Nance, Charlotte Stewart, Judith Robert, Laurel Near, Jack Fisk
Cinematic Void launched its midnight screenings at the Aero August 9, 2019. In honor of the event the Aeor marquee miraculously turned black & white, casting it’s magical glow on the patrons and Montana Boulevard. Word is the next screening may be something filthy from Baltimore. Stay tuned!
CHILD’S PLAY (1988)
CHILD’S PLAY (1988)
Director: Tom Holland
Starring: Brad Dourif, Chris Sarandon, Catherine Hicks, Alex Vincent
Friday Night Frights kicked off the beginning of midnight movies at the Aero on August 2, 2, 2019 with a screening of Child’s Play (1988) in 35mm. Don Mancini, writer and producer, was there for the Q&A, and announced there’s a Chucky series in the works. See you next Friday, back at the Aero, when Cinematic Void screens David Lynch’s Eraserhead.
AND GOD SAID TO CAIN… (1970)
And God Said to Cain…
1970 Italian E Dio disse a Caino…
Starring: Klaus Kinski (Gary Hamilton), Peter Carsten (Acobar), Marcella Michelangeli (Maria),
Antonio Cantafora (Dick Acobar)
Director: Anthony Dawson (aka Antonio Margheriti)
Music: Carlo Savina
Theme Song Performed by Don Powell
Viewed: Streaming Amazon Prime
Transfer Quality: Good
A ghost returning
And he’ll have only one desire in his heart
Only one thirst. Revenge. –Maria
The quality of the anachronistic theme song in an Italian Western is always a good indicator of the caliber of the film to follow (i.e. Django, Keoma, any Morricone related Western, etc.), and this one is right up there. I would put this on any must see Italian Western list.
Gary Hamilton (Kinski) gets a pardon from the chain gang 10 years after being framed by power hungry Acobar (Carsten) who has stolen Hamilton’s house, mining operation, and woman, Maria. Naturally, vengeance must be administered. After Hamilton gains his freedom, an impending tornado serves as an apt means of foreboding his bloody return. It also creates a signature setting for the film where most of the action takes place at night in the midst of the ever threatening and violent windstorm. Every aspect of the tornado intensifies the anxiety surrounding Hamilton’s return; every utterance of his name evokes fear among his enemies.
The tornado also gives Hamilton’s vengeance an air of divine retribution. This is compounded by the Bava-esque eeriness of the night scenes and disorienting winds that add an other-worldliness to his nighttime attack. Using the cover of the storm and his familiarity with his old homestead, Hamilton is like a ninja, evading capture and keeping adversaries off guard while accumulating an insane number of kills single-handedly. Various trapdoors and hidden entrances allow him to move like a ghost through the mining tunnels under the town, constantly outmaneuvering Acobar’s small army. His name is repeatedly invoked in vain as he moves in the shadows, a seemingly supernatural force. The haunting effect is intensified by the tolling church bell and organ music that signal each wave of vengeful slaughter. Some other reviewers have derided the film’s mirror room shoot-out scene climax a la Orson Welles’ Lady of Shanghai (1949) as too predictable, but I think it’s great as it adds even more nuance to Hamilton’s ghostlike elusiveness. Even in the light he isn’t really there…until you’re dead! Plus, Bruce Lee’s mirror room climax in Enter the Dragon won’t come for another three years, and no one ever complains about that scene.
Beyond the excellent visual composition and well-paced action, it’s the complexity of the characters and their relationships that ensures repeated viewings. Above all, Kinski’s performance rules in this film. Unlike his askew characters in Westerns like The Beast and The Great Silence, Gary Hamilton is cool, collected, focused, and human. Also, beneath the narrative of revenge is a complex tale of family and loyalty. While Acobar’s son, Dick, sympathizes with Hamilton throughout the film, when he learns of his father’s treachery he ultimately chooses family over what he knows in his heart to be right. Ironically, after this turn, it’s Acobar who takes his own son’s life when he mistakes him for Hamilton.
Getting old, so having to watch midnight movies in two or three installments sometimes. Anyway, during my first watch, I must have slept through the exposition that explains why Gary Hamilton is seeking vengeance against Acobar. So, I had initially credited this with a meta-vengeance film genius it didn’t quite deserve. Still, this is a real standout in the genre with a great balance of genre predictability and innovation.
I’d be curious if someone has counted the number of times “Gary Hamilton!!” is uttered throughout the film…one of my favorite details in the film. I’m also wondering about the total number of kills he tallies.
Anyway, I’ll keep track next time and get back to you with some figures.
P.S. Apparently this is a remake of A Stranger in Paso Bravo (1968), the only film Salvatore Rosso ever directed. I’ll have to track that down for a comparison. (DC)
NW: Nate Wilson DC: Devon Cahill MA: Matt Average
Marquee Mania: TUNNEL VISION (1976)
TUNNEL VISION (1976)
directors: Neal Israel, and Bradley Swirnoff
Starring: Chevy Chase, Howard Hessman, Phil Proctor, Betty Thomas, Joe Flaherty, John Candy, Al Franken, Tom Davis, Laraine Newman
In 35mm at the New Beverly
Midnight showing of this sketch comedy movie from 1976 starring cast members from Saturday Night Live, and SCTV. Total running time of 70 minutes, a perfect length for those late hours when your mind begins to go sideways.
Who we are*
Who we are: A bunch of punk rock hasbeens/neverwasbeens. At the point in life where we go to shows and stand in the back, watching the clock as much as watching the bands, hoping the whole thing is over by midnight. Whereas, when we go see movie, it generally starts on time and ends at a decent hour. We are fans of genre cinema and sounds from the underground (if such a thing even exists anymore). We cover what we like, and sometimes do not like. What we do like is: Henry Silva, Charles Bronson, Lee Marvin, Barbara Bouchet, Edwige Fenech, Carpenter, Fulci, Argento, Sergio Martino, spaghetti westerns, Black Flag, Judas Priest, Brainbombs, noise, hardcore punk, metal, Iron Maiden, Mob 47, Black Sabbath, Electric Wizard, doom, Pam Grier, Sid Haig, Robert Forester, Rudy Ray Moore, Tank, Italian prog, Can, Ash Ra Temple, The Offenders, Articles of Faith, Uncle Acid and the Deadbeats, Crossed Out, Totalitär, Mads Mikkelsen, Corman, Landis, Godzilla, kaiju, Seijun Suzuki, samurai, Kenji Fukasaku, Dick Miller, Amarok, Roberta Collins, Chuck Connors, Ancient Altar, Pagan Altar, Karen Black, Richard Stark, Anitra Ford, and on and on and on…
Send material for review (physical formats only, thanks) to:
PO Box 25605, Los Angeles, CA 90025
* We are not employees of the Aero, just patrons, and this line up best sums up what we’re into.