Gateway Film Center, Columbus, Ohio – Friday, October 13, 2017*
To celebrate the most recent Friday the 13th falling in October, Columbus, Ohio’s Gateway Film Center pulled off a wonderful idea in high style: a back-to-back screening of the first four Friday the 13th films – known colloquially by many fans as “the good ones” – starting at 7:00 on the night itself and ending in Saturday the 14th’s wee hours, just like Friday the 13th Part 3 technically began. Naturally, I was second row aisle for all the carnage, and what follow are breathless, fragmented field reports from the scene, covering all the scenes that I saw fit. Read on if you’re maybe not above a little trespassing on condemned property, definitely not afraid of 3-D yo-yos, if you instinctively shrug off obscure talk downtown of a “death curse”, and know enough to come in out of the rain. We’re gonna party like Ted (Part 2) was bringing the booze and Ted (Part 4) was picking the entertainment…
Gateway Film Center, Columbus, Ohio – Friday, October 13, 2017*
Columbus, Ohio’s Gateway Film Center is a nationally recognized bastion of chameleonic quality cinema independent in origin, intention, and execution, run by grateful, energized movie lovers for grateful, energized movie lovers. Art house fare, draft house fare, and grind house fare all coexist here in surprising harmony with standard but still carefully selected multiplex fodder. Add into the mix a dizzying number of Ohio premieres and classic film revivals with the accent equally on “classic” and “film” (as in 35 millimeter film, the format in which I saw “Creepshow” earlier this year, or 70mm, in which I saw an exclusive engagement of Tarantino’s “The Hateful Eight” a year and a half ago). Continue Reading
NOTE: What follows is a long, winding, bumpy, and circular road, even for this blog. Caveat reador.
My relationship with Ticketmaster – the nefarious online concert access cartel – has been a long and contentious one, though never particularly complicated. My feelings on the subject are not at all mixed but, rather, pure as the driven snow. Ticketmaster stands not just in mere ideological opposition to me. It vexes me, tweaks me with purpose and zeal, and does just about everything during our regular, uncomfortable interactions but spit in my eye. It is my rival, my enemy, my nemesis, and the bane of my concert going existence, which has otherwise brought me so much joy, both fleeting and lasting, and memories built for a lifetime’s contented recollection. Continue Reading
So it’s come to this. In a week literally bookended for me by two concerts in two states (one of which you’ll hear tell eventually and the other of which was perfectly awesome, but too short and sweet to fit this format), a mere four days removed from a month that is essentially a rolling, 31-day horror film festival, with my childhood favorite baseball team having just been brutally, decisively removed from World Series contention (Thank you so much for this year, Mets!) and my childhood favorite football team dealing with critically uneven play from its franchise QB fresh off the disabled list even as its league best RB goes down to a heartrending, season-ending injury, have I somehow run out of things to talk about? Nah. It’s just that I’ve found this new thing, this one time. Continue Reading
“It’s beginning to look like I’m not going to get The Tonight Show…”
Among a handful of standard, fallback jokes for the (temporarily) floundering late night talk show host – at least for as long as I’ve observed the form – is some variation of the following: any viewer who is still up and watching TV at this ungodly hour of the night has to have at least a little something wrong with him/her. It’s kind of a brilliant conceit, not to mention evergreen, not so much a blanket characterization as a sly, subtle method of bonding viewer to host via self-deprecating confession. There’s nothing more wrong with you than there is with me, the host is effectively saying. I’m the person you’re watching, after all. Why don’t we just be weird together! Continue Reading
WARNING: This post will discuss George R.R. Martin’s “A Song of Ice and Fire” book series in varying degrees of detail, often in direct comparison with its TV adaptation, HBO’s “Game of Thrones”. I will endeavor to avoid spoiling events that have happened in the books but not yet on the show, nor to use prior knowledge gained from the books to speculate on the upcoming season of “GoT” in anything but the most general terms. Fair game for discussion will be any events occurring through the end of “GoT” season four, which roughly parallels the second half of “ASoIaF” book three (“A Storm of Swords”). FYI – Mentioning that something happened differently in the books than it did on TV does not, in my view, qualify as a bombshell anymore, merely a point of interest. I’m pretty sure there are no do-overs forthcoming. Valar spoilhaeris.
Now that its ubiquity in the popular mindset and conversation has marked it as not just a phenomenon, or an institution, but rather as cultural shorthand, it is tempting and altogether too easy, on the eve of its fifth season, to discount the intoxicating complexity and bottomless intrigue of HBO’s Game of Thrones. Both aspects are gifts passed down from its literary forebear (and, interestingly enough, contemporary…as we’ll get into later), George R.R. Martin’s towering A Song of Ice and Fire series, and though a great many fans of the HBO adaptation are not nearly so bewitched by the history and machinery behind Martin’s curtain as I am, the world of Westeros, in itself, remains a fairly breathtaking achievement. Continue Reading
Boxing is in the hyperbole business. The raison d’etre of the boxing promoter is to attract spectator eyeballs to an event, whether or not the former is separated from the latter by a television screen. Boxing commentators also benefit from having something of a hypeman element present in their genetic makeup. Once the viewer is on the couch, subtle encouragement or reinforcement can be necessary to prevent his/her mind from wandering. Sometimes, the in-ring combat practically oozes with explosive potential – animosity, history, complementary styles, unique skillsets – beyond the baseline interest inherent in watching two determined pugilists each attempt to separate the other from his senses. Corrales-Castillo II didn’t need hype when it had Corrales-Castillo I as a precedent, nor did Gatti-Ward II, or III, or Pacquiao-Marquez II-IV. Continue Reading