Posts by Nick Spacek

CINE-WEEN: Jeffrey Combs on NEVERMORE & Poe

Actor Jeffrey Combs is no stranger to literary-inspired roles. His most famous work is for director Stuart Gordon in a series of films based on the works of H.P. Lovecraft, most notably Dr. Herbert West in Re-Animator. However, his latest endeavor is less about the works and more about the man behind them. In Nevermore, written by Dennis Paoli and directed by Stuart Gordon, Combs recreates an evening with author Edgar Allen Poe, wherein he fully inhabits the famous writer. It’s a stage production the actor has been doing for nearly a decade now, wherein he “enthralls with dramatic recitals
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Films From the Void: MANSON FAMILY MOVIES is realistic, for better or worse

FILMS FROM THE VOID is a journey through junk bins, late night revivals, under seen recesses and reject piles as we try to find forgotten gems and lesser known classics. Join us as we lose our minds sorting through the strange, the sleazy, the sincere and the slop from the past and try to make sense of it all. Watching the Cult Epics reissue of Manson Family Movies, one wonders if anyone has ever watched this and found it entertaining. The film wasn’t released until 1984, despite being lensed off and on from 1974 until 1979, and while director John
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ANALOG ADVENTURES: Loud Quiet Loud

I get a lot of random records, tapes, and books in the mail, because publicists forget that outlets for which I used to work aren’t around anymore, or someone finds the address hidden on my website, or… whatever. This is a way to keep them from piling up uselessly in the corner of the office. As Robert H. Cataliotii’s liners for Jorge Ben’s Africa Brasil make a point of noting, “The funky groove crafted by Brown, Sly, Mayfield, Wonder, Hayes, The Meters, and Fela, along with this new black consciousness, are deeply interwoven into Ben’s samba on Africa Brasil.” The
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FILMS FROM THE VOID: The Nearly-Lost SOV Madness of METAL NOIR

FILMS FROM THE VOID is a journey through junk bins, late night revivals, under seen recesses and reject piles as we try to find forgotten gems and lesser known classics. Join us as we lose our minds sorting through the strange, the sleazy, the sincere and the slop from the past and try to make sense of it all. Back In July, I made the trip into North Kansas City to hit up Screenland Armour’s monthly screening series, Analog Sundays. Presented by the folks at Magnetic Magic Rentals, the free event features a VHS tape swap, a mixtape before the
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BOOKSHELF: SUBURBAN GRINDHOUSE is More Than Just Another Review Compendium

There are few publishers out there who regularly and reliably dig into the weird world of cinema with such successful results as the UK-based Headpress. Be it the made-for-TV movies compendium, Are You in the House Alone?, Fascination‘s analysis of Jean Rollin’s oeuvre, the obsessiveness of Spinegrinder, or Bleeding Skull‘s trash-horror odyssey, among many others, the company has made a name for itself delving into the often-overlooked and ignored corners of cult film. The same can be said for writer Nick Cato, whose Suburban Grindhouse Memories column ran for nearly a decade on the website Cinema Knife Fight. As the
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ANALOG ADVENTURES: Les pioneers du rock

I get a lot of random records, tapes, and books in the mail, because publicists forget that outlets for which I used to work aren’t around anymore, or someone finds the address hidden on my website, or… whatever. This is a way to keep them from piling up uselessly in the corner of the office. The self-released album Spells + Rituals from Charming Disaster is exactly what that candle-lit spell circle on the cover insinuates: neo-noir folk goth stuff. You’d expect to hear this after the Handsome Family track from True Detective‘s first season on a playlist, basically. The tempo’s
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FROM THE STEREO TO YOUR SCREEN: The Smithereens and TIMECOP

The Smithereens’ “Time Won’t Let Me” from Timecop Is it wrong to consider Timecop the last really enjoyable Jean-Claude Van Damme movie? Aside from JCVD, I mean. That opening scene, with the Civil War soldiers and the dude with two machine guns, is arguably one of the greater cold opens in action films, but I digress. Timecop was the end of a string of movies which positioned the Muscles from Brussels as the action hero of the early ’90s. Starting with 1988’s Bloodsport, then on through Cyborg, Kickboxer, Lionheart, Death Warrant, Double Impact, teaming up with Dolph Lundgren in Universal
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CINEPOCALYPSE 2019: VILLAINS Might Not Stick the Landing, But the Run-Up is Perfection

“Mickey and Jules are lovers on the run, headed southbound for a fresh start in the Sunshine State. When their car dies after a gas station robbery, they break into a nearby house looking for a new set of wheels. What they find instead is a dark secret, and a sweet-as-pie pair of homeowners who will do anything to keep it from getting out.” While it might not stick the landing, the rest of the picture leading up to the ending of Dan Berk and Robert Olsen’s Villains is a delightful run. The duo co-wrote and co-directed this film and
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CINEPOCALYPSE 2019: DEADCON is D.O.A.

As a nearly 40 year-old man, I’m likely not the target audience for Deadcon. That said, I’m really not sure who is. It doesn’t really lean too strongly into the social media influencer aspect of the story, which is ostensibly the whole selling point of Scotty Landes’ script: “Deadcon tackles isolation in the age of social media and follows real-life YouTubers Lauren Elizabeth and Claudia Sulewski as they face vengeful ghosts even more horrifying than their devoted fans.” Director Caryn Waechter’s film ends up being a found footage movie mixed with a haunted house movie set in a hotel. The trappings
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