Not to be confused with the ’80s slasher Terror Train — but, oh, how I wish it were! — 1952's Terror on a Train finds Glenn Ford (Superman: The Movie's
Pa Kent) as Peter Lyncort, a bomb diffuser whose home life with his
spouse (French actress Anne Vernon) is currently as explosive as his
For several years, I’ve intended to read Matthew G. Lewis' 1796 novel, The Monk. I even bought a snazzy trade-paperback edition with an introduction from Stephen King. Never got around to cracking it open.
Unlike many moviegoers, 17-year-old farm girl Nell Sweetzer (Ashley Bell,The Day) has no memory of the events of The Last Exorcism, a found-footage smash of three years prior. The Last Exorcism Part II
finds her taking steps to build life anew, beginning in a boarding
house for troubled girls, where the deeply devout Nell is exposed to
such heretofore corrupting influences as lipstick and rock music and
YouTube and cotton candy.
Suspense novelist Jeffery Deaver once praised the short-story format,
writing that the minimal time investment on the part of the reader
allows the writer to get away with endings he or she cannot in the long
form. In other words, the writer can be meaner, more devious. He's
absolutely right, and the theory applies wholesale to The ABCs of Death, more or less a horror anthology depicting "26 ways to die."
Don't ask why Ninja III: The Domination
begins with a ninja assault on a municipal golf course. Just be
grateful it does. You also may wonder why its sex scene employs a can of
V8: Don't question it. Just lie back and enjoy it.
Musicphiles surely are aware of local videographer Nathan Poppe. From his “on.” series at Oklahoma State University to his current work on “The VDub Sessions,” he has showcased Oklahoma bands
Musicphiles surely are aware of local videographer Nathan Poppe. From his “on.” series at Oklahoma State University to his current work on “The VDub Sessions,” he has showcased Oklahoma bands in four to five minute segments for close to two years.
Poppe is devoting a little more time to his latest subject, making his first foray into feature films with a 40-minute rock doc playing a 6 p.m. tonight at Individual Artists of Oklahoma Gallery, 706 W. Sheridan, as part of the deadCENTER Film Festival. Individual tickets are $10.
“Black Canyon’s Crossroads for the Restless” has the Enid folk band playing the seven songs from its Civil War concept album, each in a different location in the group’s hometown relevant to the subject matter at hand (even filming in the presumed resting place of Abraham Lincoln assassin John Wilkes Booth).
From a cemetery to an abandoned drive-in theater, the four-piece shares its special story through song with unique and colorful settings for each tune.
Making his directorial debut, Poppe shared a little bit behind the production process, the things he learned from it, and how he’ll carry those things forward.
Gazette: What about doing this movie was more rewarding than the other projects you've done?
Poppe: My friends and I have been working on music projects for more than two years. Having the chance to collaborate with them on this project pushed the film to the finish line at deadCENTER.
Gazette: How'd you come to document Black Canyon in particular?
Poppe: I came to document Black Canyon because I loved the story behind its music. I'm glad I got to document the band because the way in which the songs are performed won't be replicated.
Gazette: Where did the title of the film come from?
Poppe: There was a newspaper in a hotel we filmed in. The title came from a headline on the newspaper.
Gazette: What will moviegoers/spectators take away from the film?
Poppe: I hope people think this film has interesting music, and I want people to connect to the story hidden in the songs.
Gazette: You did the filming in just 24 hours. What positive aspects came from doing it in such a short frame of time?
Poppe: Because the film was shot so quickly, we didn't worry about it being the most perfect film in the world. We set out without expectations and documented what Black Canyon had created. It provided the crew with a challenge to finish filming and move on the treacherous editing process.
Gazette: How did the band react to seeing the film for the first time?
Poppe: I remember smiles and laughter.
Gazette: What about it are you proudest of?
Poppe: The videography crew. This film wasn't made by me; it was made by two groups: my friends and Black Canyon. I am proud the two could collide and end up with this film.
Gazette: What from this experience will you continue to apply through the years with everything else you do?
Poppe: The more you involve people, the better. This was the biggest crew and the biggest filming session I've ever experienced. Remembering the importance of everyone that helped make a film possible is clutch. It's easy to get caught up and overlook a multitude of details such as lighting, audio and being hungry. I want to learn how to pay attention better; that's something I will apply to everything I do.
Gazette: Describe the Civil War in your best Sarah Palin voice.