Tag: Buffy the Vampire Slayer (Page 4 of 4)

“Laugh? I Thought I’d Die!” 15 Funny (?) Vampire Films

Vampires are often painted as dark, sinister characters with a penchant for gothic fashion and a taste for blood that can never be fully quenched. Granted, their nature doesn’t necessarily lend itself to being a laugh riot, but once in a while, we’re gifted with bloodsuckers who can see the funny side of their affliction…or if they can’t, then at least the viewers can. (For instance, “True Blood” sure as hell isn’t a comedy, but if you caught the Season 2 premiere, you saw a truly hilarious scene where a new vampire took a blood taste test to determine which type she prefers.) Bullz-Eye decided to take a trip back through the mists of time to reinvestigate some of the more comedic explorations into the curse of vampirism, skipping over a couple of ostensible classics – neither “The Lost Boys” nor “From Dusk ‘Til Dawn” are here – in favor of some interesting obscurities that may not have crossed your radar.

Here’s a taste:

“Vampires Anonymous” (2003) – A few years ago, Bullz-Eye chatted with Michael Madsen about how many of his films end up going to DVD, and he explained the situation thusly: “People will promise you the fucking world, they’ll promise you anything to get you in the movie…and then, seven times out of ten, it’s not that way.” Although Madsen only has a small role in “Vampires Anonymous,” we like to think that he’s at least relatively pleased with this small obscurity from his resume. Vic Weller (Paul Popowich) is a vampire who’s found himself unable to curb his urges, so he calls up the organization known as Vampires Anonymous, which quickly finds him a new location in a small North Carolina town, where he can feel free to gorge himself on sheep until he gets into the habit of staying clean of human blood. Predictably, he falls in love with a local girl (Carolyn Lawrence) and has to keep his murderous nature in check around her, even though he has feelings for her. A bearded Madsen plays Geno, Vic’s sponsor in VampAnon, who’s never more than a phone call away, even though he’s usually pretty grumpy with his charge. (“I was not aware that I was wearing my Mr. Know-It-All hat today.”) It’s not a consistently hilarious flick, and the recurring gag about redneck “sheep shaggers” may make you feel queasy, but Madsen’s always good for a laugh, and the VampAnon meetings and 12-step title cards are funny enough to make you imagine the possibilities of a sitcom based around the organization.

Surely this one bite hasn’t fully sated your appetite for vampiric comedy, so why not head over to Bullz-Eye and check out the full piece by clicking either here or on the image below?

Oh, and just as a bonus, here’s a trailer for one of the films that didn’t make the cut. Believe us, with Dean Cameron – best known as Chainsaw in “Summer School” – playing the titular character and a supporting cast which includes Toni Basil, Bo Diddley, and Thomas Dolby, we really, really wanted to include it, but we just couldn’t get our hands on a copy in time to do so…and after watching this trailer, we just can’t imagine we could do the film justice without seeing every last second of it.

BadAzz Mofo Geeky Quick Hits

Other than the very sad and disturbing passing of David Carradine, very well noted by Will Harris a bit earlier (I’ve got more at my own bloggy digs, Forward to Yesterday), it’s kind of a slow news day in the movie world…

* In a bit of very inside baseball, with his upcoming “Avatar” 3-D extravaganza already getting a lot of ink many months before its X-Mas release, James Cameron has broken with his past practice and has signed with an agency. And not just any agency, but the mighty CAA. I know, your life will never be the same. Variety has the scoop, such as it is.

* 79-year-old lifelong cinema enfant terrible Jean-Luc Godard (“Breathless,” “Contempt” — a great film you really ought to see) is looking to do a film inspired by a Holocaust memoir, says THR. I know, your life will really never be the same, but this is interesting. Godard, a truly radical leftist, criticized Israel implicitly in his 1967 comic masterpiece, “Weekend,” when the middle-east nation’s battles were still very much a liberal cause. I’m not at all one to equate anti-Zionism with anti-Semitism, but the film itself, and the worldwide response from Jewish groups, should be worth watching for those of us interested in this kind of thing.

* And finally, Nikki Finke devoted all of 24 words this morning to the passing of David Carradine (and turned off comments for some reason), but after adding that she doesn’t “do geek,” she did find time to devote some space to covering Total Sci-Fi‘s “25 Women Who Shook Sci-Fi” list, with a definite emphasis on bad-ass mofo type females. It was topped by Sigourney Weaver‘s Ripley from the “Alien” franchise (including “Aliens” from the aforementioned J. Cameron). The list also covered fantasy for whatever reason and #2 on the list was Buffy Summers (Sarah Michelle Geller) of “Buffy” fame. (My personal Buffsession, Willow Rosenberg, aka Alyson Hannigan, came in at #21.) With the possible exception of the first choice, which I really can’t argue with as long as you’re talking about actresses and not, say, writers, my list would be entirely different — if I didn’t tend to avoid lists. Since we really do “do geek” here at Premium Hollywood, allow me to link to fan site Whedonesque‘s comment thread on the topic, where the discussion eventually includes the terrific SF (not “sci-fi”!) writer, Roger Zelazny. Now that’s geek.

Buffy, We’ll Hardly Know Ye (Updated)

A veritable geek storm has erupted over an item at the Hollywood Reporter reporting a Star Trek and Twilight inspired reboot, or something, of the Buffy, the Vampire Slayer franchise, only without Buffy creator Joss Whedon, sans Buffy’s erstwhile “scooby” friends (no Willow!!!! Aaaagh!!!!!!), and, if I read it right, without Buffy.

A bit of backstory: Fran Rubel Kuzui, director of the original, pleasantly mediocre, movie version of the franchise once upon a time fashioned a perfectly respectable, pleasantly lightweight autobiographical indie romantic comedy, Tokyo Pop (or that’s how I remember it…I haven’t seen it since it’s 1988 release, when I was but a highly precocious toddler). In typical Hollywood fashion, on her second (and, so far, final) feature as a director, most accounts hold that Rubel and company seriously refashioned Whedon’s original screenplay from a serio-comic actioner to an out and out teen comedy with random changes made to the screenplay from a number of sources, including, according to Whedon, co-star Donald Sutherland (who you will never see in any other Whedon project, it’s safe to say).

Since then, Rubel Kazui has held on to some of the rights, and fans of the Buffy TV show saw her name at the front of every episode…and heard nothing else from her, ever.  It’s safe to assume that she had zero input on the television show and received the credit as part of her compensation for the rights. Now, as most of you probably know, a major plot thread of the TV show was Buffy’s trouble-plagued romance with a (mostly) good guy vampire named Angel, setting the hearts of fans of Sarah Michelle Geller and David Boreanaz seriously aflutter. Hence, the Twilight connection — though lips that touched blood never touched those belonging to movie-Buffy Kristy Swanson.

So, with those Trek and Twilight grosses pointing the way, Kuzui and Vertigo Entertainment, which usually specializes in remaking Asian films for the American market, are trying to restart the franchise, apparently using a loophole from the original concept of there being a new slayer in every generation. As a fan of the show, trust me when I say this is nowhere near as clever as the loophole J.J. Abrams and company came up with to stay on (most) Trekkies’ good sides. Overall, this idea strikes me as if the Coca-Cola company had put out New Coke as a non-carbonated non-cola. Buffy without Buffy Summers, and the Whedonverse, without Whedon = box office gold?!? Nah.

Assuming it ever happens, of course. Whedon is an extremely savvy third-generation show biz writer who has already pulled off the unheard of feats of retrieving a lost screenplay concept and remaking it as his own TV show, and then turning another quickly-canceled television show into a major, if not immediately profitable, Hollywood film (Serenity). He is usually protective of his properties, to the extent that he has any control. I’m guessing that this one is almost certain to generate very interesting behind-the-scenes maneuvers.

As always, on Whedon-related matters Whedonesque is very much on top of the story.

UPDATE: Michael Ausiello has managed to elicit a four word response from Joss Whedon, whose currently working on his horror film collaboration with Drew Goddard, “The Cabin in the Woods.” Those four words are:

I hope it’s cool.

H/t Whedonesque.

Season Pass Deleted: “Dollhouse”

I’m sorry. I can’t take it anymore.

I watched three full episodes of Joss Whedon’s “Dollhouse” and decided somewhere in the middle of the third episode that I couldn’t continue to watch the show. It didn’t help that the third episode had the dreaded troubled-pop-star-deals-with-stalker storyline, which has been done so many times before that it has become one of my biggest pet peeves. Bad stage production, bad singing, bad crowds…ugh.

The show has a solid premise — a business that rents out “dolls” which are programmed to suit the clients’ needs — and a pretty compelling macro storyline — a renegade doll on the loose and, separately, an FBI agent (Tahmoh Penikett) trying to find the dollhouse — but the week-to-week episodes just aren’t all that interesting. One week, the main character, Echo (Eliza Dushku) is an unconvincing kidnapping expert, the next she’s bait for a psychopath who likes to hunt humans. And last week she was a sassy backup singer who said things like, “You’re not okay…okay?”

Mind you, this is coming from a fan of Whedon’s work with “Buffy, the Vampire Slayer,” “Angel” and “Firefly.” I was really rooting for this show to work, but for whatever reason — suspect acting, sketchy writing, poor continuity — it just doesn’t.

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