Podcasts of the Week Ending October 31


A short, but appropriately gothic POTW for Halloween.

Hit Parade :: Turn Around, Bright Eyes Edition

Chris Molanphy explores the strange career of songwriter, producer, and musician Jim Steinman. While I’m not exactly a fan of Steinman’s music (and actively loathe the music of Meat Loaf), I am kind of fascinated by his extremely dramatic and wordy style.

RUNNING TALLY OF PODCAST OF THE WEEK APPEARANCES

Scary Movie Review: Vampires vs. the Bronx (2020)


Title: Vampires vs. the Bronx
Release Date: October 2, 2020
Director: Oz Rodriguez
Production Company: Broadway Video | Caviar
Summary/Review:

Vampires vs. the Bronx uses the invasion of vampires into a Bronx neighborhood as a metaphor for gentrification, and not at all in a subtle manner. The movie blends horror and social satire with humor and a lot of heart. It’s very 80s Spielberg-ian in the way that kids must team up to fight the evil threatening their community. In this case the threat is a real estate company buying up local businesses and buildings, not to make luxury condos, but to make a nest for vampires. The most chilling line in the film is when a vampire states that they want to be in a neighborhood where no one cares if people go missing.

A team of young teenagers are the lead vampire fighters. Their leader is Miguel (Jaden Michael), a young activist known as Lil Mayor. His nerdy friend Luis (Gregory Diaz IV) has the knowledge of vampire lore. The wild card is Bobby (Gerald W. Jones III) who is being recruited to join the local street gang. Their hangout is the local bodega run by Tony (a great performance by Joel “The Kid Mero” Martinez). A late addition to the team is Rita (Coco Jones) an older girl who is Miguel’s crush. All the young actors are great and seem like real kids.

The movie is not a groundbreaking in horror and/or social messaging, but it’s also not overly scary or gory like, say, Get Out. So a family could potentially watch it together. It is also is feel-good movie depicting a community coming together to save their neighborhood.


Rating: ***1/2

Scary Movie Review: The Exorcist (1973)


Title: The Exorcist
Release Date: December 26, 1973
Director: William Friedkin
Production Company: Hoya Production
Summary/Review:

I hadn’t planned on watching The Exorcist, but I added it at the last minute to my scary movie lineup. I can’t remember the first time I watched this movie, but I know I was definitely too young. I saw it several more times over the years – in whole or part – and then in the summer of 1990 I attended a five-week program for high school students at Georgetown University. That summer I became intimately acquainted with the setting of the movie, and of course watched the movie as a group. By that point, as a jaded 16-year-old, I found the movie more funny than scary. At any rate, I don’t know if I’ve seen it again in the past 30 years so it was worth revisiting.

Me, circa 1994, recreating a cinematic moment at the Exorcist Steps in Georgetown.

There’s something about the blockbusters of the 1970s where the way they are remembered in the popular imagination is not quite what the movies were about. Jaws was not about a shark eating people, but about three men of different backgrounds learning to work together on a boat and forming a bond. Rocky was not about boxing but about a man who happened to be a boxer learning to believe in himself. The Exorcist is not about a girl possessed by demons but about a priest going through a crisis of faith.

I’d forgotten how much of the movie does not deal with possession or the exorcism and the slow build it takes to get to that point. The ten minute prologue set in Iraq completely escaped my mind. Can you think of any other movie that introduces a character, as they do with Father Lankester Merrin (Max von Sydow), and then not have him return for 90 minutes. The connection of the Iraq scenes with the rest of the movie are never made obvious but I do appreciate that they were beautifully shot and like how there’s always sound in the background (picks and shovels, blacksmiths, dogs, etc.) that are discordant but musical.

I also didn’t really remember much of the main part of the film in Georgetown, such as Chris MacNeil (Ellen Burstyn) filming on the university campus or Father Damien Karras (Jason Miller) travelling to New York to see his ailing mother. There are also a lot more scenes of Regan (Linda Blair) undergoing medical procedures. I was surprised to learn that Regan getting cerebral angiography freaked out a lot of people in the audiences back in the 70s, because I don’t medical procedures disturbing for the most part. (Two movies that I’ve watched this month, Frankenstein and The Exorcist, were both said to cause extreme horror and revulsion to audiences of the time although I’d consider them tame compared with some mainstream horror that’s been released in the past four decades).

The acting performances in the movie are universally good with Miller, Burstyn, and Blair being particularly good. I’ve wondered why I never saw Miller in anything but I’ve learned that he was primarily a playwright and unfortunately also struggled with alcoholism. Still, if there’s one performance that you’re going to be remembered for, this one was excellent. The 44-year-old von Sydow, with the help of some terrific makeup, puts on a great performance as an old man and looks a lot like von Sydow would look when he actually reached that age.

Lest I go to far in my “it’s not about a girl possessed by demons” thought, this movie does have it’s fair share of horror and gross out moments, as well as disturbing behavior for a 12-year-old. But I wouldn’t let that dissuade you if you’ve never seen it, because it really does also contain a thoughtful and nuanced story as well. For me, the darkest part of The Exorcist is learning how cruel William Friedkin was on the set. He allowed stunts to get out of hand so that they caused injury to both Burstyn and Blair, and Blair was given no protection from the extreme cold on the set as well as deliberately trying to frighten or anger the actors on the set. That to me is more unsettling than anything in the movie which is beautifully made and has an underlying message of hope in humanity.


Rating: ****