Slasher Pack VI: Not of This World includes four Japanese inspired horror tees from Aliens, Predator 2, Critters and The Blob; available for pre-order now!
Continuing from our previous interview, Attack from Planet B talked with Liam O’Donnell about his previous projects for Hydraulx VFX, and the various influences that have helped shape him as a filmmaker, and his well-received follow-up to Skyline; the aptly titled Beyond Skyline.
“You can’t really get away from Aliens when you are making a movie like this… There is a lot of the hive/powerplant sequence vibe with the eggs, the methylcellulose slime, and the latex webbing.”
This upcoming December the Troma Team wish you all a very merry Xmas with two world premiere gifts on Troma Now that will make you want to bathe in your egg nog! Jay Summers’ feature length debut, Revenge of the Spacemen, along with Molly Hewitt’s short film, Maggie’s Problem (featuring music by prolific indie Lo-Fi legend R. Stevie Moore).
“…a throwback to all the classic alien invasion flicks of yesteryear…”
During the videotape format war of the late 1970s and early 1980s, JVC’s VHS would compete for market share against Sony’s Betamax. Betamax was, in theory, the superior recording format but VHS would ultimately emerge as the preeminent home video format in 1986. Consumers could not justify the extra cost of a Betamax VCR, which was often more expensive that the VHS equivalent due to the higher quality construction of Betamax recorders.
“Decadence is their fate.”
Made for approximately $25,000.00 and released in 1983 The Deadly Spawn is an exercise in low-budget excess. Conceived by producers Ted Bohus and Tim Hildebrandt this 16mm cult classic emerged, drenched in blood, during the horror video boom of the 1980′s as an effort to pay tribute to the alien sub-genre of 1950′s science fiction.
Special make-up effects artist John Dods worked extensively with his dedicated team to design and create the monster-mechanicals that helped secure The Deadly Spawn cult status.
“They came to Earth to feed on human flesh!”
Of all the bad films I have had the guilty pleasure (and at times displeasure) to watch, none have be as sentimentally close to me as Steve Wang’s live action take on the Japanese Manga; Guyver. A sequel to 1991’s The Guyver (itself a mediocre Americanized take on the source material), Guyver: Dark Hero was everything its predecessor should have been. Granted many might think this is just Power Rangers with blood and gore, but for its minuscule budget it contains impressive practical effects and brilliantly choreographed wirework.
“The Zoanoids weren’t the failed experiment. The Guyvers were. The aliens created the Guyvers to fight their wars for them. The humans rebeled. Out of control. The Guyver is nothing more than a weapon…”
In 1971 JVC put together a team to develop a consumer-based VTR, but by early 1972 the video recording industry in Japan began to struggle financially. JVC was forced to restructure their video division, effectively shelving the VCR project. However, JVC engineers Yuma Shiraishi and Shizuo Takano continued to work on the project in secret. By 1973 the two engineers had produced a functional prototype.
“It feels nothing… it fears nothing… there is no escape.”
Anyone with even the slightest interest in home entertainment recognises the importance of VHS. The marketing and promotion from the independent distribution companies elevated the medium to such an extent that collectors today now happily pay significant amounts of money for a VHS tape; not for the movie itself, but for the incredible artwork/design featured on the cover.