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NOW FOR YOUR VIEWING PLEASURE…
THE SISTERS OF DEATH
BY ELWYN RICHARDS
INTER GLOBAL HOME VIDEO
TOTONTO ONTARIO CANADA
VHS 1222
VINTAGE / PREVIEWED / PLAYS GOOD
APPROXIMATE 87 MINUTES RUNNING TIME
COPYRIGHT 1994
ISBN 062896012222
GREAT HOLIDAY HALLOWEEN SCARE.
SURE TO BE A CLASSIC THRILLER DRAMA.
A SECRECT SORORITY SOCIETY HIDES THE DIRTIEST ONE OF ALL - MURDER. NOW SOMEONE HAS TO TELL OR SCREAM.
Overview
Director:Joseph Mazzuca
Writers:
Peter Arnold
Elwyn Richards (also story)
Release Date:
August 1977 (USA)
Genre:
Horror / Thriller
Tagline:
There's nobody to hear your scream...except your killer / An invitation to six beautiful women...for a deadly sorority reunion.
Plot Summary:
During an all-girl secret society initiation, one of the new members is killed playing Russian Roulette. Many years later the survivors are invited for a reunion to a lavish estate, which turns out to be owned by the crazed father of the girl who died.
Plot Keywords:Isolation / Gatling Gun / Accident / House / Initiation / Maniac / Murder / Past / Reunion / Revenge / Russian Roulette / Secret / Stalking / Independent Film
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FYI
The term B movie originally referred to a motion picture made on a low or modest budget and intended for distribution as the less-publicized, bottom half of a double feature during the so-called Golden Age of Hollywood. Although the U.S. production of movies intended as second features largely ceased by the end of the 1950s, the term B movie continues to be used in a broader sense, referring to any low-budget, commercial motion picture meant neither as an arthouse film nor as pornography. In its post–Golden Age usage, there is ambiguity on both sides: on the one hand, many B movies display a high degree of craft and aesthetic ingenuity; on the other, the primary interest of many inexpensive exploitation films is prurient. In some cases, both are true.
In either usage, most B movies represent a particular genre—the Western was a Golden Age B movie staple, while low-budget science-fiction and horror films became more popular in the 1950s. Early B movies were often part of series in which the star repeatedly played the same character. Almost always shorter than the top-billed films they were paired with, many had running times of 70 minutes or less. The term connoted a general perception that B movies were inferior to the more handsomely budgeted headliners; individual B films were often ignored by critics. Latter-day B movies still sometimes inspire multiple sequels, but series are less common. As the average running time of top-of-the-line films increased, so did that of B pictures. In its current usage, the term has two primary and somewhat contradictory connotations: it may signal an opinion that a certain movie is (a) a genre film with minimal artistic ambitions or (b) a lively, energetic film uninhibited by the constraints imposed on more expensive projects and unburdened by the conventions of putatively "serious" independent film.
From their beginnings to the present day, B movies have provided opportunities both for those coming up in the profession and others whose careers are waning. Celebrated filmmakers such as Anthony Mann and Jonathan Demme learned their craft in B movies. B movies are where actors such as John Wayne and Jack Nicholson became established, and the Bs have also provided work for former A movie actors, such as Vincent Price and Karen Black. Some actors, such as Béla Lugosi and Pam Grier, worked in B movies for most of their careers.
It is not clear that the term B movie (or B film or B picture) was in general use before the 1930s, but a similar concept was already well established. In 1927–28, at the end of the silent era, the production cost of an average feature from a major Hollywood studio ranged from $190,000 at Fox to $275,000 at MGM. That average reflected both "specials" that might cost as much as $1 million and films made quickly for around $50,000. These cheaper films allowed the studios to derive maximum value from facilities and contracted staff in between a studio's more important productions, while also breaking in new personnel. Studios in the minor leagues of the industry, such as Columbia Pictures and Film Booking Offices of America (FBO), focused on exactly those sort of cheap productions; their movies, with relatively short running times, targeted theaters that had to economize on rental and operating costs—particularly those in small towns and so-called neighborhood venues, or "nabes," in big cities. Even smaller, so-called Poverty Row outfits made films whose production costs might run as low as $3,000, seeking a profit through whatever bookings they could pick up in the gaps left by the larger concerns.
With the widespread arrival of sound film in American theaters in 1929, many independent exhibitors began dropping the then-dominant presentation model, which involved live acts and a broad variety of shorts before a single featured film. A new programming scheme developed that would soon become standard practice: a newsreel, a short and/or a serial, and a cartoon, followed by a double feature. The second feature, which actually screened before the main event, cost the exhibitor less per minute than the equivalent running time in shorts. The majors' "clearance" rules favoring their affiliated theaters prevented the independents' timely access to top-quality films; the second feature allowed them to promote quantity instead. The additional movie also gave the program "balance"—the practice of pairing different sorts of features suggested to potential customers that they could count on something of interest no matter what specifically was on the bill. The low-budget picture of the 1920s thus evolved into the second feature, the B movie, of Hollywood's Golden Age.
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THE STAND
BY STEPHEN KING
REPUBLIC PICTURES
VHS 5678
LIKE NEW / PREVIEWED
4 PART BOX SET MADE FOR TELEVISION MOVIE
APPROXIMATELT 6 HOURS RUNNING TIME
COPYRIGHT 1994
GREAT HOLIDAY HALLOWEEN SCARE.
SURE TO BE A CLASSIC TV DRAMA.
ITS THE END OF THE WORLD AND ITS JUST THE BEGINNING.
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FYI
The Stand is a post-apocalyptic Horror/Science Fiction novel by Stephen King originally published in 1978. It re-works the scenario in King’s earlier short story, "Night Surf" (included in the short story collection Night Shift). It is widely hailed by critics and fans as one of his best novels.
The novel was re-released as The Stand: The Complete & Uncut Edition in 1990. King restored some text originally cut for brevity, added and revised sections, changed the setting of the novel from 1980 to 1990, and updated a few pop culture references accordingly. This edition featured art by Berni Wrightson.
A TV miniseries based on The Stand and scripted by King himself was released in 1994.
King had grand plans when he started writing The Stand:
"I never said this to anybody because it sounds so goddamned pretentious, but I wanted to do The Lord of the Rings with an American background. It didn't come out that way, but I thought it would be fun to do an epic fantasy with an American backdrop. So many fantasies take place in some make-believe land. You have to learn a new language to even read the book. You see, I began to see the energy crisis as just one domino in a complex economic structure that was going to go down completely. The more I thought about this particular Gordian Knot, the more I thought, "Suppose you cut right through the middle of it. Suppose everybody died except maybe a certain percentage of the world's population - then there'd be enough oil!" I began to embroider on the idea - the empty towns, the sand dunes."
King nearly abandoned The Stand due to writer’s block.
Film and TV versions
A TV miniseries called The Stand scripted by King and directed by Mick Garris, and starring such actors as Gary Sinise, Molly Ringwald, Rob Lowe, Miguel Ferrer, Laura San Giacomo, Ossie Davis, Ed Harris and even a cameo role by Kareem Abdul-Jabbar was broadcast in 1994 on ABC. The series was later released as a double-sided DVD, which has since then been discontinued. A DVD re-release is out now.
In popular culture
A routine from stand-up comedian Patton Oswalt relates that President George W. Bush has "read that novel The Stand too many times" and now he "thinks there's a dark man in the desert and has to fight him".
The following songs are based on The Stand: "The Stand" by The Alarm; "Among the Living" by Anthrax; "Beg for the Plague" by Political Statement, and "The Stand" by Yngwie J. Malmsteen.
Larry Underwood’s song "Baby, Can You Dig Your Man?" inspired a song of the same name by the band Self. "Crimson King" by heavy metal band Demons & Wizards from their album Touched by the Crimson King also references the novel's main antagonist, Flagg.
Rod Glenn’s debut novel, The King of America, was in part influenced by The Stand and The Dark Tower series.
Robert R. McCammon's novel Swan Song bears a strong resemblance to The Stand, featuring an apocalyptic event that significantly reduces the world's population, and an evil, supernatural figure against whom a band of survivors struggle over time.
The producers of the ABC television series Lost have stated that The Stand has greatly influenced it. The Lost character Charlie Pace, portrayed by Dominic Monaghan, is loosely modeled on Larry Underwood in The Stand.
Mark Shreeve’s new age album Legion was influenced by The Stand. The third track was named "Flagg," and it featured a short introduction spoken by Mark Shreeve which, according to the sleeve notes, is "based on a character created by Stephen King." The seventh track (instrumental) was named "The Stand."
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