TWICE DEAD


TWICE DEAD
Dir. Bert L. Dragin, 1988
USA, 86 min

FRIDAY, JULY 5 – MIDNIGHT
SATURDAY, JULY 13 – MIDNIGHT
FRIDAY, JULY 19 – MIDNIGHT
SATURDAY, JULY 27 – MIDNIGHT

After the Leave-it-to-Beaver-esque Cates family inherits the old mansion of a deranged stage actor from a dead uncle, they happily decide to pack up and move, sight unseen. Upon arrival they find a gang of street-punks squatting at the deserted (and possibly haunted) house, and they don’t want to leave.

Tonally all over the place, TWICE DEAD ping-pongs from slapstick comedy to gross-out horror to unrequited teen-romance and back again. Features a chase scene with a hearse, exploding mirrors, suicide by cop, and at least one mid-orgasm death by electrocution.

MAKE WAY FOR PROGRESS!

“It’s hard being a human, but being a common person in China is even more difficult.”
-UP THE YANGTZE

Who gets left behind in the name of progress? In these two documentaries, low-income people struggle to stay afloat in the midst of China’s rapid economic growth and bold technological endeavors. In STREET LIFE, director Zhao Dayong offers a vérité portrait of migrants from rural China living in Shanghai who occupy Nanjing Street, an upscale shopping district, collecting and selling recyclables. In UP THE YANGTZE, directed by Yung Chang, a teenaged girl whose home will soon be flooded by the impending Three Gorges Dam finds herself working on a cruise ship offering tours of the river that will soon swallow all she knows. With these two films, the directors offer portraits of people who have no other option but to make way for progress- to bend to its will and hope that the future will be kinder.


STREET LIFE (南京路)
Dir. Zhao Dayong, 2006
China, 98 mins.
In Mandarin with English subtitles.

MONDAY, JULY 1 – 7:30 PM
SUNDAY, JULY 7 – 5 PM
THURSDAY, JULY 18 – 7:30 PM
SUNDAY, JULY 21 – 7:30 PM

“I just wanna cry. So what!”

Zhao Dayong’s first nonfiction film is a colorful and honest portrait of a group of migrants who live and work on Nanjing Road, an upscale shopping district in Shanghai, collecting and selling recyclables. There’s “Big Fatty,” the wise fool who sings poems and rhymes referencing Chinese literature and politics; Ah Qiao, the dishonest entrepreneur who purchases cans off the other migrants; and “Black Skin”- the anti-hero of the story, whose innocence and hard-working nature leaves him susceptible to attack. After Ah Qiao betrays him, Black Skin spirals into apathy and insanity.

“These beggars and litter-collectors exist as invisible and forgotten shadows of Shanghai, moving in a sort of parallel reality but strictly linked to the same boom that excites the city. It is just the other side of the capitalist coin, the extreme poverty of the periphery juxtaposed with the growing wealth of the center, adopting the same capitalist strategies for surviving in a dramatic, grotesque fashion.” – Sara Beretta, “A Mad Dance on Shanghai Streets: Zhao Dayong’s Street Life”

After graduating from China’s Lu Xun Art Academy in 1992, Zhao Dayong worked for a number of years as a professional artist and advertising director, first in Beijing and later in Guangzhou. In 1997, he founded Guangzhou Dake, a design company. He was also founding editor of Culture & Morals, a now deceased journal for the contemporary arts in China. Zhao began exploring the medium of digital video in 2002. His first documentary film, STREET LIFE, premiered at Austria’s Viennale in October 2006. Zhao’s second documentary film, GHOST TOWN, a collage of stories that take place in the former government seat of Zhiziluo in remote northwestern Yunnan province, premiered at the New York Film Festival in 2009. His first fiction feature, THE HIGH LIFE, premiered at the Hong Kong International Film Festival in 2010, winning both the FIPRESCI Award and the Silver Digital Award. THE HIGH LIFE made its European premiere in the main competition at the Mannheim-Heidelberg International Film Festival in November 2010, where it won both the Werner Fassbinder Prize and the FIPRESCI Jury Prize.


UP THE YANGTZE (沿江而上)
Dir. Yung Chang, 2008
China, 94 mins.
In Mandarin with English subtitles.

WEDNESDAY, JULY 3 – 7:30 PM
TUESDAY, JULY 9 – 7:30 PM
SUNDAY, JULY 14 – 7:30 PM
WEDNESDAY, JULY 24 – 7:30 PM

“Everywhere there are reminders of progress and sacrifice.”

The Three Gorges Dam, the largest power station in the world in terms of installed capacity, spans the Yangtze River, the largest and most revered river in Asia. It’s named for the three gorges it flooded, the Qutang, Wu Xia, and Xiling, which stretch for 124 miles and were renowned for their scenic beauty. Reportedly 1.3 million people (and up to 2 million) living in 1,500 cities, towns, and villages along the river were displaced as a result of its implementation.

In 2007, before the waters rose completely, 16 year old Yu Shui sets off from her impoverished family and their riverside home to work on a Yangtze river cruise called Farewell Cruises, offering a final glimpse of the Yangtze to wealthy tourists before the waters rise. Her parents, illiterate farmers, are saddened by having to send their daughter off to work instead of allowing her to continue her studies. Yu Shui suddenly has a new English name, Cindy, and is thrust into a whole new world where she must cater to wealthy foreigners on their vacations. Along with Yu Shui is Chen Bo Yu, or “Jerry,” an only child from a middle-class family who, with far less to lose, takes his job far less seriously. As Yu Shui struggles to navigate the modern world, her family seeks higher ground.

“It’s a tender and profound portrait of unwieldy, mass-scale modernization at work, a process multifaceted enough to include Yu Shui’s dawning optimism, Chen Bo Yu’s dispiriting setbacks, and a cheery tourist rendition of “My Bonnie Lies Over the Ocean” that also serves as a lament for tradition’s demise.” -Nick Schager, Slant

Yung Chang is the director of UP THE YANGTZE (沿江而上), CHINA HEAVYWEIGHT (千錘百鍊), and THE FRUIT HUNTERS. He is currently completing a screenplay for his first dramatic feature, Eggplant (茄子), and in post-production for a feature documentary about Robert Fisk, the controversial Middle East correspondent, co-produced by the National Film Board of Canada. His latest, Gatekeeper, is on the festival circuit and streaming on Field of Vision, Laura Poitras’ curated online film unit. Chang is the recipient of the Don Haig Award, the Yolande and Pierre Perrault Award, and the Guggenheim Emerging Artist Award. He is a member of the Directors Guild of Canada. In 2013, he was invited to become a member of the Academy of Motion Picture Arts and Sciences, the organization behind the Academy Awards / Oscars®.

ITALO-TV


The three films in this series, while not directly related, somehow made their way onto Italian television, insane gore and semi-tasteful nudity intact. Another of many reminders that Europe > USA.

Spectacle is proud to present these three hard-to-find gems, warts and all. Be prepared for burned-in logos, burned-out directors, sub-par subtitles, and above-par television.


GHOSTHOUSE 3: HOUSE OF LOST SOULS
Dir. Umberto Lenzi, 84 min, 1989

SATURDAY, JULY 6 – MIDNIGHT
FRIDAY, JULY 12 – 10 PM
SATURDAY, JULY 20 – MIDNIGHT
SATURDAY, JULY 27 – 10 PM

A handful of young geologists are unlucky enough to be forced to stay at a hotel in the middle of nowhere. What they don’t know is that the hotel has been abandoned for twenty years, because the owner of the hotel had killed his family and all the guests two decades ago. Strange things begin to happen, and suddenly murders are committed…

Umberto Lenzi (CANNIBAL FEROX, VIOLENT NAPLES, etc) truly going for it in this no-budget made-for-TV threequel in the Ghosthouse series (the first in the series was also known as Casa III in an attempt to capitalize on the popularity of the Evil Dead series, aka Casa I + Casa II).

The best kind of terrible, this undersung midnight gem features batshit one-liners, a murderous monk, multiple decapitations, and a killer laundry machine. Not to be missed.


THE SPIDER LABYRINTH
Dir. Gianfranco Giagni, 82 min, 1988

SATURDAY, JULY 6 – 10 PM
FRIDAY, JULY 12 – MIDNIGHT
MONDAY, JULY 15 – 10 PM
FRIDAY, JULY 26 – MIDNIGHT
MONDAY, JULY 29 – 10 PM

A young professor travels to Budapest to locate a lost colleague. Once there, he gets tangled up in a supernatural mystery.

The only film in this series to feature a single title. Information is dodgy on whether this one was actually made-for-TV or just ended up there, but the best looking version in existence is definitely ripped from TV. Though it feels like a cousin to Inferno or Suspiria, its also one of the only giallos to attempt Lovecraftian otherworldy-terror.

It’s a slow burn at the start, but stick with it and this one delivers with an insane ending, and some impressively unnerving practical FX. Do yourself a favor and don’t google it.


THE GHOST OF THE HUNCHBACK aka SATAN’S PIT aka HOUSE OF TERRORS
Dir. Hajime Sato, 77 min, 1965

MONDAY, JULY 1 – 10 PM
THURSDAY, JULY 11 – 10 PM
WEDNESDAY, JULY 17 – 10 PM
TUESDAY, JULY 23 – 10 PM

A man, Chonin Mitake, dies crazy after long agony, and his dead body is cremated. His widow Yoshi, investigating on the past of her husband, goes to the mansion where he had lived, a building Leftly nicknamed “Satan’s Pit” (a suggestive statue of Satan is situated in the atrium of the masnion) managed by a hunchbacked caretaker. Soon some visitors reach the house. The hunchbacked keeper warns…

It’s unclear if this Japanese oddity has ever seen a proper US release, but it definitely never got one in Japan, only ever properly airing on Italian TV, in an Italian dub, adding to the overall surreality of the whole thing. Directed by Hajime Sato (GOKE: BODYSNATCHER FROM HELL, THE GOLDEN BAT) and starring Ko Nishimura (LADY SNOWBLOOD, HIGH AND LOW) as the hunchbacked caretaker, fans of early black + white Bava / Barbara Steele collaborations should take note.

FINGERELLA


FINGERELLA
dir. Micah Vassau
USA, 90 min.

THURSDAY, JULY 25 – 7:30 PM (with cast & crew in person for Q&A)
ONE NIGHT ONLY! (This event is $10)

In a far away, fucked up land, there lives a broke country-fried blonde who isn’t so bright… Consuming raw chicken and collecting beer cans out of the river to make ends meet, she spends her ditzy days caring for her decrepit grandmother in their dilapidated abode. But after a sinister demon of static steals an egg that she believes to be her baby, she is flung unto a seriously perverse quest to be reunited with said egg.

Rummaging through her shabby woodland town by jet ski, inhaling all the drugs that cross her path, she encounters a myriad of total nutjobs. Some try to turn her on to God, some let her suck on their toes, while others pour 40s over her head, or seek to demolish her innocent soul.

No childhood imagination is safe from this disturbingly depraved fable of nooky, dope, and degeneracy. Savvily shot on VHS, edited by cerebrums of relentless corruption, and scored with pretty much any genre of music you can think of, FINGERELLA is a fairy tale trauma you’ll certainly want to spare your children of.

CONTENT WARNING: Seriously… leave your kids at home.

FROM THE DEFA LIBRARY: EAST GERMAN SCI-FI

While the West was putting out ZARDOZ and the East SOLARIS, the East German state-run cinema DEFA produced sci-fi that was an ideologically constrained mixture of both. The serious attempt at camp of IN THE DUST OF THE STARS and the more literary EOLOMEA are solid summer sci-fi viewing and an accessible intro to East German cinema. This series will continue in August with two DEFA spy films: FOR EYES ONLY and CODED MESSAGE FOR THE BOSS.



IN THE DUST OF THE STARS
Dir. Gottfried Kolditz, 1976
East Germany, 95 min

FRIDAY, JULY 5 – 7:30 PM
MONDAY, JULY 8 – 10 PM
TUESDAY, JULY 16 – 10 PM
MONDAY, JULY 29 – 7:30 PM

A prank distress call summons a team of concerned cosmonauts to a society similar to that in LOGAN’S RUN – mysteriously affluent and carefree. After being fêted with dancing, mind-altering treats and flavored aerosol cans, most of the crew of Cyrano 4 is distracted from the initial mission. This planet is hiding something (including its “boss”) and a series of investigations from commander Ronk result in a moral quandary for the entire crew. IN THE DUST OF THE STARS somehow fills up 95 minutes, but plays like a sexed-up original Star Trek episode.



EOLOMEA
Dir. Hermann Zschoche, 1972
East Germany, 82 min.

SATURDAY, JULY 6 – 7:30 PM
WEDNESDAY, JULY 10 – 10 PM
SATURDAY, JULY 20 – 10 PM
THURSDAY, JULY 25 – 10 PM
SUNDAY, JULY 28 – 7:30 PM

This is a wordy space odyssey in widescreen, based on a book by leftist and anti-fascist Angel Wagenstein. An unresponsive space station divides two heavyweights on the aeronautics council, Professor Tal and his protégé Maria. Tal is hiding information, which Maria playfully tries to tease out of him with talk of former heroics and the mystery planet Eolomea, aka “eternal spring”. Meanwhile we catch up with Maria’s old flame Daniel, a jaded space jockey who is also putting together clues to the whereabouts of the people on space station Margot. EOLOMEA includes a funky score from Günter Fischer, which puts an excellent touch on beautiful miniature sets and 70’s intergalactic effects.

SCUM IN THE SUN PT. 1: JON MORITSUGU

There’s only one way to prepare for the return of the maestro of low-fi culture clash and camp, and that is to throw ourselves at the altar of alterity and join what were once called degenerates. Jon Moritsugu will soon be releasing NUMBSKULL REVOLUTION with long-time collaborator Amy Davis, which promises to be a satire of art world antics in the desert. We can expect it to include themes of otherness in American dystopia, a messy avalanche of sound, and mutated forms of self-expression, all of which can be previewed in this summer series. Moritsugu’s early films take apart the postmodern moment with mutilated joy, expressing the senseless with style and dragging whatever constitutes punk culture straight to the trash bin.

All month we will also be selling special Jon Moritsugu merch. What kind of merch, you ask? We can’t explain online.



MY DEGENERATION
Dir. Jon Moritsugu, 1990
USA, 70 min.

TUESDAY, JULY 2 – 10 PM
SUNDAY, JULY 7 – 7:30 PM
FRIDAY, JULY 19 – 10 PM
WEDNESDAY, JULY 24 – 10 PM

Continuing the rich legacy of late-night Girl Group mondo pictures, MY DEGENERATION updates the hippie sleaze of BEYOND THE VALLEY OF THE DOLLS and the punk delirium of LADIES AND GENTLEMAN, THE FABULOUS STAINS with a dispatch from the late ‘80s art school wastoid pukescape. Just as ‘indie rock’ was about to cash its check with the meteoric ascent of Nirvana and company, the film follows teen band Bunny Love’s rise to the ambassadorship of the American Beef Institute. Replete with fuzzed-out regurgitations of the midnight movie semiosphere, it’s the cinematic equivalent of the sub-genre Robert Christgau once referred to as “pig-fuck.” Moritsugu’s future wife Amy Davis co-stars, plus a parade of top-notch tracks from Vomit Launch, The Fizzbombs, Halo of Flies, and Bongwater. So puerile, it caused American’s favorite film critic (and BEYOND THE VALLEY OF THE DOLLS scribe) Roger Ebert to walk out after 7 minutes. Two middle fingers all the way up!

*Preceded by the shorts MOMMY MOMMY WHERE’S MY BRAIN (1986) and L’IL DEBBIE SNACKWHORE OF NEW YORK CITY (1987).



MOD FUCK EXPLOSION
Dir. Jon Moritsugu, 1994
USA, 67 min.

FRIDAY, JULY 5 – 10 PM
THURSDAY, JULY 11 – 7:30 PM
MONDAY, JULY 15 – 7:30 PM
FRIDAY, JULY 26 – 7:30 PM

The Nipponese bikers have leather jackets and London, a broken-family blonde, wants a leather jacket more than anything. Her sister Nasty has one, but she’s a post-Quaalude comic artist and won’t give it up. London’s brother is a dumb wannabe mod, clinging to a style that is just nativism with thick-framed glasses. Top Mod Madball sums up their situation with a joke:

“Why did Hitler kill himself?”

“To get to the other side!”

All London has to do is party with the bikers and tell Kazumi that he has a great bod, but instead she’s in love with death-obsessed M-16. Cleopatra, the supernatural succubus and queen of feces, tries to give London some T-R-U-T-H but she won’t hear it! Everything is leading in a fucked-up, not-knowing-how-to-fuck direction not to mention the ultimate showdown between the pale mods and a powerful biker gang.

*Preceded by the shorts SLEAZY RIDER (1988) and CRACK (1999).



TERMINAL USA
dir. Jon Moritsugu, 1993
USA, 57 min.

MONDAY, JULY 8 – 7:30 PM
SATURDAY, JULY 20 – 7:30 PM
FRIDAY, JULY 26 – 7:30 PM
WEDNESDAY, JULY 31 – 7:30 PM (ORIGINAL ROUGH CUT!)

Family comes first in this disaster portrait of a comically depraved Japanese-American household on the verge of Armageddon. Wholesome suburban sitcom sensibilities are thoroughly contorted through a deliciously deranged cocktail of vices and filthy secrets all wedged under one roof. Any hopes of quality time deteriorate into a feverish shitstorm, just before dinner.

While pill-popping mom and homicidal-minded dad are busy reprimanding their nihilist junkie son, Kazumi (Moritsugu), his pregnant, nymphomaniacal cheerleader sister desperately tries to keep a blackmailing sex tape under wraps, and the protractor-wielding prodigy twin brother, Marvin (also Moritsugu), harbors a secret lust for skinheads. As Kazumi casually bleeds out from a gash dealt by debt-collecting drug dealers, his fashion-damaged girlfriend, Eight-Ball (Amy Davis), is of no help, as she may have an extraterrestrial agenda of her own.

Laying to utter waste the dignified image of the “model minority” in perhaps the most gnarly soap-opera to ever be funded by PBS and aired on televisions across America, TERMINAL USA gives new meaning to the term dysfunctional.

Preceded by the shorts BRAINDEAD (1987) and DER ELVIS (1988).



HIPPY PORN
dir. Jon Moritsugu, 1991
USA, 97 min.

WEDNESDAY, JULY 3 – 10 PM
SUNDAY, JULY 14 – 5 PM
THURSDAY, JULY 18 – 10 PM

MONDAY, JULY 22 – 10 PM

“Let’s face it, all we’ll be doing for the next 75 minutes is smoking, drinking wine, and complaining about not having anything to do.”

Frenetic disaffection holds reign in HIPPY PORN, Moritsugu’s demented portrait of 90s scum-punk, anti-existentialist youth life. Populated by Warhol Factory rejects who find themselves caught in the wrong time, Moritsugu’s film goes beyond holding nothing sacred, and takes all cultural markers, be they religious, political, or fashionable as equal opportunity material for degenerated profanation.

Starring Moritsugu regular Victor of Aquitaine as L, accompanied by fellow faux-punks M and Mick, HIPPY PORN sees these young college wastoids milling about in deserted lots, cheap-o sets meant to double as underground clubs that remind one of Jack Smith, and their bedrooms. The long stretches of indifferent conversation are broken up and energized by aggressive flashing interludes of disorienting montage that belie the filmmaker’s punk roots.

Soundtracked by an impressive Matador lineup including Superchunk, The Frogs, and Unsane, it’s no surprise that HIPPY PORN ran at the Action Christine Cinema in Paris for over year, where it was certainly appreciated for its indelible brand of American antipathy crossed with a familiar sense of chain-smoking philosophizing.

*Preceded by the shorts L’IL DEBBIE SNACKWHORE OF NEW YORK CITY (1987), BRAINDEAD (1987) and CRACK (1999).

UNHINGED

UNHINGED
dir. Don Gronquist, 1982
79 mins. United States.
In English.

SATURDAY, JUNE 8 – MIDNIGHT
FRIDAY, JUNE 14 – MIDNIGHT
FRIDAY, JUNE 21 – MIDNIGHT
SATURDAY, JUNE 29 – MIDNIGHT

ONLINE TICKETS       FACEBOOK EVENT

Shot in Oregon in the early 80’s, UNHINGED follows three college girls on a trip to a jazz festival ‘upstate’. They get stoned and crash into a ditch, only to wake up in an old mansion with a strange woman, her mother and a caretaker.

Trapped by a storm with no way to contact anyone (“the closest phone is 2 miles away!”), the girls hunker down to recuperate until the roads clear. It’s not long, however, before strange sounds and phenomena tip them off to something being very, very wrong at the Primrose Estate.

The performances range in tone from ‘on too many painkillers’ to ‘community theater Tennessee Williams’, only adding to the surreal-dreamlike feel of the whole thing.

Featuring a synth score by John Newton that’s been described as sounding like “a black mass that’s being sabotaged by an all-skeleton Soft cell cover band”, UNHINGED is way more fun and moody than your average video nasty.

CONTENT WARNING: While the body-count and gore are relatively tame for a Video Nasty, the ending features a problematic twist, so be prepared for a decidedly Not Woke climax.

MONDO MANHATTAN

MONDO MANHATTAN
Dir. the Chain Gang
1987-2007, USA

SATURDAY, JUNE 15 – 7:30 PM
CAST IN ATTENDANCE + Q&A! (This event is $10.)

ONLINE TICKETS       FACEBOOK EVENT

Known for being 20+ years in the making and screening but twice before in Manhattan, this rare screening of Chain Gang’s MONDO MANHATTAN is a dispatch from an all-but-gone New York, with cast in attendance. Its Brooklyn debut…

“The Publisher, awestruck, can barely get the words out: They said it couldn’t be done. They said it shouldn’t be done. And yet here we were, in the side room of an Avenue A bar to bear two hours witness to the fact that, indeed, it had finally been done: MONDO MANHATTAN… the movie, twenty years since most of the world first learned of the film-in-progress in the pages of Forced Exposure #13. This classic interview of Chain Gang singer Ricky Luanda, conducted by Jimmy Johnson & Byron Coley, made some sense of 1987’s amazing & mysterious MONDO MANHATTAN “soundtrack” lp on Lost Records, although it must be said, many questions remained. The Music Director– holed up in the iron-rich hills of northwest Jersey at the time– remembers clearly the cold, snowy day he walked from the Port Authority Bus Terminal down 8th Avenue to Midnight Records on 23rd Street to purchase the album. Those who didn’t know the city then can’t begin to imagine the fun that even such a simple trip as that entailed. Others will tell ya’ll about 14th St, Cooper Square, the Bowery, etc: today, with each strip more denatured than the next (or vice-versa), who gives a shit, really? It happened once & memories (“I remember the worry– would I have enough money left over for Show World tokens?” the Music Director recalls) & some artifacts remain. One of which, we can now declare, is MONDO MANHATTAN, the bastard spawn of Andre de Toth & Herschell Gordon Lewis adopted by Sam Peckinpah. Indeed, as much as we love BRING ME THE HEAD OF ALFREDO GARCIA & TWO-LANE BLACKTOP, THE WILD BUNCH & COCKFIGHTER, if Warren Oates had to die so that Ricky Luanda’s Mr. Mondo could be born… it was probably worth it.

I can only ask, is this the best punk rock “documentary” since Raymond Pettibon’s SIR DRONE? Without question but it’s a lot more than that too. Stay tuned.” – Brian Berger, Who Walk In Brooklyn, 2007

LIVE SCORE: SPLATTER UNIVERSITY


SPLATTER UNIVERSITY (LIVE SCORE by Chris Burke)
dir. Richard W. Haines, 1984
78 min, USA

FRIDAY, MAY 24 – 7:30 PM and 10 PM
(This event is $10.)

Original score remixed and performed live by composer Chris Burke, aka glomag.

ONLINE TICKETS

• •

“You know it seems to me if you are going to kill someone you [should] at least know them real well.” — The morbid but sensible landlord Mrs. Bloom

Before making his mark with CLASS OF NUKE ‘EM HIGH, Richard Haines began work on his very first film in 1981, at age 24. The end result, after running out of time and money, is a straightforward, traditional horror movie that’s only an hour. Putting it aside for a year and then padding it out with some “Porky’s-type humor” (at the distributor’s request and to his dismay), Haines gets the original runtime up to a feature-length, distribution-friendly 78 minutes.

The end result is what feels like two films in one, a traditional horror and college party flick; the sudden switches back & forth in tone are both in conflict and complement each other sublimely. New instructor Julie Parker (an earnest and believable Forbes Riley) unravels a murder mystery while her students waste their youth away in a seemingly unrelated subplot–until they themselves are wasted.

Nearly 40 years later, Richard Haines’s directorial debut has finally been released on Blu-ray, courtesy of Vinegar Syndrome. And the literal rough edges of their newly-restored print is one of two reasons why Spectacle is proud to present what can be considered the ultimate version of SPLATTER UNIVERSITY; the look & feel of dirty & grainy of decades old 16 mm footage that’s been modernized to conform to HD only accentuates the off-kilter feeling.

The second reason is the remastered and revamped 80’s synth score by the film’s original composer, Chris Burke (THE TOXIC AVENGER, BLUE VENGEANCE, THE REFRIGERATOR). Someone over at somethingawful.com described it best as “Optimus Prime passing a kidney stone with his motor oil.” Hear it performed live at our very special screening, one that will also include a panel with Chris and other special guests.

• •

One can find more synth horror goodness from Chris Burke at glomag.bandcamp.com.

STOOP SALE
SATURDAY, MAY 18TH – NOON TIL 6PM

Come get your Spectacle Merch, Posters, and an assortment of wares including but not limited to comic books, DVDs, records, wigs, and trousers. Home-made goods both edible and collectable. Iced coffee!

This year’s stoop sale also includes XFR Collective! If you missed them in March at the Analogue Roadshow, they will be on site at the Stoop Sale digitizing at-risk media (VHS, Mini DV, etc). Note: XFR cannot digitize anything under copyright!

Are you a member and want to sell some things to benefit Spectacle? Email spectacle.rentals@gmail.com.