Tuesday, December 3, 2024

A Poem

Gone Nowhere  

1. The Call
The headset hums; the void connects,  
A voice from nowhere, dulled by text.  
“Press one for help, press two for pain,”  
The choices loop—a cursed refrain.  

Once, I dreamed of vast, bright halls,  
Eldritch whispers in their sprawl.  
But here, in Eastie’s narrow lanes,  
The echoes call of long-lost names.  

2. The Mask
Remote, but not remote enough,  
Behind this screen, the air feels rough.  
Customer queries, looping scripts,  
My soul drips out in frozen drips.  

Lovecraft’s stars, I once could trace,  
On library pages, through time and space.  
Now I chase them through cracked windows,  
Between hold music and distant echoes.  

3. Werewolves Of Logan  
The airport’s howl cuts through the night,  
Not wolves, just jets in taking flight.  
But I can’t help but dream of teeth,  
The primal hunger lying beneath.  

In shadows cast by moon and steel,  
The werewolves stir; their hunger’s real.  
Do they clock in? Do they endure,  
The endless grind, the pay unsure?  

4. The Art
It feeds me, yet it starves me more,  
A brush, a pen, an open door.  
Through colors splashed on paper’s edge,  
I balance on a fragile ledge.  

Beneath the towers, red-brick tight,  
East Boston dreams in fading light.  
The changes creep, the rents rise high,  
But art remains, though markets die.  

5. The Pandemic Years  
The years collapsed, a timeless haze,  
Each Zoom call stretched, unending days.  
From windows, watched the skies turn pale,  
No fungi here, just viral trails.  

And still, we spoke, to faceless voids,  
The words like dust, the meaning void.  
Yet somewhere deep, an ember burned,  
For life’s strange path has always turned.  

6. My Father’s Shadow  
Dad’s photo rests in dim-lit glow,  
His voice, long gone, still seems to know.  
Did he see me here, this strange descent,  
This labyrinth, this time misspent?  

Yet pride, perhaps, in these worn hands,  
That hold fast still, though weak they stand.  
For though the stars seem dim and cracked,  
I’m here, I’m trying, no turning back.  

7. Toy Hope  
A child's toy left by a yard’s low fence,  
A plastic wolf, its grin immense.  
And in its gaze, I see the thread,  
That links the lost, the living, the dead.  

East Boston’s tides rise high and fall,  
But still, I answer every call.  
For in the grind, the scripts, the gloom,  
A spark persists, though faint, it blooms.  

8. Gone Nowhere  
I walk the streets where shadows writhe,  
With werewolves lurking, half-alive.  
The stars are strange, the streets more so,  
But here I am—I’ll never go.  

Gone nowhere, yet I’ve gone so far,  
Through pandemics, recessions, the moonlit scar.  
And though the grind can strip me bare,  
There’s still a light that lingers there.  

Would Dad be proud? I cannot say,  
But I howl at dusk, and I work by day.  
For art and toil, though worlds apart,  
Both feed my soul, and mend my heart.  


-Lou Toad, 2024

Tune in Tuesday: Vinegar Syndrome's Blu-ray of Blood Tracks: A Revolutionary Moment in Cinematic Obscurity


The act of watching Blood Tracks on Vinegar Syndrome's Blu-ray is a punch in the face to every lazy viewer who’s ever dismissed exploitation cinema as cheap junk. Because here, my friends, we have something that transcends the limits of trash, something that elevates the genre from schlock to art simply by its audacity. This is a movie that demands attention, or at the very least, a loud, unapologetic laugh, because if you’re not laughing, you’re doing it wrong.

Blood Tracks (1985) — a Swedish action-horror movie made by people who clearly never once stopped to question their choices, and thank God for that. If you’re a sucker for bands of wild-eyed musicians, dark forests, bloody murders, and a score that could only exist in the ’80s, then Vinegar Syndrome’s new release might just be the Holy Grail. A workout tape of bizarro weirdness, amplified by its over-the-top ambition to be a slasher, a rock ‘n’ roll action flick, and a neon nightmare all in one. The plot? Does it matter? Some bands, a little skiing, a secret hideout, and oh, yeah, an impending battle with a group of masked killers. But the real story here is the vibe. 

The Blu-ray itself is a revelation, even if the original film’s grainy, low-budget sheen is more “charmingly outdated” than “polished.” The transfer is surprisingly lush, with the cold, pristine blues of the snow contrasting starkly against the brutal reds of the bloodshed. The sound is crisp, with the ’80s synthesizer soundtrack that has no business being as good as it is. And the visuals... Lord help us. The frenzied, dreamlike sequences of mayhem and psychedelic violence unfurl with a sort of chaotic elegance — this is the kind of movie that demands to be watched at least twice. The first time for the lunacy; the second time for the unexpected pleasures. 

Vinegar Syndrome, of course, isn't here to let you off easy. They've unleashed a bevy of special features, a treasure trove of madness that goes well beyond the call of duty. The interviews with cast and crew read like a post-mortem on a film that couldn't possibly have survived in the hands of anyone else, and yet here we are, treating Blood Tracks as a lost masterpiece. The doc is part history lesson, part therapy session, as the filmmakers recount their fever dream of a production, a shipwreck that somehow turned into something that even in the dim light of day, still burns bright.

Is Blood Tracks a good movie? Who cares. Is it entertaining? God, yes. The real question is whether or not we’ve earned the right to treat it with the kind of reverence usually reserved for long-lost classics. The answer, after watching this absurd piece of cinema history, is a resounding yes. 

If you’re expecting anything other than an orgy of neon blood, disco haircuts, and heavy synth beats, then step off now, because Vinegar Syndrome has thrown down the gauntlet, and Blood Tracks is here to remind us that sometimes, the only thing that matters is the ride. And trust me, this is one hell of a ride.

Sunday, December 1, 2024

Billy, Morissette

**Billy Morrissette Retrospective: Ghoulies, Grit, and Gleeful Absurdity**  

Billy Morrissette is the kind of Hollywood oddity you can’t help but root for. He’s like the punk rock kid who snuck into the film industry through the bathroom window, grinning, dripping irony, and armed with a paintbrush. Actor, writer, director, painter—Morrissette’s career is a zigzag through the genre-junkyard of cult cinema and indie weirdness. From *Ghoulies III: Ghoulies Go to College* to the underappreciated *Scotland, PA*, he’s been a perpetual wildcard. Let’s dive into the glorious mess of his career and try to figure out how someone this quirky never became a household name.

---

### **Ghoulies III: Ghoulies Go to College (1991): Party Monsters with Morrissette**  

First stop, *Ghoulies III*. If you don’t know, *Ghoulies* is the franchise where slimy, toothy puppets wreak havoc for no apparent reason. But by the third entry, the series cranked the ridiculousness to eleven. Enter Morrissette as the slimy frat boy Mookey, who spends most of his screen time partying, pranking, and trying not to get eaten by toilet-dwelling demons.  

It’s a *movie*—well, technically. Aimed squarely at the beer-and-pizza crowd, it’s ridiculous, juvenile, and exactly the kind of movie you’d discover at 2 AM on a dusty VHS tape. Morrissette’s comedic timing shines, adding a layer of charm to an otherwise cartoonish ensemble. Is it art? No. Is it fun? Absolutely.  

---

### **Freddy’s Nightmares (1988): The Weird TV Pit Stop**  

Morrissette also landed a gig on *Freddy’s Nightmares*, the gloriously trashy horror anthology series inspired by Freddy Krueger. He appeared in the episode “Lucky Stiff,” which is about a lottery winner who ends up in a nightmare scenario (classic Krueger-style irony).  

What makes this notable isn’t so much Morrissette’s performance, which is solid, but the fact that the show itself was a precursor to his knack for blending absurdity with darker undertones. It’s a campy footnote, but it feels like a piece of the puzzle that would lead to his later work as a director.  

---

### **Pump Up the Volume (1990): Rebellion on the Airwaves**  

Morrissette doesn’t have a *huge* role in *Pump Up the Volume*, but his presence is felt in the film’s scrappy, rebellious tone. This movie, starring Christian Slater as a pirate radio DJ inspiring teen rebellion, is the epitome of late-‘80s/early-‘90s angst. Morrissette appears as Mazz Mazzilli, one of the local high school kids caught up in the chaos.  

Even in a small role, Morrissette has that sharp-edged charisma that makes you want to watch him. And the movie itself? Pure Gen-X gold. It’s the kind of movie that feels tailor-made for his anarchic sensibilities.  

---

### **Severed Ties (1992): Mad Science Meets Monster Camp**  

Here’s where Morrissette takes a turn into B-movie madness. *Severed Ties* is a low-budget, high-camp horror flick about mutant experiments, reanimated limbs, and general gooey chaos. Morrissette plays Harrison Harrison (yes, that’s his actual name), a scientist who grows a sentient, murderous arm after a lab experiment gone wrong.  

It’s absurd in the best way, leaning into the same practical effects-driven schlock as *Ghoulies*. And while Morrissette doesn’t exactly deliver an Oscar-worthy performance, he clearly *gets* the joke, embracing the absurdity with gusto.  

---

### **Catch Me If You Can (1989): The Forgotten Car Chase Flick**  

Before Leo DiCaprio and Tom Hanks made “Catch Me If You Can” a household name, there was this obscure 1989 movie about a high school senior on the run to avoid summer school. It’s part screwball comedy, part teen romance, and part car-chase extravaganza. Morrissette shows up in a supporting role, bringing his trademark sardonic wit to the otherwise generic proceedings.  

This movie is less a showcase for Morrissette and more of a relic of the era—pure ‘80s cheese, but with enough charm to make it watchable.  

---

### **Scotland, PA (2001): Morrissette’s Masterpiece**  

This is the big one. *Scotland, PA* is Morrissette’s magnum opus, a pitch-black comedy that reimagines *Macbeth* in a greasy ‘70s fast-food joint. James LeGros and Maura Tierney play the murderous couple trying to take over a burger empire, while Christopher Walken shines as the eccentric detective investigating the crime.  

The brilliance of *Scotland, PA* lies in how it takes Shakespeare’s tragedy and drenches it in greasy Americana. Morrissette’s script is razor-sharp, blending deadpan humor with genuine pathos. It’s funny, twisted, and way smarter than its premise suggests. This is Morrissette at his best—witty, subversive, and unafraid to get weird.  

---

### **The Paintings: A Different Kind of Canvas**  

Outside of acting and filmmaking, Morrissette is also an accomplished painter. His art is as offbeat as his movies, blending surrealism with a kind of raw, emotional chaos. It’s a side of him that feels more personal, as though he’s channeling all the weird, jagged edges of his creativity into something tactile.  

Like his films, his paintings defy easy categorization. They’re funny, dark, and just a little unsettling—perfectly fitting for a guy who turned *Macbeth* into a fast-food murder tale.  

---

### **Final Thoughts: Billy Morrissette, The Outsider Auteur**  

Billy Morrissette’s career is a testament to carving your own weird, wonderful path. Whether he’s acting in toilet-demon movies or directing fast-food Shakespeare, he brings a scrappy, punk-rock sensibility to everything he does.  

In a Hollywood landscape that often feels cookie-cutter, Morrissette stands out as a true original. He might not have a star on the Walk of Fame, but he’s got something better—a body of work that’s wholly, unapologetically *his*. And in the end, that’s what makes him unforgettable.

**Bad Channels (1992): Full Moon Gets Weird, Blue Öyster Cult Gets Loud**


Ah, *Bad Channels*. If you know, you *know*. If you don’t, welcome to one of the strangest, most underrated slices of sci-fi cheese Full Moon Pictures ever slapped onto a VHS tape. Directed by Ted Nicolaou (of *Subspecies* fame), this one’s a bizarre cocktail of alien abductions, radio waves, and rock ’n’ roll. It’s the kind of movie you’d rent on a whim, half-expecting nothing, only to find yourself headbanging and laughing at its off-kilter brilliance.  

And the secret weapon? Blue Öyster Cult. Yes, *that* Blue Öyster Cult. The gods of cosmic rock. The creators of "Don't Fear the Reaper" and "Godzilla." Somehow, they got pulled into Full Moon’s world of killer puppets, campy gore, and low-budget chaos. Their involvement elevates *Bad Channels* from standard alien schlock into a cosmic rock opera with a touch of stardust. Let’s break it down.  

---

### **The Plot: Aliens, Radio Waves, and Music Video Madness**  

The story of *Bad Channels* is as bonkers as you’d expect from Full Moon in its heyday. A small-town radio DJ named Dan O’Dare (Paul Hipp) is trapped inside a radio station by an alien who’s hijacked the airwaves. The alien’s plan? To use radio signals to shrink women down to doll size and trap them in glass tubes. Why? Who cares! It’s sci-fi, baby!  

The movie plays out like a bizarre hybrid of a *Twilight Zone* episode and an MTV fever dream. Every time a woman is abducted, the film cuts to a surreal, music-video-style performance by a rock or metal band, including appearances by psychobilly weirdos The U-Krew and the deliciously odd DMT. These scenes are pure early-'90s music video camp—fog machines, flashy lights, and big hair abound.  

But then there’s Blue Öyster Cult.  

---

### **Blue Öyster Cult’s Involvement: Rocking the Aliens**  

Here’s where things get legendary. Full Moon had always been scrappy, pulling talent from all corners of the genre world. But somehow, they landed Blue Öyster Cult for *Bad Channels*, and the result is pure magic. Not only did BÖC contribute songs to the soundtrack, but they also wrote *new, original material* for the film.  

Their standout track, “Bad Channels Overture,” is the kind of epic, guitar-heavy anthem you’d expect from the band that gave us “Burnin’ for You.” It opens the movie with an energy that immediately tells you this isn’t just some throwaway B-movie. It’s got ambition, damn it. The overture blends BÖC’s signature cosmic vibes with a touch of camp, setting the tone perfectly for the madness to come.  

And let’s not forget “The Horsemen Arrive,” an instrumental piece that plays during one of the film’s most surreal moments. It’s moody, otherworldly, and undeniably BÖC—a reminder that this is a band that knows how to make music for aliens, apocalypse scenarios, and everything in between.  

The band’s involvement wasn’t just a paycheck gig, either. You can feel their fingerprints on the film’s tone. They bring a sense of *cool* to the proceedings, elevating what could have been a throwaway Full Moon entry into something uniquely memorable.  

---

### **Full Moon Pictures: The Perfect Weirdos for the Job**  

By 1992, Full Moon Pictures was deep into its golden age. Founded by Charles Band, Full Moon was the king of low-budget genre fare, cranking out hits like *Puppet Master*, *Demonic Toys*, and *Trancers*. The studio had a knack for blending campy humor with practical effects and gonzo storytelling.  

*Bad Channels* was part of Full Moon’s attempt to expand its universe. The film ties loosely into the *Dollman* franchise (yes, there’s a shared Full Moon cinematic universe), with a post-credits scene featuring Dollman himself, Brick Bardo. Later, the alien from *Bad Channels* even pops up in *Dollman vs. Demonic Toys* (1993), proving Full Moon was doing crossovers before Marvel made it cool.  

But what sets *Bad Channels* apart is its unabashed weirdness. While other Full Moon films leaned into horror, *Bad Channels* goes all-in on sci-fi and music. It’s a love letter to late-night radio, B-movie aliens, and the power of rock ’n’ roll.  

---

### **Legacy: A Cult Classic That Rocks**  

*Bad Channels* didn’t make waves when it first came out. It was too weird, too niche, and too tied to the video rental era to gain mainstream traction. But for fans of Full Moon and Blue Öyster Cult, it’s a gem.  

Over the years, it’s developed a cult following, thanks in no small part to its killer soundtrack. Blue Öyster Cult’s contributions give the movie a timeless edge, while the other bands featured on the soundtrack add a wonderfully dated ‘90s charm. The film’s blend of sci-fi absurdity, music-video aesthetics, and deadpan humor makes it endlessly rewatchable.  

And let’s be honest: the idea of aliens abducting women through radio waves while Blue Öyster Cult shreds in the background is just *cool*. It’s the kind of premise that could only exist in the Full Moon universe—a place where the weirder, the better.  

---

### **Final Thoughts: When Full Moon and BÖC Collided**  

*Bad Channels* is more than a movie; it’s a vibe. It’s a relic of a time when Full Moon was cranking out gonzo genre fare with reckless abandon, and when rock bands like Blue Öyster Cult could cross over into B-movie territory without missing a beat.  

The film might not be perfect—it’s goofy, nonsensical, and occasionally a little too self-indulgent. But it’s also a blast. It’s a celebration of everything that makes low-budget sci-fi fun: crazy concepts, memorable music, and a refusal to take itself too seriously.  

So, the next time you’re in the mood for something offbeat, cue up *Bad Channels*. Turn the volume way up, let Blue Öyster Cult melt your face, and bask in the bizarre brilliance of Full Moon at its most rock ’n’ roll.

Blue Oyster Cults Mirrors is The Metal Mavericks Stab at Power Pop- and its Fantastic

**Blue Öyster Cult’s *Mirrors*: The Metal Mavericks Stab at Power Pop—and It’s Fantastic**  

Let’s get one thing straight: *Mirrors* is the Blue Öyster Cult album *everybody* loves to hate. You know, the “sellout” record. The one where the heavy metal misfits decided they were done melting faces with cosmic riffs and instead wanted to chase AM-radio glory like some hair-sprayed pop-rock also-rans. Fans of *Agents of Fortune* and *Secret Treaties* sneered, critics shrugged, and the Cult themselves kinda pretended it didn’t happen. But here’s the thing nobody’s willing to admit—*Mirrors* is a goddamn masterpiece.  

Yeah, I said it. Go ahead and clutch your vinyl copy of *Tyranny and Mutation* like it’s some holy relic. But if you give *Mirrors* an honest listen—an *honest* listen—it reveals itself as the weirdest, most misunderstood gem in the Cult’s catalog. This isn’t Blue Öyster Cult selling out; this is Blue Öyster Cult pulling a *Pet Sounds*—a reckless dive into power pop, soft rock, and borderline yacht rock that somehow works because it’s still dripping with their trademark snark and cosmic paranoia.  

---

### **First, Let’s Talk Context: 1979 and the Quest for Hits**  

By the late ’70s, Blue Öyster Cult had a problem. They were *successful*—sort of. *Don’t Fear the Reaper* was a massive hit, sure, but it also pigeonholed them as “that spooky band with the cowbell song.” They were critically beloved, but their albums weren’t exactly flying off shelves anymore. So, the band teamed up with producer Tom Werman (the guy who polished Cheap Trick’s *Heaven Tonight* into a power-pop jewel) and said, “Let’s make something *shiny*.”  

*Mirrors* was their attempt to break out of the heavy-metal dungeon and step into the light. But instead of following the rules of pop, they bent them into something stranger. It’s slick, sure, but it’s also *weird*. This is power pop for people who think power pop is too cheerful.  

---

### **The Songs: Catchy, Cosmic, and Undeniably Cult**  

Right out of the gate, you’ve got “Dr. Music.” A straight-up groove monster, it’s like Blue Öyster Cult decided to write a love letter to disco without losing their edge. Eric Bloom growls about a mystical radio DJ like he’s narrating some dystopian romance novel, while the band lays down a strut-worthy beat that’s almost too funky for their own good.  

Then there’s the title track, *Mirrors*, a dreamy piece of soft-rock perfection that sounds like it belongs on the soundtrack to some lost ’70s sci-fi romance. It’s delicate, introspective, and totally at odds with the Cult’s usual leather-and-lasers aesthetic—but it works.  

“Moon Crazy” is where things get straight-up bizarre. It’s got this jittery, off-kilter energy that feels like you’re listening to a power-pop song on a spaceship spiraling out of control. It’s catchy, sure, but it’s also unsettling in a way only Blue Öyster Cult could pull off.  

And let’s not skip “In Thee.” If this song doesn’t make you swoon, you’ve got a heart of stone. Buck Dharma takes over lead vocals and delivers a tender, almost country-tinged love song that feels so earnest it’s almost unsettling. This is Blue Öyster Cult we’re talking about—the band that wrote *Godzilla*! And here they are, crooning about heartbreak like they’re auditioning for *The Muppet Show*.  

---

### **Why It’s Fantastic: Subversion in a Shiny Package**  

The genius of *Mirrors* is that it lures you in with its glossy production and catchy hooks, but underneath, it’s still got that patented Cult weirdness. These songs may sound like they belong on Top 40 radio, but listen closely, and you’ll hear the same cryptic lyrics, the same sly humor, and the same undercurrent of cosmic dread that made their earlier records so beloved.  

Take “The Great Sun Jester.” On the surface, it’s a straightforward rock ballad. But dig into the lyrics, and you realize it’s about Michael Moorcock’s Eternal Champion—a sci-fi/fantasy concept so esoteric it makes Rush’s *2112* look like *Sweet Home Alabama*.  

Or “I Am the Storm,” a straight-up arena-rock banger that still sounds like it was written by someone who’s spent too much time staring into the abyss.  

---

### **The Backlash: Too Weird for Pop, Too Soft for Metal**  

The problem with *Mirrors* wasn’t that it was bad. It was that nobody knew what to do with it. Metal fans hated the poppy production, and pop fans were too busy listening to Fleetwood Mac to care. The Cult’s core audience didn’t want power-pop anthems—they wanted face-melting guitar solos and lyrics about alien invasions.  

But here’s the thing: that disconnect is what makes *Mirrors* so great. It’s a record that refuses to fit into any one box. It’s ambitious, it’s risky, and it’s proof that Blue Öyster Cult were always willing to push the boundaries of what a “metal” band could do.  

---

### **Revisiting the Underrated Gem**  

Listen to *Mirrors* today, and it feels ahead of its time. In an era when bands are praised for “genre-bending” (looking at you, Ghost), *Mirrors* feels like the prototype—a record that dared to blend hard rock, power pop, and soft rock into something uniquely its own.  

So, let’s stop pretending *Mirrors* is some black sheep in the Cult’s discography. It’s not a failure—it’s a triumph. It’s the sound of a band refusing to stand still, refusing to play it safe, and refusing to give a damn what anyone else thinks.  

Throw it on. Crank it up. And don’t be afraid to admit that *Mirrors* is one of Blue Öyster Cult’s best albums. Because it is.

Larry Kent's "Vancouver Trilogy" The Beats are loose in Canada

**Larry Kent’s “Vancouver Trilogy”: When the Beats Got Loose in the Great White North**  

Let’s talk about Larry Kent, Canada’s unsung prophet of counterculture cinema, and his *Vancouver Trilogy*. These films—*The Bitter Ash* (1963), *Sweet Substitute* (1964), and *When Tomorrow Dies* (1965)—are where the Beats crossed the border, rolled a cigarette, and said, “Eh, we’re staying.” If you’ve never heard of Kent, don’t feel bad. He’s not in the Criterion Collection or some film school syllabus. But these three films? They’re raw, wild, and unapologetically alive. They’re the sound of jazz horns in the middle of the Vancouver rain. They’re a time capsule of early ‘60s disillusionment with just enough existential dread to keep it spicy.  

This was Canada’s answer to the Beatnik movement—a black-and-white rebellion against the polite Canadian stereotype. Kent didn’t care about pretty pictures or polished dialogue. He cared about *vibes*. And his vibes were jazzed-up, boozed-up, sexually liberated freefalls into the abyss. The trilogy doesn’t just capture Vancouver’s streets—it captures its *soul*.  

---

### **The Bitter Ash (1963): Beatniks Behaving Badly**  

Here’s where it all starts. *The Bitter Ash* is like a Canuck *On the Road*, but instead of dreamy wanderlust, it’s about gritty urban malaise. Kent plunges us into the lives of disillusioned youths navigating the gray zones of morality, ambition, and lust in a city that’s just starting to outgrow its small-town roots. There’s sex, betrayal, poetry readings, and some surprisingly cutting commentary on postwar middle-class values.  

The characters are everything you’d expect from a Beat-inspired flick—artsy types, bohemians, and pretentious pseudo-intellectuals who think quoting Sartre makes them profound. But Kent doesn’t glorify them. He gets that these people are *messy*. They’re self-absorbed, desperate, and clinging to ideals that crack under the weight of real life. Vancouver here is cold and impersonal, and Kent’s handheld camerawork feels like a voyeuristic peek into a crumbling world.  

Fun fact: This movie was so scandalous at the time (for its frank depictions of sex and counterculture) that it was almost *banned*. In Canada! The land of politeness and maple syrup! Imagine.  

---

### **Sweet Substitute (1964): Sex, Jazz, and Suburbia**  

With *Sweet Substitute*, Kent shifts his focus to sexual politics, and man, does he go for the jugular. This is a film about *desire*, baby. It’s about the tension between primal urges and societal expectations, and it does *not* hold back. The plot revolves around a love triangle, but the real star here is the undercurrent of frustration—sexual, emotional, existential.  

This is Kent at his jazziest. The film practically swings with a beatnik sensibility, and Vancouver’s shadowy streets become a playground for broken dreams. The characters feel trapped—by marriage, by suburbia, by their own choices. It’s sexy, sure, but there’s a sadness to it, too, like the hangover after the party ends. Kent’s unflinching look at infidelity and emotional manipulation feels way ahead of its time.  

And the jazz! Oh, the jazz. Kent uses music the way a good poet uses punctuation—sparingly, but with devastating effect. Every saxophone wail feels like a scream into the void.  

---

### **When Tomorrow Dies (1965): Love Is a Cage**  

The trilogy wraps up with *When Tomorrow Dies*, and by now, Kent is fully leaning into the cynicism. This one’s about relationships, too, but it’s less about lust and more about *control*. Love here isn’t liberating—it’s suffocating. The film tracks a woman torn between two men, but really it’s about the ways people use each other, intentionally or not.  

This is Kent at his bleakest. The Vancouver of *When Tomorrow Dies* feels like a prison, all narrow alleys and oppressive interiors. The characters are restless, but no one’s going anywhere. It’s claustrophobic, uncomfortable, and utterly magnetic. Kent’s use of stark black-and-white cinematography hits hardest here—it’s like he’s scraping the paint off the walls of Canadian politeness to reveal the rot underneath.  

---

### **The Beats, But Canadian**  

Larry Kent wasn’t Kerouac or Ginsberg, but he was definitely their cinematic cousin—the one who fled to Canada, got a little drunk, and made movies that tore strips off the maple-leaf facade. The *Vancouver Trilogy* isn’t just Beat-inspired; it’s Beat *adapted*. It swaps America’s wide-open highways for Vancouver’s damp streets and cramped apartments. It trades romantic wanderlust for a colder, more biting realism.  

What makes Kent stand out is his willingness to get ugly. The Beats were all about the beauty of the moment, but Kent sees through the veneer. His films show the messiness of living outside societal norms—the selfishness, the pain, the inevitable betrayals. And yet, there’s an undeniable poetry to his work, a rhythm that feels like a jazz solo spiraling out of control.  

---

### **Larry Kent: Canada’s Gonzo Filmmaker**  

So why isn’t Kent a bigger deal? Maybe because he didn’t play the game. His films were too raw, too gritty, too *real* for mainstream audiences. But the *Vancouver Trilogy* stands as a time capsule of a city and a generation on the brink. It’s a little messy, a little pretentious, but that’s the point.  

Kent’s work isn’t polite, and it sure as hell isn’t easy. But it’s alive in a way few films are. It’s the sound of Vancouver’s soul cracking open, spilling out jazz, sex, and disillusionment. So, roll a cigarette, pour yourself a stiff drink, and dive in. Larry Kent’s *Vancouver Trilogy* isn’t just a series of films—it’s a vibe. A beatnik howl in the cold Canadian rain.

Director Spotlight: Jeff Burr: The Unsung Poet of '90s Horror Schlock**

**
Let’s talk about Jeff Burr. No, he’s not a household name. He’s not one of those directors they build retrospectives around or name-drop in Criterion essays. But if you’ve ever wandered the VHS aisles in the ‘90s, your eyes magnetically drawn to covers with snarling demons, evil dads, or puppet armies, then you’ve met Jeff Burr. The man was a blue-collar auteur of late-night rentals, crafting horror movies that were somehow better than they had *any* right to be. Burr didn’t swing for arthouse fences—he aimed straight for the gut. And sometimes, that’s exactly what horror needs.

### **Puppet Master 4 & 5: Small Soldiers of Doom**

First off, let’s get something straight—*Puppet Master 4* and *5* are the *Citizen Kane* and *Godfather II* of killer puppet movies. Burr took the keys to Charles Band’s pint-sized terror franchise and said, “Let’s make these little freaks heroes.” That’s right—heroes! Blade, Pinhead, Tunneler, and the gang don’t just kill people this time; they fight for humanity against *even creepier puppets*. And don’t sleep on the villains here—those demon puppets from hell (literally, it’s hell) are some of the nastiest critters Band ever cranked out. The plots for both movies are ridiculous (a scientist discovers a magical formula that makes puppets fight demons, or something), but Burr keeps it fast, fun, and somehow… epic? You watch these back-to-back, and you’re in for a pulpy, gooey, mini-monster *duel of fates*. And yes, that’s Toad Boy from *Ghoulies* (Matthias Hues) in there. As if Burr knew we needed one more reason to love him.

### **Spoiler (1998): Kafka Meets Space Jail**

This is where Burr decides to get *weird*. *Spoiler* is one of those movies that has no business being as good as it is. On paper, it’s a low-budget sci-fi thriller about a guy stuck in a dystopian prison, bouncing between cryo-sleep and Kafka-esque bureaucratic torment. But Burr makes it look and feel *huge*. The production design is straight out of *Terry Gilliam’s Brazil*, full of pipes, grime, and existential despair. And hey, what’s that? Is that JEFF COMBS? Yes, it is! Anytime Combs shows up, your movie automatically gets an extra star. Burr leans into the paranoia and the grimy, claustrophobic aesthetic, and somehow, this movie feels like it escaped from a much bigger budget. Dumb title, amazing vibe.

### **Leatherface: The Texas Chainsaw Massacre III (1991): Chainsaw Ballet**

Here’s where Burr does something no one expected: he gives Leatherface his moment. Up until this movie, the *Texas Chainsaw* franchise had been more about the family circus of cannibals, with Leatherface as the grunting muscle in the background. But Burr said, “Nah, let’s put the big guy front and center.” *Leatherface: TCM III* is lean, mean, and unapologetically a *slasher movie*. Burr trades the grindhouse grime of the original for polished brutality. Leatherface gets a massive upgrade—new look, new chainsaw, and a vibe that screams “slasher icon.” It’s not perfect (thanks to studio meddling), but it’s the first film in the series to treat Leatherface like the Michael Myers of Texas. And that climax? Pure chainsaw poetry.

### **Stepfather 2: This Dad Means Business**

Sequels to cult classics almost always suck. Not this one. Burr took *Stepfather 2* and made it a worthy follow-up. Terry O’Quinn is back as the murderous suburban dad from hell, and Burr gives him room to shine. This isn’t just a retread of the first movie—it’s darker, angrier, and somehow even more unsettling. Burr leans into the psychological horror, making us feel the suffocating paranoia of Stepfather Jerry’s victims. It’s a rare sequel that understands its predecessor’s strengths and doubles down on them. Honestly? This might even be better than the original.

### **Pumpkinhead II: Blood Wings: The Pumpkin Strikes Back**

Look, I’ll die on this hill: *Pumpkinhead II* is better than the original. Sacrilege? Maybe. But Burr brought something the first movie didn’t have—unabashed fun. Sure, the original was a dark fairy tale with moody atmosphere, but Burr said, “Let’s turn this into a monster romp.” He gives us backwoods witchcraft, a bunch of dumb teens summoning Pumpkinhead by accident (classic move), and a creature that looks more pissed off than ever. It’s not subtle, but it’s got heart, gore, and that sweet ‘90s straight-to-video charm.

### **Night of the Scarecrow (1995): Cornfield Carnage**

Stephen Root is in this movie. Do I need to say more? Okay, fine. *Night of the Scarecrow* is a small-town revenge flick featuring a demonic scarecrow that picks people off one by one in increasingly gnarly ways. The setup is basic: cursed scarecrow rises to punish the descendants of the people who wronged him. But Burr directs the hell out of it. The deaths are creative, the atmosphere is thick with cornfield dread, and the scarecrow itself? Iconic. It’s a simple, effective, and surprisingly stylish little slasher. And Stephen Root! Did I mention Stephen Root?

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### **Jeff Burr: The Everyman Auteur**

Here’s the thing about Jeff Burr: he was a workhorse in an era when horror directors were expected to churn out content fast and cheap. But Burr never phoned it in. He had a knack for taking small budgets, insane scripts, and studio interference, and still delivering something that *worked*. He understood the assignment—give the people monsters, gore, and a good time. 

Burr’s movies aren’t high art, and they don’t pretend to be. They’re late-night pizza-fueled, beer-soaked, group-watch classics. And in an era where horror sometimes takes itself too seriously, we could all use a little more Jeff Burr in our lives.