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The Exorcist – The Version You Have Never Read!

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It’s hard to believe that it’s been forty years since author William Peter Blatty wrote one of the single most terrifying novels the world has ever seen in The Exorcist, but alas, time flies! To celebrate this auspicious anniversary, Blatty has retooled his book a bit, thus creating The Exorcist: 40th Anniversary Edition.

From the Press Release
Forty years ago William Peter Blatty published a novel that changed the literary and cinematic landscape. A masterful and often shocking blend of horror, mystery, and religion, THE EXORCIST spent fifty-seven weeks on the New York Times bestseller list, including seventeen consecutively at number one, and was turned into an iconic film that received ten Academy Award nominations, with Blatty winning the Oscar for best screenplay. The novel and film spawned countless imitations, but Blatty’s unabashedly profane, terrifying, yet faith-centered original remains the sine qua non of the genre.

For the special 40th Anniversary Edition of THE EXORCIST (Harper; October 4, 2011; $25.99), William Peter Blatty has returned to the manuscript, reworking portions of the book that never satisfied him. Due to financial constraints and a pressing workload at the time, he was forced to forego a desired revision. “For most of these past forty years I have rued not having done a thorough second draft and careful polish of the dialogue and prose,” Blatty says. “But now, like an answer to a prayer, this fortieth anniversary edition has given me not only the opportunity to do that second draft, but to do it at a time in my life—I am 83—when it might not be totally unreasonable to hope that my abilities, such as they are, have at least somewhat improved, and for all of this I say, Deo gratias!” Among the changes, Blatty has added a chilling scene introducing the unsettling minor character of a Jesuit psychiatrist.

Or is he?

THE EXORCIST begins in northern Iraq, where an archeological dig led by Jesuit priest Father Lankester Merrin yields a demonic artifact, a harbinger of things to come. In Washington, D.C., young Regan MacNeil—daughter of famed film actress Chris MacNeil—begins exhibiting disturbing behaviors. Odd, haunting occurrences also begin to take place in the MacNeil’s rented Georgetown townhouse. Chris seeks medical and psychiatric help for her daughter, but Regan continues to descend into a state of apparent demonic possession. Desperate, Chris turns to a local priest, Father Damien Karras, who at the last decides that the life of the girl can only be saved by an exorcism. Because Karras is undergoing a crisis of faith, the higher powers of the Church turn to an experienced exorcist, with Karras to assist, and the priests are tested both spiritually and physically by the grueling sacred rite of exorcism. Facing their fears through the power of faith, they pay the ultimate price for saving the life of young Regan MacNeil.

With the storytelling gifts of a true master, Blatty crafts a riveting narrative that still retains the power to both terrify and edify its readers, including those who have come of age since its monumental debut.

A Note From the Author
In January 1968, I rented a cabin in Lake Tahoe to start writing a novel about demonic possession that I’d been thinking about for many years. I‘d been driven to it, actually: I was a writer of comic novels and farcical screenplays such as A Shot in the Dark with almost all of my income derived from films; but because the season for “funny” had abruptly turned dry and no studio would hire me for anything non-comedic, I had reached James Thurber’s stage of desperation when, as he wrote in a “Preface to His Life,” comedy writers sometimes take to “calling their home from their office, or their office from their home, asking for themselves, and then hanging up in hard-breathing relief upon being told they “weren’t in.’” My breaking point came, I suppose, when at the Van Nuys, California, unemployment office I spotted my movie agent in a line three down from mine. And so the cabin in Tahoe where I was destined to become the caretaker in Stephen King’s terrifying The Shining, typing my version of “All work and no play makes Jack a dull boy” hour after hour, day after day, for over six weeks as I kept changing the date in my opening paragraph from “April 1” to April something else, because each time I would read the page aloud, the rhythm of the lines seemed to change, a maddening cycle of emptiness and insecurity –- magnified, I suppose, by the fact that I had no clear plot for the novel in mind — that continued until I at last gave up the cabin and hoped for better luck back “home,” a clapboard raccoon-surrounded guest house in the hills of Encino owned by a former Hungarian opera star who had purchased the property from the luminous film actress, Angela Lansbury, and where I finally overcame the block by realizing that I was starting the novel in the wrong place, namely the Georgetown section of Washington, D.C., as opposed to northern Iraq. Almost a year later I completed a first draft of the novel. At the request of my editors at Harper and Row, I did make two quick changes: cleaning up Chris MacNeil’s potty mouth, and making the ending “less obvious.” But because of a dire financial circumstance, I had not another day to devote to the manuscript, so that when I received a life-saving offer to adapt Calder Willingham’s novel Providence Island for the screen for Paul Newman’s film company, I instantly accepted and left my novel to find its fate. For most of these past forty years I have rued not having done a thorough second draft and careful polish of the dialogue and prose. But now, like an answer to a prayer, this fortieth anniversary of the novel has given me not only the opportunity to do another draft, but to do it at a time in my life—I will be 84 this coming January—when it might not be totally unreasonable to hope that my abilities, such as they are, have at least somewhat improved, and for all of this I say, Deo gratias!

— William Peter Blatty

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Night of the Living Dead 4k and The Silence of the Lambs Come to the Criterion Collection

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It’s been a long time coming for these two classics. Especially Night of the Living Dead, after the ridiculously bad transfer put out by Mill Creek Entertainment whose transfer was supposedly remastered from a new 2K scan. I swear I thought it was some kind of a joke when I first put it on to watch. In any event…

IndieWire is reporting that horror classics Night of the Living Dead and The Silence of the Lambs will be added to the 2018 Criterion Collection, a hallmark label for home video cinephiles.

According to the site Criterion will release a new 4K digital restoration of The Silence of the Lambs, which has been approved by the movie’s cinematographer Tak Fujimoto. Included on the DVD and Blu-ray sets are 35 minutes of deleted scenes and audio commentary from 1994 featuring Demme, Jodie Foster, Anthony Hopkins, screenwriter Ted Tally, and former FBI agent John Douglas. Night of the Living Dead will also be released in 4K, with never-before-seen 16mm dailies included as a bonus feature(!).

These will be added February of 2018.

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DIS Review – Not for the Faint of Heart!

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Starring Bill Oberst, Jr., Lori Jo Hendrix, Peter Gonzales Falcon

Directed by Adrian Corona


I’ve made this claim many a time on this website before, and in the company of film friends as well: Bill Oberst Jr. is one of those actors that can literally be thrust into ANY role, and deliver a performance with so much harnessed electricity that you couldn’t believe that it was possible. I was the lucky recipient chosen to get a look at his latest project, titled DIS, and I think that I can honestly say – this is the stuff that nightmares are constructed of.

Directed by Adrian Corona, this 60-minute dive into the black depths of hell, and in actuality DIS is located between circles # 6 and 9 in Dante’s Divine Comedy, and trust me when I tell you – there’s not a shred of comedic relief in this demented presentation. Oberst Jr plays an ex-soldier named Ariel, and his seemingly harmless jaunt through the woods will become anything but that, and judging from the film’s opening scenes, you are meant to feel as uncomfortable about this watch as any you might have checked out in recent memory.

Perversion is the norm here, and lord help you if you’re caught where you shouldn’t be…my skin’s crawling just thinking about what I saw. Ariel’s travels are basically dialogue-free, but it only adds to the infinite levels of creepiness – you can tell he’s being stalked, and the distance between he and the horrors that await are closing in rather quickly.

Visually by itself, this hour-long chiller can sell tickets without any assistance – hollowed-out buildings and long sweeping shots of a silent forest give the movie that look of complete desolation. Sliced up into three acts, the film wastes no time in setting up the story of a killer needing fresh blood to appease his Mandrake garden – seriously guys, I can’t type as much flashy stuff as there needs to be in order to describe this innately disturbing production.

If you’re one of those types who tends to shy away from the graphic side of things, then I’d HIGHLY advise you to keep your TV tuned to the Hallmark Channel for some holiday entertainment, because this one registers high on the “I can’t believe someone thought of this” meter. So the quick recap is this: Oberst Jr in a standout performance, visual excellence, and an unshakable sense of debasement on a cellular level – keep the kiddies out of the living room with this one. Corona should be lauded (or locked up – just kidding) for his work on this one – HIGHLY recommended, and one that I’ll throw down as a top 5 for me in 2017.

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Todd And The Book Of Pure Evil: The End Of The End Review: A Heavy Metal Massacre In Cartoon Form

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Starring Alex House, Bill Turnbull, Maggie Castle, Melanie Leishman, Chris Leavins, Jason Mewes

Directed by Richard Duhaney and Craig David Wallace


“Todd And The Book Of Pure Evil” – Canadian television’s greatest blend of Evil Dead, Superbad and Deathgasm? Yes. That answer is yes. For two face-melting seasons, Todd “protected” Crowley High from episodic villains who were bested by metal riffs, stoner logic and hormonal companionship. Musical interruptions showcased stage theatrics like Sondheim meets pubescent Steel Panther and high school tropes manifested into vile, teen-hungry beasts. It was like a coming-of-age story got stuck between Fangoria pages – all the awkwardness with 100x more guts.

That – for worse – was until Todd fell to a premature cancellation after Season 2’s clone-club cliffhanger. Indiegogo became the show’s only way to deliver a feature-length finale, except to reduce costs and ensure completion, the project would have to be in cartoon form. Todd And The Book Of Pure Evil: The End Of The End suggests an animated curtain call for this otherwise live-action production, and from a fan’s perspective, familiar maturation follies befall our favorite bloodsoaked friend group. But for new viewers? Start with the far-superior original show – you’ll be lost, underwhelmed and baffled otherwise.

Alex House retains his characterization of Todd Smith (in voice only). At this point, Todd has thwarted the book’s apocalyptic plan, Hannah (Melanie Leishman) has died, longtime crush Jenny (Maggie Castle) isn’t as horny for Todd anymore, and best friend Curtis (Bill Turnbull) has sworn Todd’s name to Hell (since Hannah was his girlfriend). Guidance Counselor Atticus Murphy Jr. (Chris Leavins) is now Janitor Atticus Murphy Jr. because Janitor Jimmy (Jason Mewes) is now Counselor Jimmy, yet Crowley High finds itself plagued by the same satanic uprisings despite these new changes. Why is evil still thriving! How is Hannah back in class! Who is the new “Pure Evil One” now that Todd has denied the book! Welcome to the end, friends – or is it a new beginning?

At just north of 80 minutes, structure runs a bit jagged. We’re used to Todd battling one baddie over a half-hour block – backstory given time to breathe – but in The End Of The End, two mini-boss cretins play second fifth-fiddle to the film’s big-bad monster (well, monsters – but you’ll see). A double-dose of high school killers followed by a larger, more important battle with the gang’s fate hanging in the balance. Not a problem, it’s just that more length is spent singing songs about Todd’s non-functioning schlong and salvaging relationships from the S2 finale. Exposition (what little there is) chews into necessary aggression time – fans left ravenous for more versatile carnage, underwhelmed by the umpteenth cartoon erection gag. Did I mention there’s a lot of boner material, yet?

These two mini “chapters” – “No Vest For The Wicked” (yarn demon)/”Zits Alors” (acid acne) – never come close to rivaling Hannah Williams’ doppelganger bombshell (“Songs About Boners”/”This Is The End Of The End Of the End”). Hannah [X]. Williams waking up in a room full of other Hannahs, emerging from some sleep-pod chamber; Todd’s gang facing off against this new “chosen one” in a way that erases “Sack Boy” and “Pizza Face” from memory. The End Of The End dashes dildoes-swinging into the show’s biggest mystery while dropping call-backs and bodies with equal speed – maybe too hastily for some.

Now, about the whole pivot to animation – a smooth rendering of Crowley High and all its mayhem, but never representative of Todd And The Book Of Pure Evil‘s very Ash Vs. Evil Dead vibe. All the practical death effects (gigantic man-eating cakes, zombie rockstars) are lost to one-dimensional drawings, notable chemistry between cast members replaced by edited recordings lacking signature wits. This isn’t Metalocalypse, where dismemberment and bloodshed are gruesome on levels that outshine even live-action horror flicks. There’s no denying some of the magic is missing without Chris Leavins’ “creepy uncle” overacting (a Will Forte breed) or the book’s living incarnations of evil. Todd And The Book Of Pure Evil: The End Of The End plays hooded minion to Todd And The Book Of Pure Evil’s dark ruler – less powerful, a bit duncier, but still part of the coolest cult around. Just try not to think about how much radness is missing inside hand-traced Crowley High?

It’s hard not to strike comparisons between “reality” and ‘toon, because as noted above, live actors are sorely missed in a plethora of situations. Be they musical numbers, heretic slayings, Todd and Curtis’ constant references to wanking, wangs or other pelvic nods (no, for real, like every other sentence) – human reactions no longer temper such aggressive, self-gratifying cocksmanship. It doesn’t help that songs never reach the memorable level of “Horny Like The Devil,” but the likes of House, Leishman, Turnbull and Castle were masters of selling schlock, shock and Satan’s asshole of situations. Instead, lines now land flat like – for example – Leavins’ lessened ability to turn pervy, stalkerish quips into hilarious underage stranger-dangers. Again, it’s not Metalocalypse – and without that kind of designer depth, a wall prevents inter-dimensional immersion into Todd’s extracurricular madness.

If this review sounds over-negative, fret not – it’s merely wishes of what could have been. None of this is to say Todd And The Book Of Pure Evil: The End Of The End should be skipped. When you’re already known for masterstrokes of ballbusting immaturity, metal-horned malevolence and vicious teen-angst creature vanquishing, expectations are going to be sky high. Directors Richard Duhaney and Craig David Wallace successfully service fans with a smile, ensuring that rivers of red scribbled blood spurt from decapitated school children just like we’re used to. It’s just, I mean – ugh, sorry, I just have to say it one more time. BY DIMEBAG’S BEARD, this would have been an epic live-action flick. As is? Still one fine-with-a-capital-F-YEAH return to Crowley High for the faithful who’ve been waiting some 5-or-so years in a Todd-less purgatory.

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