Tuesday, March 7, 2017

Dark Dossier Magazine issue #15 coming April 2017

Dark Dossier Magazine is a print & digital magazine (ezine) that
is published bi-monthly (4 issues), with 80+ awesome pages devoted to fiction & nonfiction stories of Ghosts, Aliens, Monsters, & Killers.

Dark Dossier is a print and digital magazine. In Dark Dossier’s pages, you will find fiction and nonfiction, stories about Ghosts, Aliens, UFO’s, Monsters, & Killers.
Every issue Dark Dossier brings you 80+ pages of original and reprint stories from a variety of authors. From bestselling and award-winners to the newcomers you haven’t heard of yet. When you read Dark Dossier, we hope you enjoy the unique stories from these great writers.
Our current publication schedule is bimonthly (4-issues) but starting in 2018 it will be a monthly magazine. We publish ebook& print issues the first week of the month, which are available for sale in epub, mobi, & pdf format from many retailers. The print version is on Amazon.








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Tuesday, February 14, 2017

Throwback Thursday: Lifeforce (film) 1985

Ok this is a film I loved as a kid...I just ordered it today from Shout Factory and I hope it holds up well...
from wiki...

Lifeforce is a 1985 science fiction horror film directed by Tobe Hooper and written by Dan O'Bannon and Don Jakoby, based on Colin Wilson's 1976 novel, The Space Vampires. Featuring Steve Railsback, Peter Firth, Frank Finlay, Mathilda May, and Patrick Stewart, the film portrays the events that unfold "after a trio of humanoids in a state of suspended animation are brought to earth after being discovered in the hold of an abandoned European space shuttle."[2] The film received mixed to positive reviews, but was a box office bomb, failing to recoup its budget.


The screenplay was written by Dan O'Bannon and Don Jakoby. Tobe Hooper came up with the idea of using Halley's Comet in the screenplay, rather than the asteroid belt as originally used in the novel, as the comet was going to pass by Earth one year following the film's release. The time settings were also changed from the mid-21st century to the present day.[5]
Colin Wilson was unhappy with the way the film turned out. He wrote of it, "John Fowles had once told me that the film of The Magus was the worst movie ever made. After seeing Lifeforce I sent him a postcard telling him that I had gone one better."[9]

Special effects

The film marked the fourth project to feature special effects produced by Academy Award winner John Dykstra, who in 1986 was granted with the "Caixa Catalunya Award for Best Special Effects" in the Sitges Film Festival (located in Spain) for his special effects work in Lifeforce.[note 1] The umbrella-like alien spaceship was modelled after an artichoke, while the model London destroyed in the film was actually the remains of Tucktonia, a model village near Christchurch, United Kingdom, that had closed not long before the shooting of the film. It took a week to film the death scene of the pathologist played by Jerome Willis, and bodycasts of Frank Finlay, Patrick Stewart and Aubrey Morris were made by make-up effects supervisor Nick Maley for their death scenes.
One effect near the end of the film involving the column of energy rising from the female alien through the top of St. Paul's Cathedral to the spacecraft was engineered by art director Tony Reading. A column of 3-M material was placed against black velvet and a crew member blew cigar smoke into its bottom. This image was then front projected onto a translucent projection screen behind the actors to create the energy column.[10]


James Horner was first asked to write the film score before Henry Mancini was brought in and produced a score consisting of 90 minutes of an occasionally atonal and ambient music using the London Symphony Orchestra.[11] Mancini had agreed to do the film based on the original concept of a 15-minute essentially dialogue-free opening sequence involving the discovery and exploration of the alien spacecraft and the moving of the three aliens back to the Churchill, for which he composed a tonal "space ballet."[11] As discussed below, this opening section was largely cut from the film.
For the US domestic cut version, Michael Kamen was approved to write the occasional alternative music cues that were partially re-scored and placed in at the last minute for some of the US domestic prints of the film.

Wednesday, February 1, 2017

Throwback Thursday: Wolfen (film) 1981

Beautiful, scary, fun, and a great story...Love, Love this film! Cast includes Gregory Hines, Albert Finney, Edward James Olmos, Not really werewolves....but....well you gotta see it!
Behind the scenes: from wiki....

The film is known for its early use of an in-camera effect to portray the subjective point of view of a wolf. Similar to thermography, the technique was later adopted by other horror films such as the Predator film series.
The setting for the transient home of the wolves was shot in the South Bronx (intersection of Louis Nine Boulevard & Boston Road). The church seen in the opening panorama shot was located at the intersection of E 172nd Street & Seabury Place. The shot of this neighborhood is from the north looking roughly south-southeast. The decrepit site of ruined buildings was no special effect. The church was built and burned exclusively for the film.[4] Urban decay in the Bronx in the early 1980s was so widespread that it was the ideal production setting. Today, this community contains mostly suburban-style privately owned houses.
Dustin Hoffman was interested in portraying the role of Dewey Wilson, however director Wadleigh insisted on Albert Finney.

Wednesday, January 25, 2017

Throwback Thursday: Silver Bullet (film) 1985

 A favorite of mine when I was young. I first saw it on cable in 1987 and it was scary! I watched again recently and found it to still be a good film. I think I might add this to my watch every year at Halloween list.
There is some info below about the production....Did you know Don "The Beastmaster" Coscarelli was the original director and filmed a lot of the film!

Filming began in October, 1984 and took about two-and-a-half months to complete, finishing shortly before Christmas. In the novella the werewolf was said to snarl in nearly human words and the werewolf was supposed to speak in the original screenplay, although this was eliminated after a rewrite. Gary Busey felt a certain kinship with the Uncle Red character and was allowed to ad lib all of his lines in certain takes of each scene in which he appeared. Although he read the lines as scripted in most of the takes, Stephen King and Daniel Attias liked the ad lib scenes better and decided to include most of Busey's ad lib scenes in the final cut of the film.
King asked that the werewolf be ambiguous, plain, and hard to see, in contrast to the hulking monsters seen in other werewolf films and books in the early-to-mid-1980s, with the end result being a creature which looked more like a black bear than anything else and did not really have any identifying characteristics. After seeing Carlo Rambaldi's design, per King's request, producer Dino de Laurentiis was very unhappy and demanded a change, which both King and Rambaldi refused. Eventually pre-production fell behind schedule and director Don Coscarelli opted to start filming the non-werewolf scenes without knowing what would happen with the werewolf suit. After completing the non-werewolf scenes and not having any clear picture about what would happen with the film Coscarelli resigned as director and was replaced with Attias. When pressured to either cancel the film or accept the design de Laurentiis relented and allowed filming to continue with Rambaldi's werewolf suit. A modern dance actor was hired to perform the stunts inside the suit but de Laurentiis was also unhappy with his performance and demanded a change. As a result, Everett McGill, who played Revered Lester Lowe in human form, wound up acting out most of the scenes in the werewolf suit and was credited with a dual role.

  1. References

  2. "Silver Bullet". Box Office Mojo. Retrieved April 13, 2011.

  3. "Silver Bullet (DVD)". DVDEmpire.com. Retrieved April 13, 2011.

  4. Ebert, Roger (October 15, 1985). ""Silver Bullet" Movie Review & Film Summary (1985)". RogerEbert.com. Retrieved August 16, 2013.

  5. Vasquez Jr., Felix. "Silver Bullet – Rotten Tomatoes". Rotten Tomatoes. Retrieved August 16, 2013.

  6. Kendrick, James. "Silver Bullet Review". QNetwork. Retrieved August 16, 2013.

  7. Weinberg, Scott (October 5, 2006). "The Stephen King Collection : DVD Talk Review of the DVD Video". DVD Talk. Retrieved August 16, 201

Friday, January 13, 2017

Throwback Thursday: Night Moves 1975 Gene Hackman

Night Moves (1975 film)

 with Gene Hackman (with a kick-ass mustache!) and Directed by the great Arthur Penn!

This is a special gem of a movie I never saw until recently. I am a huge fan of 70's Private Detective movies. (I love them so much that I am starting a new book series about Occult Detective in the 70's.)
If you're a Hammett, Chandler and all things detective fan this movie is for you. Here is a short synopsis...

Night Moves is a 1975 American mystery/thriller film directed by Arthur Penn. It stars Gene Hackman, Jennifer Warren, Susan Clark, and features early career appearances by Melanie Griffith and James Woods.
Hackman was nominated for the BAFTA Award for his portrayal of Harry Moseby, a private investigator. The film has been called "a seminal modern noir work from the 1970s",[2] which refers to its relationship with the film noir tradition of detective films.
Although Night Moves was not considered particularly successful at the time of its release, it has attracted viewers and significant critical attention following its videotape and DVD releases.[3] In 2010, Manohla Dargis described it as "the great, despairing Night Moves (1975), with Gene Hackman as a private detective who ends up circling the abyss, a no-exit comment on the post-1968, post-Watergate times."