PEEVED... at all sorts of things.
by Bruce Blain
Join Bruce Blain, known to fans as The Homeless Guy in the Rampage series, as well as various roles across film and television such as Leprechaun Origins and Supernatural (TV), as he shares with you his views on things that piss him off, in the intriguing & insightful column, PEEVED... by all sorts of things: an Uwe Boll: RAW exclusive.
"NOT ALL _______ ARE BAD!”
I've been hearing a variation of this a lot lately. Not all Muslims are bad. Not all cops are bad. Pretty much; not all 'insert group generalization here' are bad. And I hear it, or read it, every day now. But what does it mean? What purpose does it serve? And, more importantly, what is the point is being made?
Because when someone comes right out and says something like “No Muslims should be allowed into the country”, it's pretty damn clear what they're really telling you – they think that avoiding any and all contact with Muslims will somehow keep them safe from the terrible terrorists. That by banning all Muslims and saying, "to hell with common decency," we will somehow be 'saved'. How fucked up is that? There are 1.6 billion Muslims on the planet, if they are ALL worthy of being banned, that would mean that every last one of them, man, woman, and child, could potentially sneak into your room at late at night and slit your throat. Right? So, do you really think that banning them from ONE particular country is really going to keep you safe? Sorry Trump, if there are 1.6 Billion terrorists out there, you're probably the first on their list. And when they come for you, even a half dozen body guards won't keep you safe. “But if we ban them, they won't be able to get into the country.” Trump would likely reply. Oh really? Tell that to the 11 million illegal aliens that you claim to want deported. They're not supposed to be here either, are they?
So, what happens when dumb-dumbs like Trump talk in sweeping generalizations about banning all Muslims? Someone speaks out and says “Not all Muslims are bad”. And I get it. People don't want to be accused of being racially or culturally intolerant. They want to appear better than, more sophisticated or open-minded; on the side of what is good and what is right. But how does this very politically correct attitude about Islam really further the discussion? Does taking the position that not all Muslims are bad really solve the problem with Islamic Terrorism? Nope. What it attempts to do, is separate the “bad ones” from the “good ones”, which is all well and fine when you're sorting apples, but not so effective when sorting flesh-and-blood people belonging to the same ideology. By the very definition, people belonging to the same ideology are supposed to think alike, act alike. So it's really not a very effective tactic, especially when you're seeking a way to motivate the bad apples away from continuing their unjust and horrible practices. Taking in 600,000 refugees doesn't solve this problem either. Sure, it makes you look good in front of your peers. It might even solve your shrinking population problem. But the ideology is still there.
Think of it this way: Terrorists blow something up. Non-Muslims and some Muslims (not the ones blowing shit up) say “not all Muslims are bad”. Everybody goes, “um, okay”, and then the terrorists blow something else up...and again, everyone blames the bad apples. Does this cycle sound familiar? Does any one single person who is capable of reading this ever remember a time in our history when “terrorists” haven't blown something up in the name of Islam in spite of the fact that “not all Muslims are bad”?
Oddly enough, you're not wrong when you say "not all Muslims are bad." But someone has to be accountable, right? Pointing out who isn't accountable, leaves no-one accountable. Someone needs to be accountable for the betterment of the majority of people – Muslim and non-Muslim alike. I mean, seriously, how much more of this shit can we take?
We are so afraid of offending others ideologies, of political incorrectness, that no one, not even the 'good apples' dare point a finger where it really NEEDS to be pointed. We blame the economy, the United States' foreign policies, Western interference in the Middle East – all good things to point a finger at – but still, even after decades of this continuing debate, nothing actually gets done. Terrorists carry on, still blowing shit up in the name of Islam, and more and more people want to paint all Muslims with same brush for the actions of a few bad apples. Well here's a tip: if you don't want to be painted, or paint, with the same brush, get a new brush. (think about that, it's really quite clever.)
Muslims need to truly redefine what “in the name of Islam” really means. The 'religion of peace' needs to live up to its namesake, and by that I mean “peace for all” not just “peace once the world converts to Islam.” We, non-Muslims need to embrace our fellow human beings and show them we can indeed live together and still have different ideologies. But we should also be capable of reserving a certain amount of expectation for quiet enjoyment – you know - just like you do when you sign your rental lease agreement. You don't have to be an expert on the Qur'an to talk about the shit you don't like in Islam. And you shouldn't have to be called racist because you speak your thoughts, thinking terrorism is bad. We all need to get off our collective high horses and actually start working towards a unified solution. Our politicians won't do it. Our Corporate Overlords certainly won't do it – they depend on this continued conflict to maintain their own various agendas. The terrorists themselves sure as hell won't do it – that would just be silly. So in the end we should hold Muslims accountable, but do it like you would for your alcoholic uncle who just needs to be shown there's a different way. There are millions of Muslims that interpret their religion in a violent and hateful way. We are left with two choices: piss them off and create even more terrorists, or encourage the rest of the Muslim populace to live in peace. If we do that, hopefully the existing terrorists will slowly start disappear. You know, because they'll all eventually blow themselves up.
“will you survive the zombie apocalypse?”
If one is to believe Hollywood, the Zombie Apocalypse must surely be only a matter of time. The Walking Dead, Fear The Walking Dead (which I was in ever so briefly), iZombie, Z-Nation, and an exhaustively long list of movie titles, have presented countless scenarios of the living dead, coming back to life, chewing on brains, and wreaking all kinds of havoc. So the question is not “if?” but “when?” And more importantly, will you survive? Some will, most won't. Because, logically, for it to be considered an “apocalypse”, “most” will have to die. (Otherwise, it's not an apocalypse, is it?) If you would like to better your chances of survival, there are steps you can take; 1. Don't be douche bag. 2. If you don't know who the douche bag in your group is, and there is always one, then you are probably the douche bag – change your ways! And 3. Drink plenty of fluids. I don't know why I say that, I only know that's what doctors always tell you to do, so it has to count for something.
Unfortunately, if you are one of the following, there really is no hope for you. You are Zombie-meat. You will be the first to go, the guy caught on the wrong side of a closing door, the one left behind as a distraction, the one people say to the rest of the group “he didn't make it” - even though you know damn well he's still out there. So, without further adieu, here is my list of the top 5 people who will NOT survive the Zombie Apocalypse.
#5. Guys with Top Knots. Unless you are a sumo wrestler, or an actual bad-ass like MMA fighter Connor McGregor, you should not wear a top knot. You look ridiculous. You are sporting the modern day mullet. And before you go on about Eugene Porter (The Walking Dead), remember this, Eugene is almost always next. While he has indeed somehow managed to survive this long, you have to know the minute public opinion changes, he will be Zombie-meat. So, if you wear a top knot, you will not survive the Zombie Apocalypse. (And you're a douche bag. See note #1 above)
#4. People who say “guns don't kill people, people kill people”. If you've been spouting this archaic, juvenile, justification for decades, you're a goner. You think only “people kill people”... and because zombies aren't people, you won't recognize the threat. Likewise, if you think only mentally unstable people with guns kill people, you're extra dead. Because in the Zombie Apocalypse, all your perfectly sane brother and sister NRA members will be out for themselves, AND they're armed. They're taking you out first. Pretty much, none of you will survive the Zombie Apocalypse, cause chances are you'll take each other out on the first day.
#3. Sovereign Citizens and Cop Blockers. These two are grouped together because inevitably these assholes film themselves getting arrested for truly stupid reasons, shouting “I do not comply! I do not comply!” As if those 4 words are somehow mystical and supersede all letter of law. But, it's not “because” they are Sovereign Citizens and Cop Blockers per se that get them on this list, as if when the shit hits the fan the cops won't have anything to do with them in spite of their pleas for help, it's because they post these videos on-line and don't have the sense god gave to a turnip to recognize just how truly moronic they appear to the rest of the world. So, because they are morons, the will not survive the Zombie Apocalypse.
#2. Islamophobe-ophobes. Quite literally, these are people who are afraid of people who are afraid of Islam. Islamophobe-ophobes deny all negative possibility of Islam in spite of all the horrible shit going on in places like Saudi Arabia where women are beheaded on the street for audibly farting. No, they defer back to the fact the West started/propagated/funded/trained, etc etc ad nauseam all this and accuse Islamophobes of being racist, when in fact, they're just being afraid, and arguably, with good reason. They welcome all into their countries, cities, communities, and homes, in spite of it all. Islamophobe-ophobes, will not survive the Zombie Apocalypse. Because to deny a Zombie access to your community, would be racist, right?
#1. You. Yes, you. Reading this right now. Are you taking your time, or are you rushing through to the end while concurrently composing a scathing email calling me all sorts of names for my horribly “male” attitude, or hate-speak towards Muslims? Maybe you're one of those Top knot douche bags, or you were once harshly spoken to by a police man and your circumstances were special and I know nothing about you and I belong to the wrong political party and God is on your side, and blah blah blah. If you don't like the list I have compiled, and you think me only a complete asshole for doing so, you most certainly will NOT survive the Zombie apocalypse. Why? Because this is a satirical article about the ZOMBIE APOCALYPSE you overly sensitive entitled fucktard.
Enjoy the apocalypse. There will be only one.
“Careful what you wish for.”
“Careful what you wish for.” My mom used to say that. Another classic was “It's all fun and games until someone loses an eye!” I could go on and on, quoting these pearls of wisdom “til the cows come home”, but I fear the average reader would lose interest very quickly. Why? Well, aside from the fact that the modern attention span has been reduced to about 140 characters, what these things mean to me, likely mean something very different today – or at least they should.
When I was a kid, in the 70's and 80's, “careful what you wish for” was reserved as response to such things as “I hate you, I wish you were dead” or “I wish I was never born”. You know, stupid shit like that. Occasionally, it had a slightly more profound application, like; “I wish we could all just get along” which is all fine and dandy until your neighbor buys one of them yappy little dogs that barks day and night every time the wind blows and all you want to do is kick in his fucking door and stick a shot gun in Fido's mouth. But that was then, this is now: PETA would not be impressed.
“It's all fun and games til someone loses an eye” never really made that much sense to me. I mean, yeah sure, we played with sticks, threw shit at each other (like snowballs with little rocks in 'em), but nobody ever lost an eye – that is, of course, until I saw “Christmas Story (1983)” and someone DID lose an eye.
My point is, these sayings have little meaning today. “Careful what you wish for?” Pffft. Kids today are encouraged to believe that if they “wish” hard enough for something, it will magically happen. Everyone gets a participation medal, everyone gets a lead role in the school play, and God forbid they keep score in a soccer game. I suspect Hell would freeze over if anyone heard me say “careful what you wish for” today...how dare I squash your little child's dreams, eh?! As for losing an eye as a result of fun and games? How passe. Kids playing unattended, untethered to Mommy, running free is definitely a thing of the past and grounds for Social Services to step in.
So what now? Life without consequence, without limitation, without learning from experience, without being required to express yourself in more than 140 characters has bread an entire generation of knee-jerk reacting, I am always right, assholes. Never giving an inch or bothering to check facts or considering compromise. But what if we updated those old sayings? Made them real, pertinent, infused with real live consequence. I bet the world would be a better place if Moms starting saying, “careful what you tweet for” or even better “it's all fun and games till someone figures out where you live”. What if, the next time someone wrote “guns don't kill people, people kill people” a real live person might actually show up at your door and slap you in face for being an asshole?
These days, any asshole with access to the internet, thinks they're a fucking expert on everything. They can't string together more than 140 characters even remotely resembling a logical thought, but they wake up everyday, turn on their WiFi, and let have it. All in pursuit of that elusive “like” or “re-tweet” in some pathetic need to feel “better than” - like crabs in a bucket. Keyboard revolutionaries. Clamoring for their 15 seconds of fame. “Careful what you wish for, someone may actually ask you to back up your bullshit and write a 623 word article” ...and then what are you gonna do?
with Ben Woodiwiss
Join Ben Woodiwiss, Co-writer of the upcoming Uwe Boll film 12 Hours, Associate Producer of In the Name of the King 3: The Last Mission & Director of Benny Loves Killing, as he shares his views on film in the intriguing & insightful column, Cinematic Perspective: an Uwe Boll: RAW exclusive.
Film, relationships and a soul. More than just product, it is a piece of somebody's life.
You can go anywhere to read anything about how to make films these days. They’re all gorgeous and useful pieces to examine perceptions and opinions, but there’s a powerful leaning towards technical matters. And that’s great… kind of. You can find out how to set your ISO, shutter speed, aperture, how to grade, how to edit, how to light, how to export, how to record sound, clean sound, manipulate sound. Everything. It’s a brave new world. But something gets missed out in all this, and it’s about getting at the soul of the film. So I’m going to talk a little about the soul of a film. You want aperture stuff? You know where to go.
It’s 1929 and G.W.Pabst is pointing his camera at an American actress in a killer bob. It’s 1962 and Jean-Luc Godard is making his fourth film and is filming the back of his wife’s head. It’s 1963 and Shohei Imamura is filming Sachiko Hidari trying to get to the top of a hill. It’s 1970 and Michelangelo Antonioni is filming a woman who has never been in a film before, and she’s watching a house explode.
None of these guys had access to any of the information that is going around now, but they all understood something important: the key to many films is about the relationship between the actor and the camera. They are orbiting each other, and neither is more important, they are the same. What all the above films have in common is this umbilical relationship between the central figure and the camera that silently observes them. You’re not going to read about this in books or online, because there are no rules to it. You don’t storyboard it. You don’t write it into a call sheet. You can’t put it on a mood board.
Now you might be thinking ‘to hell with these old men, I know my technical stuff better than anyone, and I’ve watched every film ever made’, and if you are then I’d urge you to remember that after over 1,000 years of people painting one Belgian guy realized that mixing his pigments with oils worked a lot better than egg. Always remember that. It took painting more than 1,000 years to become oil painting. If you think that cinema has reached its apex after 120 years of existing… well… you know where I’m going with this.
Cinema is a long conversation, and when you step up to make your film you’re taking part in that long conversation, so it’s important to know what people were talking about earlier, as that’s what allows you to make better sense of where you are. And it’s important not to think you’re at the zenith, and things are never going to improve. But at the same time, do this: get a feel for the room.
What do I mean by that? Simple. Don’t hide yourself away behind technology, and behind the questions of how to do something technically. Get yourself wrapped up in the people around you. Make your lead actor and director of photography your best friends. Get them to trust you. If you want your lead to walk barefoot in the snow, then walk barefoot in the snow with them. If you want your DP (Director of Photography) to listen to you, then listen to them first. Then get them together. Because they both trust you they’ll trust each other. And if a technical issue comes up let your AD (Assistant Director) or Producer deal with this, that’s what they’re there for. Keep your mind on the people in the room, and how that room feels. You bury your head in equipment and you’ll lose people.
What happens next is that you all begin to build that connection between the actor and the camera. You stop thinking about your film as a purely 2D exercise in composition, and get into the three-dimensional space that all of you people are sharing. You’re not creating photographs, you’re creating a ballet between the camera and the lead. You’re creating an atmosphere in that very room that you’re filming in. This will then bleed into the film that you’re making and THAT is how you stand out from the crowd, in this age of everyone having all the answers before they’ve even begun.
Films don’t have teeth anymore. There was a time when films could talk about issues that were difficult to discuss in a crowded room. A time when films dared to tell you the truth about Governments, about politics, about the lies we’re told every day. You might go straight to the 70's when I say this, but films have been doing this since the dawn of cinema. However, as funding has become more and more the domain of corporations and commercial sponsors over the last few decades, we’re seeing fewer and fewer films dare to bite the hand that feeds them. Product placement might be a big part of this: companies don’t want to be featured in a film which is upsetting people, rattling cages, and so the product ends up being shaped by the money behind it. Sure, we get a lot of fun out of this deal, but what we get is comfortable stuff, it doesn’t really get anyone thinking about the structure of the place where we live, or asking questions of those in power. Instead, these colorful, fun films are more likely to work to make the gilded cage that we all live in just a bit more inviting.
And it’s precisely this situation that makes Postal (Uwe Boll, 2007) so fascinating. Satire only works if you go the whole hog. In the same way that Team America: World Police (Trey Parker, 2004) works so well because there are no sacred cows (the right is just as bad as the left, liberalism is as damaging as fascism) no one is safe in Postal. True satire is shot not with the pinpoint accuracy of a sniper rifle, but with a shotgun: everyone in the room is getting taken down together. The world of Postal is one where all the global insanity from 9/11 onwards comes together and makes sense. And there’s genuinely something consoling about this. Something akin to the idea that a conspiracy theory exists as an attempt to make sense of the crazy world we live in, Postal allows us to tie all the insanity together, to make sense of and understand stuff which is insane, and to laugh at it all.
You might see the idea of making light of tragedy as disrespectful, or in poor taste, and maybe you’re right, but satire is important because it allows us to both poke fun at and also to make sense of tragedy. Postal’s post-9/11 landscape becomes a lattice of perverse, nightmarish interconnectivity: George Bush and Osama Bin Laden are friends; the Apocalypse is shared by religious zealots, terrorists, and politicians; collectible items are valuable to both capital and terror; Governments lie to their populations to gain support for wars against foreign nations. Does all this sound familiar? It should, because it genuinely is the world that we live in, presented as a chaotic action film where literally anything can happen. And let’s be honest, as news story after news story presents an increasingly disturbing, sometimes sickening series of revelations about the world around us, the notion that anything can happen is something that we’re all going to have to get used to. Buildings and the thousands of people who are inside them can be wiped from the face of the earth, people can enter offices and gun down everyone inside. Hell, we’ve even come up with the word ‘postal’ to describe a worker who snaps and kills all their colleagues. We have a word for this now? Do you know how common something has to become before a word is created? The real question is not why is Postal so offensive, but why is it offensive to talk about what’s happening around us?
In a post-Charlie Hebdo world there’s an increasing amount of focus on protecting the rights of critics of big business, politics, and war. And Postal is doing all of those things, don’t let the Roger Corman/Troma filmmaking aesthetic fool you into thinking that this is something juvenile. Films such as Postal get labelled as ‘exploitation’ cinema because of their content. But let’s be honest, it pales into insignificance next to the exploitation of all of us at the hands of those in control. If you lament the passing of a time when films had teeth and took no prisoners, then exploitation cinema and the world of Postal is probably where you need to be looking.
with Gary Otto
Notes and candid thoughts from the Producer of the Uwe Boll: RAW podcast / talk show, Gary Otto. Gary is Associate producer of "In The Name of the King 3: The Last Job" starring Dominic Purcell, and Associate Producer of the upcoming "Rampage 3: No Mercy" starring Brendan Fletcher, Bruce Blain and Matt Frewer. Gary co-wrote the upcoming Uwe Boll film "12 Hours" which is currently in development.
the Nobodies, nothings, the armchair judgment & The wry smirk.
I try to be a diplomatic individual. I can't always say how I really feel, and when I do the people who have yet to experience it don't always get what I mean. Like there's people I know/knew who wanted to get into film production in some sort and decided to go to Full Sail University - not an accredited college, they will build up your ego and cash your check but you're really paying for nothing you couldn't do on your own. And it usually leads nowhere. Like those dumb commercials that tell you "learn to be a video game designer!" - like going to Full Sail would get you an "in" into that industry. They're really devious in that regard. You'll think you're being trained to rule the world. I always say nothing but "that's great" when someone says to me that they are going to this school. Because my true opinion would likely make them go on the defensive. I know I would be if someone brought it to my attention I was wasting so much time, money, and soul on bullshit. That this school is essentially run by puppeteers. It's all for show. And it's funny how some of these students (who know so much about film) or just the average movie lover/watcher/online self-appointed message board critic (borderline troll in denial of how miserable they are in their life) judge because I have worked on Uwe Boll films, like they instantly have this smugness that they think they can do a better job than I have, that I am somehow sub-par or do not work my ass off, like it would come so easily to them. They jump into self-assured comfort instantaneously when they hear, "oh, what does he know, because, you know, it's Uwe Boll." which itself is bullshit because the quality of his films has raised dramatically - people just enjoy having a target. Everyone wants to be the definitive source. The master! Well these people do not have a clue and they wouldn't be qualified to film a fucking Burger King commercial and wouldn't have the drive to succeed to make it even a fraction as far as I or others like me have. The ones like me, we took the hard road. The people who think they know automatically based on "what they heard" or some P.R. viral bullshit will go on to live their normal, boring lives long after our conversation ends and they walk away so proud of themselves for coming to the conclusion! These mindless sheeple leave no footnote in history. Nothing but some possessions, a wardrobe perhaps. A digital music collection. A really cool car. Such value as an individual on the surface! They will stay within their minds as the greatest creation that lived when they never fought or tried for anything actually worth fighting for. Hang out with your friends doing nothing. Care so much about popularity. Do all forms of casual bullshit. Show us how clever you are, tell us everything that you know. At a get together. At shallow parties. Buy a house. Get old. Judge everyone that does not remind you of you. These people are nobodies and ultimately nothing, and somewhere deep down they must know it - thus their need to judge and smirk and snicker and stare and gloat when you're down. But in the end, through all the confusion of what is real, who will get the last laugh when those people who are true individuals, who work hard - get finally divided into their own, earned category and appear on top of the pile while these hapless saps who thought they knew anything from the onset are buried deep beneath, their lives the same as 10, 20 years ago. Trivial when you attempt to see past the collections, the possessions, the wrinkles racked up on their face - those are the only things that will actually move forward - nothing else - to those who shall remain stillborn. Time will reveal everything. Time tells the true story.
Hollywood & the dumbing down of mainstream cinema to maximize profit potential (while they whisper to you what to believe & like via social media bullshit)
What a person brings to a film, as the viewer, is their own experiences. If you were to screen a slasher film for the type of person who prefers the works of Woody Allen, the reaction might not be so positive. This isn't the audience it was intended for. Sure, there are people who can enjoy both but if someone is used to films in that genre which have something to say that is socially relevant, they aren't going to find much to chew on in the likes of exploitative features like say, "Friday the 13th." That is not to say there is not a specific audience for that type of drive-in film. Films like those go the cult route, what was once considered drive-in fare - direct to the masses who thrive on pure entertainment and shared at midnight screenings, parties, and the like. The divide between what is considered meaningful cinema and "toy films" as the studio calls it, has grown wider and wider in the past 20, 30 years. Today we get films so gratuitous, as product, it leaves no room for interpretation, on both sides of the spectrum. I've noticed this divide primarily in the mainstream cinema, where films are treated as product to make money. Like that Sandra Bullock / Billy Bob Thornton film that just came out (and bombed) "Our Brand is Crisis" - it wants so badly to be this cynical, comedic commentary on our broken political system, but so hell-bent on the audience realizing this, it sacrifices it's entire purpose by being so hit-you-over-the-head obvious with it's storytelling, so everyone in the audience "gets" it that it ceases to be witty, or even relevant.
Versus the other spectrum of the films that come out these days - the throw-away flicks that sap any intelligent thought from the story because it believes that the audience wouldn't be able to handle it. Take a film like "Watchmen" for example, released several years ago - where they tried to blend social commentary with the throw-away superhero genre that exists purely as entertainment. A lot of the mainstream were lost when they watched the product. They gave their reasons, mostly superficial reasons, to complain. It was a film some people hated - they didn't like that the pacing was so "slow" in a superhero film. It was not exactly as it was in the graphic novel. They expect the pattern to be instantly identifiable as sure entertainment or else they reject it. Big explosions, not inner demons or characters that aren't instantly identified as "good" or "bad" - and when the movie bombs (which Watchmen did) you start seeing less and less emotional relevance in those type films, and a sort of sitcom-level of drama. The studio gets the message - people can't handle it. It needs to be simplified for the masses. There however, have been directors who tried to blend these genres of mass entertainment and thought or artistic strategy / social commentary, creating product that was unique, but typically has been less commercially successful. With product like that, it isn't as black and white for the studio on who to sell this product to. Who to market it to, or what to market it as. Movies like Paul Verhoeven's "Showgirls" which is seen on one hand as a "skin flick" and was marketed as some sensual journey (which itself is laughable if you have seen the film) has a lot of cynical commentary about our culture and our motivations - our lifestyles in America which can grow tainted, fueled by the desire television and pop-culture has seeded deeply into us. You see it on display every day on the internet, in the comments of news articles, on social media... the selfish and ultimately consuming desire to "win" - that we ourselves are always right, even if we are wrong. The importance of becoming famous, or having big money, with a heavy emphasis on the reality of what vapid characters exist that actually get there - to this, is it the dream or is it the nightmare? Most people lose their souls in the balance. And that is the point. Is it beauty, or is it ugly? And who are we in the balance of that? Mirrors. It was a cynical film blended in carefully with characters you wouldn't want to relate to - the "Kenny G" guy so charismatic and desirable was actually a trailer-trash rapist - this emphasis on appearances... where does the P.R. end and where does the real person begin? Would we even want to see the real person? Pull the curtain back on the entertainment industry in general vs the illusion of the glamour in the entertainment industry and it's usually like night and day. So if you went into that one (Showgirls) expecting to be aroused or to get an underdog story you could root or cheer for, you had another thing coming. It wasn't as on-the-surface as audiences needed in order to get the message, to be in on the joke. And it bombed. And is seen as "smut" by the general public who only noticed the number of bare breasts in the picture. Typical.
Or take Brian De Palma's "Body Double" - a film about a man losing his power to surrounding forces (ultimately to regain them through somewhat ridiculous circumstances) - the journey of him succumbing to voyeuristic tendencies in moments of weakness which leads him into a spiral, a bizarre murder mystery he chooses to solve, however implausible. The voyeurism is taken literally by the filmmakers throughout the film as we have a hard time connecting with the motivations of the character himself. It's almost as if we are watching him watching someone else, as voyeurs ourselves. Perhaps one would expect something sensual from it all but instead we get pure disconnect. There are points that ring true as commentary on the superficiality of the Hollywood system, but as a murder mystery - from a man who is known as the master of suspense, there is an odd disconnect with it all that is still never boring, but not what one might expect. This is all carried out with a maximum degree of visual style amid some excellent performances and beautiful cinematography which set it aside from the usual disposable skin flick (even though the film itself in reality doesn't contain so much nudity, this is how it was marketed due to the subject matter) all amid the constant Hitchcock homages worked into the story plot points. Some camera movements were taken verbatim from Hitchcock's most esteemed works. Sometimes these workings don't fit the story taking place in any natural way, or the natural progression of the story, makes the film feel bizarre. It's not quite art and it's not quite an exploitation feature - people have only started seeing that it can be interpreted as both. It took a long time for audiences to look for this themselves, and not listen to the general consensus from the reviewers who whittle things down into simple strides. The film didn't stray into black or white, instead choosing to be a hybrid of sorts. Which is what makes it unique. Sit someone down who is a die-hard Hitchcock fan with no familiarity or desire for exploitative features which made Roger Corman or Lloyd Kaufman famous, and they might walk away shocked. Hitchcock fused with an exploitative feature with a big Hollywood budget is not something that has typically been done before, or since. Films like this, that fit in a grey area - an area which seem not to exist anymore. Films that choose to do something personal, or something different in any capacity. Something that moves against the grain in any creative aspect. At least not when millions are being spent on the production. Today we get the black or we get white. There are some exceptions here and there (The "Rampage" series for example) but overall mainstream film has been whittled down into product. Political correctness reigns and the films lose something, eventually forgotten as critics praise mediocrity as the next big thing, value is placed on what sells over all else, and we forget what anything off-the-rails really means when we are left to analyze and interpret any grey area on our own.
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Rampage: Capital Punishment
Bill Williamson (Brendan Fletcher) returns after living off-the-grid. Bill comes out of hiding to take over a TV station while holding a number of people hostage as a political platform. Bill sets the internet and news media on fire with his ultimate goal: to awaken humanity from complacency and bring mainstream attention to various political atrocities. Bill is strapped and deadlier than ever in this action packed sequel to Rampage (2009).
Assault on Wall Street
Jim (Dominic Purcell), an average New Yorker, supports his sick but loving wife after learning that she has a cancerous brain tumor. Jim is sure they can make it through when suddenly everything changes as the economy comes to a crash, causing him to lose everything amid the 2007-2008 financial crisis. Filled with deep seeded anger and unbridled rage, Jim goes forward with a plan to seek revenge upon the broken system he once trusted, for the life unceremoniously taken from him.
Postal (includes free copy of Postal 2 PC game)
directed by uwe boll
In this zany political comedy in the spirit of Airplane! and The Naked Gun, A phony cult leader (Dave Foley) hires a jobless trailer-park denizen (Zack Ward) to help him carry out his plot to save his religious cult compound from closure. Meanwhile, Osama bin Laden and his minions plan to lace copies of a popular cartoon character with biological agents to wreak havoc on America. Based on the video game series of the same name by Running With Scissors. Be sure to check out the scene at the boxing club, where real footage of Uwe fighting his critics is incorporated into the background!
The House of the Dead (Funny Version)
Directed by uwe boll
The rare "funny version" Director's Cut of The House of the Dead! Based on the popular Sega video game series. A group of college students hitch a ride with a mysterious boatman (Jurgen Prochnow) to go to a rave on a mysterious island. Instead they are trapped there after the island is taken over by blood-feasting zombies. This version of the film contains alternate "comedic" takes not used in the original version, making the film very different from what you may have seen before!
Attack on Darfur
Directed by uwe boll
Dr. Uwe Boll returns to the director's chair to helm this serious-minded action film set in the war-torn region of Sudan, and following a group of American journalist as they witness the atrocities most people only read about in newspapers. Arriving in a remote village in Sudan to interview the locals about the ongoing conflict, the journalists receive word that the Janjaweed are on their way, and a massacre is about to take place. As some of the journalists flee for safety, others take it upon themselves to stand their ground and stop the Janjaweed, even if it means facing certain death. Billy Zane, Edward Furlong, and Kristanna Loken star.
Alone in the Dark
Directed by uwe boll
Based on the popular video game series, Edward Carnby is a private investigator specializing in unexplainable supernatural phenomena. His cases delve into the dark corners of the world, searching for truth in the occult remnants of ancient civilizations. Now, the greatest mystery of his past is about to become the most dangerous case he has ever faced. With the help of his ex-flame, archeologist Aline Cedrac, and his bitter rival, government agent Richard Burke, Edward is about to learn that just because you don't believe in something, that doesn't mean it can't kill you.
Directed by uwe boll
Things start off bad and quickly take a turn for the worse when Matt (Patrick Muldoon) takes a trip to visit his girlfriend Dawn's (Keegan Connor Tracy) reclusive backwoods parents in this dramatic thriller from director Uwe Boll. Haunted after having caused the death of a young girl in a drunk driving accident years before, Matt's inner demons tear at his insides as he attempts to put the past behind him and start a new life with Dawn. Stopping off at a hotel for a quick round of lovemaking before they venture into the woods, Matt must subsequently fend off an axe-wielding psychopath before discovering that Dawn has disappeared. Though Matt soon finds the route to the house in the woods, he is unexpectedly attacked by Dawn and imprisoned by the family. Put on trial by the family for killing their youngest daughter in the drunk driving incident, Matt's nightmare soon becomes a waking reality as he desperately struggles to escape the clutches of Dawn's family and maintain his slipping sanity.
Uwe Boll Collection (4 rare early films plus extras)
Directed by uwe boll
Four early films from director Uwe Boll, in thier first time released on the home DVD market. This set features the Boll directed films German Fried Movie, The First Semester, Barschel: Murder in Geneva and Boxing as well as an array of bonus features. This set may not be available for long so be sure to buy it today! A 3-DVD set.
Bloodrayne 2: Deliverance (plus free copy of Bloodrayne game for PC)
Directed by uwe boll
Uwe Boll follows up his plasma-blasting 2005 hit with this sequel that finds the vengeful dhampir Rayne (Natassia Malthe) traveling deep into the Wild West for a violent showdown against vampiric American outlaw Billy the Kid (played by Zack Ward.) Includes a bonus disc featuring the full Bloodrayne video game for PC!
Directed by uwe boll
Based on the popular video game series, A hardened seaman and a dogged reporter become trapped on an island with a mysterious scientist, a ruthless band of mercenaries, and a vicious pack of unidentifiable creatures in Uwe Boll's seventh video game-to-screen adaptation. Stranded on an island full of vicious mercenaries, the situation quickly turns chaotic when one of Dr. Kreiger's creatures escapes from the lab and sets out on a murderous rampage. One of the final films of late Twin Peaks and Stargate actor Don S. Davis.
Directed by uwe boll
A small town misanthrope builds a bulletproof Kevlar suit and goes on a merciless killing spree in this visceral thriller from director Uwe Boll. Bill Williamson (Brendan Fletcher) is frustrated. Well into his 20's but still aimless, the only time Bill leaves his parent's house is to hang out with his best friend Evan (Shaun Sipos). But Bill's mom (Lynda Boyd) and dad (Matt Frewer) are getting tired of supporting their freeloading son, and begin turning up the pressure on him to finally find his own place to live. When Bill's boss refuses to give him a raise, something snaps deep inside. Bill is going to send a message to society, and society isn't going to like what he has to say. By the time the gunfire starts there's no turning back, and even the innocent won't be safe as Bill embarks on a grim mission to cleanse this world one bullet at a time.
Directed by uwe boll
In this remake of the Frank Sinatra classic, A reluctant small-town war-hero gets an unlikely shot at redemption. This action/thriller stars Ray Liotta, Michael Pare, and Dominic Purcell in the main roles. Former Marine Tod Shaw saw his fair share of bloodshed on the battlefield, and to this day he remains haunted by memories of his best friend being killed in combat. Though his job on the Suddenly police force offers Shaw a chance to reconnect with the community, his crippling alcohol addiction soon takes its toll, and he is forced to turn in his badge. Later, when the locals receive word that the President will be passing through Suddenly, Shaw is placed back on duty. His resolve is put to the ultimate test, however, when three ruthless disguised as Secret Service agents take his lat friend's family hostage in their home in order to get the President in their crosshairs. Now, as the Commander in Chief draws near, Shaw must put the past behind him, and summon his inner hero for one last fight.
In the Name of the King Collection (all 3 films)
directed by uwe boll
Contains all 3 films in the action-packed fantasy film series In the Name of the King. The original film finds a man (Jason Statham) who begins a heroic quest to destroy the evil wizard Gallian (Ray Liotta) before he steals the throne. The second film stars Dolph Lundgren as a depressed man who finds his purpose to overthrow a corrupt king. The third film stars Dominic Purcell as a hit man who travels through time to ancient Bulgaria in order to destroy an ancient and powerful dictator.
Directed by dan lee west
Join Uwe Boll in this documentary where he embarks on a redemptive quest to conquer Hollywood and take vengeance upon the film fanatics and video game nerds striving to destroy him. Filmed over three years on and off the set, 'Raging Boll' is a walk in the shoes of the man people love to hate. Features the now-infamous boxing match footage where Uwe fought his critics in the boxing ring. A must-see event!
Directed by uwe boll
Eric Roberts is at it again in this serial killer thriller from director Uwe Boll. In an anonymous American town, a serial nutcase is taking the proverb "See no evil, hear no evil, speak no evil," a little too seriously, robbing victims of their eyes, ears, and tongues. Detectives Jim Renart (Michael Pare) and Dorothy Smith (Jennifer Rubin) are under pressure from their superior (Roberts) to capture the killer, and they finally get a break when alpha-yuppie stockbroker Tom Gerrick (Casper Van Dien) offers himself for questioning. However, actually nailing Gerrick proves to be a difficult matter, especially with the feds set to take over the case in mere hours, as well as Gerrick's impending appearance on a TV talk show.
Directed by uwe boll
Controversial director Uwe Boll depicts the harsh reality of the process inside one of the most infamous Nazi death camps by using brutally realistic imagery. Book-ended by documentary footage as well as interviews with German teenagers about what they know about the Holocaust, Boll effectively shows us just how depraved and sadistic life in the camp could be.
Directed by uwe boll
A heroic vampire/human hybrid with real heft takes on an army of undead Nazis in director Uwe Boll's outrageous action comedy. Blubberella (Lindsay Hollister) is a plus-sized heroine with a hatred of Hitler, and a soft spot for cotton candy. She's been fighting the forces of evil for centuries when she comes face to face with the xenophobic dictator who has plunged all of Europe straight into a hellish war. Somewhere in the midst of sending Hitler to meet his maker, however, Blubberella accidentally grants him the gift of immortality. Now, Der Führer has become a day walker with an army of undead SS officers to do his evil bidding. Destroying him won't be easy, but if there's one hero brawny enough to defeat the fiercest army ever to walk the earth it's Blubberella.
Bloodrayne (Unrated Director's Cut plus free copy of Bloodrayne game for PC)
Directed by uwe boll
In 18th century Romania, Rayne (a girl with a human mother and vampire father) possesses superhuman strength but a soft side for humans. She decides to find her vampire father who is the powerful vampire Kagan. On her journey, she is befriended by two vampire hunters and learns that there are three Talisman organs -- a heart, an eye and a rib from her ancestor vampire, Beliar -- which Kagan covets, that will make him so powerful that he will throw the earth into darkness and vampires will rule forever. Includes a bonus disc featuring the full Bloodrayne video game for PC!
Bloodrayne: The Third Reich
Directed by uwe boll
When Nazi Commandant Ekart Brand (Michael Paré) creates an army of fascist vampires in a plot to turn Hitler immortal, half-human/half-vampire hybrid Rayne (Natassia Malthe) assembles a fierce band of resistance fighters to prevent them from reaching Berlin and accomplishing their diabolical mission. Clint Howard and Brendan Fletcher co-star.
Heart of America
Directed by uwe boll
Uwe Boll's Heart of America: Homeroom is a drama about a massacre on the final day of the school year. The last day of school contains many problems for teachers and students alike. The principal must discipline an English teacher (Michael Paré) who has let his professional frustrations get the better of him, student Dara needs to score from the drug dealing Wex (G. Michael Gray), and a foursome of cruel athletes continues to torment the losers and nerds. Unbeknownst to everyone else at the school, the eternally picked upon Daniel (Kett Turton) and Barry (Michael Belyea), as well as a third accomplice, are extensively armed and plan to unleash their fury on the school right after final bell.
Directed by uwe boll
Inspired by actual events, director Uwe Boll's claustrophobic prison drama explores the chilling results of group psychosis. An inmate (Edward Furlong) is discovered hanged in his cell. When investigators begin interrogating the dead man's cellmates, the dehumanizing events that led to his gruesome demise gradually come into focus.
Directed by uwe boll
Director Uwe Boll strikes hard with this deadly serious war film centering on the battlefield experiences of a U.S. combat unit sent to root out and kill Viet Cong soldiers who have been stealthily attacking American troops via an elaborate series of underground tunnels deep beneath the jungles of Vietnam.
Starring: Uwe Boll
As a child, Uwe produced a number of short films on Super 8 and video before beginning his studies as a film director in Munich and Vienna. He also studied literature and economics in Cologne and Siegen. Uwe graduated from university in 1995 with a doctorate in literature. Uwe has since directed, written and produced over 30 movies with such stars as Ben Kingsley, Jason Statham, Ray Liotta and Ron Perlman. Uwe also runs and owns the BAUHAUS Restaurant in Vancouver alongside Michelin Star chef Stefan Hartmann.
Website content and talk show producer: Gary Otto
Gary Otto hails originally from Hells Kitchen in New York. Gary got his start in film working for Troma back in 1999 on the cult classic Citizen Toxie: The Toxic Avenger IV and hasn't looked back since. He is currently producer of Uwe Boll: RAW podcast / talk show. He is also co-writer of the upcoming Uwe Boll film 12 Hours, Associate Producer of Rampage 3: No Mercy & In the Name of the King 3: The Last Job.
PEEVED articles written by: Bruce Blain
Bruce Blain has been a salesman, a bar manager, a managing editor, an entrepreneur, a carpenter, a teacher, but in 2004, while living in Thailand, he became a film, TV, and voice actor. He quickly established himself, booking scores of Films and TV Commercials, leading him to the conclusion, finally, that no other career would do. After a 13 year stay in Southeast Asia, he moved to Vancouver to pursue acting full time. Since arriving there, he has worked on such popular TV shows as; Supernatural, Rush, Motive, Untold Stories of the ER; such films as Leprechaun: Origins, Rampage 2 & 3, and Lonesome Dove Church. Bruce was also the Campaign Voice for Warner Bros. Games' Middle Earth: Shadow of Mordor.
Cinematic Perspective articles written by: Ben Woodiwiss
Ben Woodiwiss was born in London and got his start making films in New York during 1999 working on the Troma film Citizen Toxie: The Toxic Avenger IV. In 2010 he co-founded Look/Think Films with producer Nick Jones. To date they have produced Kvinnefrisen, Benny Loves Killing, Anja & Vivian, and Look at Me Now. The films have won a number of awards and played at festivals worldwide. Ben is also co-writer of the upcoming Uwe Boll film 12 Hours & Associate Producer of In the Name of the King 3: The Last Mission.
Logo and art by: Sviatoslav Sobolevskiy
Sviatoslav hails from Belarus and has accomplished much since he arrived on the scene. A passionate artist and hard worker, Sviatoslav has created logos, art and video for popular brands and films such as Heineken & Terminator Genisys. Sviatoslav also co-produced the teaser trailer for Uwe Boll's Rampage 3: No Mercy in 2015.
Music by: Cosmicity (aka Mark Nicholas)
Cosmicity is the project name for Detroit-based electronic musician Mark Nicholas. His music combines singer-songwriter melodies with fluttering synthesizers, beefy drum machines and deeply personal music.
Additional art by: Monster Mike
Monster Mike hails from Utah. A self-taught artist deeply motivated by his passion for the aesthetic, Monster Mike exploded onto the scene in 2015 with his unique style and visual flair which can be appreciated through his various works.