Kenneth Campbell, John Rhys-Davies, tap Bob Keen (HELLRAISER) to do make up effects, and you have yourself an Eighties' classic! Like most films of the period, it starts off with a group of bored, young slacker-types looking for thrills, something.ANYTHING that would be a little more exciting than getting high, getting drunk, getting laid (well, ALMOST more exciting than that), and definitely more of a kick than going to college classes! They find it, alright - in the form of an invitation to a brand new kind of museum. Then you throw in vets like David Warner, Patrick McNee, J. Check out the victim's list: Zach Galligan (GREMLINS.) Michelle Johnson (BLAME IT ON RIO.) Deborah Foreman (VALLEY GIRL). WAXWORK took a little different approach from the straight-ahead versions, with a cast and a sensibility for horror that still screams "Me Decade" even today. The plot of the old horror classic MYSTERY IN THE WAX MUSEUM was such a tried and true staple, the studios kept falling back on it again and again, finding fresh ways to retell the story. One of Vestron Pictures' first releases was a little number called WAXWORK. Their strategy was simple: make good (if not great) genre pics that would put asses in the seats, that they could then distribute through the video arm later on. So big, in fact, that they started a movie division, Vestron Pictures. Vestron had started out doing some of the first direct-to-video pictures ever made, discovering that the market was HUGE. ![]() Every company, great and small, started looking for the next EXORCIST, ALIEN, JAWS.the next big thing that would make millions. The movies that would launch long-term franchises filled the tub. ![]() Way back when, THE EXORCIST turned the faucet on. When the major studios discovered back in the late Seventies that indie horror flicks were cheap to make or just buy outright and distribute, they started crankin' 'em out.by the DOZENS. ![]() The Eighties.what a great, fertile, inventive time that was for horror.
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