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I used to love these two shows. I was around 7 when they came out but they were different to than the usual teen comedy genre. More surrealistic. It’s a shame that neither lasted a longtime. Parker Lewis has a decent run But Eerie Indiana Only aired 19 episodes I think. I know the kid who was the main character in that went on to be in one of my favorite 90s movies Matinee directed by Joe Dante. Anyway two great cult shows

I rewatched Eerie, Indiana last year on Amazon Prime. Held up pretty well to me. I miss these type of shows.

Muroid: They keep the episodes stored in Foreverware.


DesperatePleasure: Loved both of these shows. With Erie, one episode a girl with a hear transplant or something. I think she was in Roseanne for a bit. First TV crush or the moment I hit puberty cause my chest felt like it was gonna explode.

Duckstomp: For some reason I remember there was a scene in Parker Lewis with a banner in the background that says, "thanks for not watching Eerie Indiana" or something similar.

vman_isyourhero: Dude from Eerie Indiana is the main in Hocus Pocus and now he's a weed man.

NoPastaForGrandma: For any eerie Indiana fans, I highly recommend Gravity Falls. Because it’s an animated Disney show aimed at kids I would never have watched it if it weren’t for countless praises by adult critics as suitable for adults. Then I read an interview with the creator who literally said that he loved Eerie Indiana as a kid and that you can’t pitch a show as “basically this show I like a lot that got cancelled too soon but new” but that’s essentially what it is.

Same general vibe, but even better: funnier and an overarcing plot throughout the series. Worth checking out if you have fond memories of Eerie Indiana.


SANTOSHiHoHiHoHiHo: Haven't seen Parker Lewis since the 90's. Eerie Indiana is still great.

TheColorWolf: That corn episode of eerie gave me nightmares. I love it.

ChrisTosi: Didn't Eerie, Indiana come out a couple of years after Parker Lewis?

80sBadGuy: There was a period of time I considered Eerie, Indiana the best show on television.

And that period is now!
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Another project I have to mention that got me into horror, was that show that you were involved in called Eerie, Indiana. As a kid watching the "Foreverware" episode, it just left an indelible mark on my mind. And I always feel like that show was Twin Peaks for a younger audience.

Joe Dante: Well, it was. It was, in a way. It was also pre-X-Files. It was X-Files junior.

Did you get approached to be a part of that? Because you ended up directing several episodes.

Joe Dante: I talked to the guys about doing the pilot. And I really liked it. I got pretty close to the group and I got involved in the casting and all that, and I really had a good time. And when the pilot sold, they said, "Why don't you come on and be the creative consultant?" And so I got to have input into all the stories and all that kind of stuff. And whenever I was available I got to direct some. I was supposed to direct the one that I'm in, which is the last episode, the "Reality Takes a Holiday," where Marshall learns that he's an actor in a TV show. And I was working on Matinee, or I was going to work on Matinee, and I wasn't available. I said, "But I'll play myself."

So I'm in it. But it was directed by Ken Kwapis. And it was supposed to be the last episode of the show, and it was designed to be. But there was another episode, that they hadn't run, about backward masking, because it was considered too controversial. There's this father, and he doesn't want his kid listening to rock music, but when you play it backwards... that was in the news at the moment as a sort of a controversial religious thing. They wouldn't run that episode at all. But when they put the show together for the DVD, they took that episode and put it last, even though it's from the middle of the season. And so you don't get to really enjoy "Reality Takes a Holiday" as the end of the show, which is what it was supposed to be.
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Welcome back to THE UNSEEN HORROR. Today, we prepare to close up the crypt, but not without a final look at a forgotten piece of horror cinema. That said, this one isn’t quite a frightfest. Instead, it examines the relationship between the real world and horror films, and why certain themes are frightening at certain times. Most importantly, it also examines the release horror can give us and why we love it so much. So let’s head to the 60’s with Joe Dante’s MATINEE.

MATINEE takes place in Key West in 1962. A young boy. Gene, lives on an army base. Gene is a fan of monster movies, specifically the work of producer Lawrence Woolsey. Woolsey is promoting his new film MANT (about a ant-human hybrid) as the Cuban Missile Crisis puts everyone on high alert. Woolsey decides the environment is perfect to debut his film, and stages ‘protests’ to draw attention to it. However, the experience is more complicated then Woolsey had believed, as he and Gene find their own romantic dilemmas amid the controversy surrounding them.

If you don’t think MATINEE sounds very scary… well, you’re right. The movie is much more a coming of age drama that uses horror films to tell a story. However, the film uses the horror of the time with great love and affection. Director Joe Dante grew up in this period of time, so it’s not surprising he puts his love his childhood films into MATINEE. The film score uses bits and pieces from famous monster movies like CREATURE FROM THE BLACK LAGOON. TARANTULA, and THIS ISLAND EARTH. The movie within a movie, MANT, calls to mind the classic atomic monster films like THEM!. MATINEE even pokes fun at the Disney comedies of the time with a second movie within a movie, THE SHOOK UP SHOPPING CART. However, the film’s greatest tribute is Woolsey, played by the great John Goodman.

Horror fans will recognize Woolsey as a tribute to Frank Castle, the infamous horror director-producer of the era. Castle directed a number of lower-budget horror films. These include HOUSE ON HAUNTED HILL, THE TINGLER, and THIRTEEN GHOSTS. Castle was famous for using gimmicks with his films; TINGLER had buzzers under the theater seats to shock audiences, and THIRTEEN GHOSTS had special glasses that allowed patrons to see or not see the onscreen ghosts. Woolsey acts in the same way. He rigs the theater with devices to shake it when the giant ‘Mant’ walks onscreen. He also gets costumed actors to play monsters and nurses. Most importantly, Woolsey sees the Cuban Missile Crisis as a helpful controversy that will bolster the film. Goodman brings all of that too life, without making Woolsey a money-grubbing producer and having him evolve as the film goes on.

The real scares of MATINEE come from the Cuban Missile Crisis. The most gripping moment is during a duck and cover drill at Gene’s school. One girls speaks up as the drill commences. She decries how pointless the drill is, and that it’s better the students die in the blast then suffer the fallout of radiation sickness. It’s a moment that highlights just how real this threat was, and how truly unprepared people were for the worst case scenario. However, that only enhances why movies like MANT were so popular.

We’ve mentioned before how films like THEM! let people forget the real dangers of nuclear power. MATINEE gives a us a deeper look into those people and their lives. We see how tense and on edge they were, not just in this moment in time, but in general. The fear of nuclear attack was a unspoken one, but it lingered in their lives daily. The movies acted as a way to release that tension, to make nuclear power into something that could be defeated and even laughed at. It made an intangible fear tangible, and in doing so, showed why we love horror so much.

Horror films gives us an escape from the troubles and issues of the day. Of course, that’s the purpose of storytelling in many cases, but horror does something else too. It gives something else to be afraid of, something onscreen that looks scary but isn’t real. Our fear is re purposed away from our real problems and onto the screen. The experience makes it fun to be scared. And because it’s a story, the fears we see on screen can be defeated, and take the weight of our fear away. MATINEE perfectly captures that feeling and experience horror fans know for everyone.

MATINEE isn’t a film to scare you, but it is a film for horror fans. It captures the love of the genre, and shows just why we love being scared so much. So if you can’t explain why horror matters so much to you, show people this film, and you’ll be able to explain your fears with ease.

And that wraps another year of THE UNSEEN HORROR. Don’t worry, though, there always crypts to explore on your own until next time. Until then, have a happy Halloween, and remember… there’s always something to be scared of.
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The sharp and witty director of Gremlins, Innerspace and The Howling visited Edinburgh International Film Festival to provide an insightful overview of his rich career

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Dante’s taken some knocks, but there’s a sense that his reputation is ever-growing, despite the paucity of his output (he’s only made three features this century). There has been a highfalutin book written about his work (“Yeah, in Austria,” he scoffs), while at Paris’ great church of cinema, La Cinémathèque française, he received a loving retrospective of his work last year, showing everything from his 1968 movie mashup The Movie Orgy to his wonderful kids’ show Eerie, Indiana, which was clearly a huge influence on Stranger Things (“I’m sure my cheque is in the mail somewhere,” Dante says knowingly when Romney mentions the Duffer Brothers’ wildly popular Netflix show).

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Dwayne Johnson’s latest action vehicle, Rampage, directed by frequent collaborator Brad Peyton (San Andreas) offers all of the city-wide destruction and monster mayhem that the big screen can contain. Loosely based on the arcade game of the same name, Rampage sees Johnson’s primatologist, Davis Okoye, contend with the effects of a chemical agent that mutates the genes of several animals — a gorilla, a wolf, and a crocodile — increasing their size and abilities. Much of the film is a means to witness Johnson’s charisma set against an expensive backdrop of helicopter crashes, building scaling and races against time, each defying the laws of science. While Johnson is the film’s biggest draw, the film balances his star power, with an equally impressive draw: giant monsters, or as the Japanese coined them, kaiju. Rampage may be primarily concerned with entertainment and its popcorn movie expectations, but it is firmly set within a much larger cinematic history that speaks to the immediate concerns of the era.

Gordon Douglas’ Them! (1954), a film that preceded Japan’s first entry into the realm of the kaiju film by several months and serves one of the earliest examples of the giant monster movie, contextualized our fears of the atomic age through massive insects. At the end of the film, Dr. Harold Medford (Edmund Gwenn) somberly stares out at the burning carcasses of the oversized ants that plagued America’s Southwest region and delivers the final lines: “When man entered the atomic age, he opened a door into a new world. What we’ll find in that new world, nobody can predict.” This sentiment, and the theme of atomic irresponsibility continued through the American horror films of the '50s and '60s as giant ants gave way to larger and stranger mutations, a result of nuclear tests and radiation experiments. In many of these films, there is a lack of direct blame. It’s science and curiosity that cause these things, but rarely if ever human evil, or governmental evil, that audiences can put faces to. Even Oppenheimer becomes a mythic figure, a poet consumed by misguided intentions and regret, rather than someone of questionable morals and unquestionable guilt. This oversight allowed for what were originally intended to be horror movies to become more entrenched in the world of science fiction escapism. Joe Dante’s Matinee (1993) best captures this era as the threat of the Cuban Missile Crisis and school bombing drills are juxtaposed against the thrill of big-screen monster movies that served as escapism while being based on the very threats we were meant to confront.
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Trama: Lawrence Woolsey (John Goodman), uomo di spettacolo e regista di film dell’orrore, sta per portare in una piccola città costiera un’esperienza cinematografica stravagante dal sapore horror-kitsch che combina effetti cinematografici, oggetti scenici e attori in abiti di gomma. Sullo sfondo l’aria tesissima della guerra fredda e la crisi dei missili cubani. Gli adulti si preparano all’imminente catastrofe, mentre gli adolescenti si distraggono andando al cinema a vedere mostri, creature aliene ed altri esseri spaventosi.

Joe Dante, regista di Piranha (1978) e di Gremlins (1984), non è certo nome poco noto ai cinefili più incalliti. In questo suo film, uscito al cinema tre anni dopo Gremlins 2 – La nuova stirpe (1990), Dante cambia totalmente soggetto, ma rimane comunque e sempre relegato al B-movie del cinema americano anni cinquanta, portandoci per mano nei retroscena “storici” di quell’epoca, dove le sale cinematografiche erano ricolme di giovani ragazzi desiderosi di vedere l’ultimo film di fantascienza o dell’orrore.

Vediamo scorrere le inquietanti vicende della crisi dei missili di Cuba e al contempo vediamo le vicende di alcuni giovani alle prese con le prime esperienze sentimentali e desiderosi di farsi strada nel mondo degli adulti. Di fatto il film di Joe Dante vuole essere uno spiraglio di luce per i giovani che si interessano alla fantascienza e all’orrore.

Contro i benpensanti, Joe Dante scaglia un personaggio come il regista Lawrence Woolsey, interpretato meravigliosamente da un John Goodman che brilla di luce propria. Woolsey è un regista già molto noto, ma che in realtà non gode di un reale prestigio, soprattutto sotto il profilo economico, ma crede fermamente in quello che fa e al suo significato più grande: intrattenere e distogliere la mente dei giovani da quelli che sono i veri orrori, quelli che non spariscono quando chiudi gli occhi o quando sullo schermo appare la scritta “Fine”.

Lui che sembrerebbe ricordare vagamente Alfred Hitchcock in alcune sue pose di profilo in controluce, in realtà è un imponente elogio al cinema di William Castle, ideatore di stravaganti trovate pubblicitarie, di cui mi piace ricordare La casa dei fantasmi (1959) con Vincent Price, e un omaggio al cinema di fantascienza anni cinquanta con Assalto alla terra (1954), La cosa da un altro mondo (1951), Cittadino dello spazio (1955), Uomini sulla luna (1950) ecc.

Uno dei film meta-cinematografici più belli mai usciti al cinema con un ritmo eccezionale, dove la regia riesce a non farsi notare e a far emergere completamente una storia tesa, ma allo stesso tempo tranquilla ed armoniosa che vi condurrà ad un lieto fine divertente e calzante, essendo un film per ragazzi.
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Though we’re only a few months into 2018, I’m already dead certain that Shout! Factory’s brand new Blu-ray edition of Joe Dante’s Matinee (1993) will be regarded as one of the most generous, lovingly produced and expansive reissues of the year. This remarkable set offers nearly three hours of beautifully constructed bonus materials to supplement the actual feature’s ninety-nine minute running time. In case you’re wondering, the short answer is, “Yes.” It’s officially now time to retire your treasured Laserdisc copy of Matinee as well as the now-rendered-totally-inconsequential bare bones DVD issued by Universal in 2010.

Matinee is an undeniably warm and wonderful film, an affectionate but quirky Valentine. In a series of amazing supplemental features included with this set, several key members of the film’s creative team suggest the movie was, in essence, director Joe Dante’s (Piranha, The Howling, Gremlins) very personal love letter to the art of the B-movie. Critically praised, but not commercially successful upon its release in early winter of 1993, Shout! Factory has added this title to its “Shout Select” catalogue designed to “shine a light” on “unheralded gems.” This film is certainly one such deserved jewel, but Matinee Director of Photography John Hora appears less dreamy eyed than some when offering his own honest post-assessment.

Cognizant that the Hollywood industry was just that, an industry, it was Hora’s contention that regardless of the immaculate staging and wonderful storytelling of Dante’s very personal film, he suggested the director would need to pursue a more traditional career path following the indulgence of Matinee. The age of making films for what Hora would describe – perhaps too dismissively - as a “specialized audience,” had passed. Making more marketplace films for consumption by a more general public of cinemagoers would be the only guarantor of future employment.

If Hora offered a tough in-hindsight assessment, it was not an unreasonable one. Dante himself would recall that no one, neither early on at Warner Bros. nor later at Universal, were particularly optimistic about the film’s potential as box office dynamite. Acknowledging the project as a labor-of-love, Dante accepted his tribute to the “B-movie” magic of days long gone might best be realized as an independent film project. When Dante’s early investors reneged on their promises of bankrolling the production, the director was forced to negotiate directly with the juggernaut that was Universal Studios for financing. In Dante’s own recollection, Universal’s accountants emerged shakily from the board room giving the eccentric project a nervous, wary blessing. It was a rare industry moment, the director would concede with a sigh, when “Passion won over reason.”

In hindsight Dante mused that Universal’s green lighting of Matinee was to “my everlasting gratitude, their everlasting regret.” The film is undeniably brilliant cinema and most assuredly a wonderful time capsule piece; but it was in design and intent an indie film, one not likely destined for blockbuster status. Dante’s original idea was to bring the film out in limited release in art house cinemas. He hoped positive word-to-mouth might help create a buzz, and was confident that this film – one designed for cineastes in mind - would be met with favorable critical appraisal. But in 1993 Universal was a corporate titanic that dropped their films into blanketing nationwide release for a quick return on investment. Sadly, Matinee was too insular a film to appeal to a mass audience, finishing a disappointing sixth even in its first week or release.

Originally in development at Warner Bros., writer Jerico Stone’s original screenplay of Matinee – which Dante described as a “fantasy” concerning nostalgic friends who congregate one night at a haunted neighborhood theater - would differ wildly from the final product. Though Stone, billed simply as “Jerico,” would share on-screen credit along with screenwriter Charlie Haas for the original story, he would, much aggrieved, later litigate unsuccessfully against the Writer’s Guild for screenplay credit. In any event, Warner Bros. would eventually pass on Stone’s early unmarketable treatment, as would several other studios. Undeterred, Dante chose to bring in fellow New Jersey “Monster Kid” and writer Ed Naha (Honey, I Shrunk the Kids) to take a whack at the script. It was Naha who wove in the un-credited idea of a beloved TV-horror film host (ala WCAU and WABC’s Zacherley) coming to visit a neighborhood bijou to promote the latest offering of low-budget cinematic horror.

It was an interesting idea, and one that certainly changed the dynamic of the scenario. Regardless, the script was still considered weak and things didn’t really begin to gel until Dante commissioned Haas (the screenwriter of Dante’s Gremlins 2) for yet another re-write. It was Haas who fashioned the film’s provocative Cold War Cuban Missile Crisis back-story. He would also replace Naha’s idea of “visiting TV horror-host” scenario with an even more colorful character: an entrepreneurial, self-promoting, cigar-chomping independent film maverick – one very much in the style of the very real William Castle (1914-1977). Castle was a producer-director (often regarded as the “poor man’s Alfred Hitchcock”) that cult-filmmaker John Waters revered as the famed “grifter who made public relations an art form and turned himself into his own biggest star.”

Though Castle is usually referenced as the most obvious figure that actor John Goodman’s Lawrence Woolsey’s character is based upon, the lively schlock filmmaker didn’t actually make any of the atom-age, mutated bug-monster movies so endearingly celebrated in Matinee. Dante concedes this, acknowledging the most memorable sci-fi films of the 1950s were the works of such directors as Jack Arnold and Bert I. Gordon – films that would mostly pre-date the 1962 scenario of Matinee. The difference between the former pair of mostly invisible behind-the-scenes directors and the irrepressible William Castle was the latter’s prominent public profile and his art of Ballyhoo; this was the man, of course, who brought “Percepto,” “Emergo,” Illusion-o,” “Fright Breaks,” “Punishment Polls,” Ghost-Viewers, Death-by Fright insurance policies, flying skeletons, and tingling seat buzzers to America’s neighborhood movie houses. And, yes, we’re a better country for it.

Goodman, just off his contract as the burly husband in the TV series Roseanne, was Dante’s first and only choice to play the wheeling-and-dealing, fast-talking Woolsey. Goodman, for his part, is absolutely wonderful in the role, having needed very little coaching to get into character. Before production was to commence, Dante compiled a reel of Castle’s wild and wooly trailers to demonstrate the often outlandish and brash “Castle style” of film promotion to Goodman. To everyone’s surprise, the actor was already very conversant with Castle’s career, the filmmaker who in his good-natured but braggadocio manner promised to “Scare the Pants off America.” Goodman understood intuitively how to approach the role, and captures Castle’s larger-than-life persona perfectly. He shines every time he appears on screen.

The film itself is set during the third week of October 1962. The broadcast of the lighthearted antics on The Art Link letter Show on NBC-TV (a Universal property, of course) is interrupted by a grim-voiced address by President Kennedy, addressing the existence of Soviet missiles in Cuba - and the subsequent U.S. decision to counter with a naval blockade. With Cuba only a mere hundred or so miles from the southern coastline of Florida, the news sends shockwaves throughout Key West. As troops and anti-ballistic missiles converge on Key West’s Smathers Beach to protect America’s southern shoreline, panicked residents raid grocery stores for provisions and schools institute their wholly ineffective civil defense drills – such as suggesting students gather in school hallways to “duck and cover”.

One student, Sondra (Canadian actress Lisa Jakub) described by Dante as a “Joan Baez type,” Ban-the-Bomb offspring of pre-hippie-post-Beat parents, protests this ineffectual civil defense charade. Movie-monster obsessed loner and rootless Navy brat Gene Loomis (Simon Fenton) is immediately smitten with this bright and attractive young classmate. They say that everything is grist for the writer’s mill, and while I don’t wish to speculate, there’s some indication that several moments captured in Matinee are at least semi-autobiographical to Dante’s own life experiences. In a 1990 interview published in the compendium Famous Monsters Chronicles, Dante recalled to sci-fi film historian Bill Warren that one of his earliest memories was “being on the way to grammar school when a little girl told me we could be dead in seconds because the Russians could drop a bomb on us.”

Trying their best to remain buoyant in the shadow of nuclear annihilation, every young person in town congregates the following Saturday at Key West’s weather-beaten Strand theater to be entertained and distracted by the atomic horrors promised by Lawrence Woolsey’s new science-fiction film Mant! (Half-man! Half-Ant! All Terror!). Woolsey and his girlfriend and beleaguered leading lady and girlfriend (Cathy Moriarty) are in town not only to test market his new film but to showcase its potential to the cigar-chomping Mr. Spector (Jesse White), an interested distributor. A large portion of Matinee takes place in the lobbies, balcony, side rooms and cellars of the local bijou – a self-contained world where, in one sense or another, everyone is safe from the true horrors unfolding in the outside world.

A true masterstroke of Matinee is Mant!, the aforementioned film-within-the-film. Styled like a vintage B & W 1950s sci-fi offering from American International Pictures, Dante brought in some very identifiable veteran players from that era to convey authenticity. Among these was the professorial Robert Cornthwaite, who made a splash playing know-it-all doctors in such classics as Howard Hawk’s The Thing from Another World (1951) and The War of the Worlds (1953). Kevin McCarthy, the unforgettable fugitive on the run from the pod people in Don Siegel’s The Invasion of the Body Snatchers (1956), plays a uniformed General trying to coax the Mant! from the side of a Chicago skyscraper. William Schallert, a very familiar face on television screens and an occasional B-film actor with such titles as Port Sinister (1953) and The Incredible Shrinking Man (1957) to his credit, perfectly captures the spirit of a mad dentist who accidentally creates the Mant via an otherwise routine oral X-Ray having gone terribly awry. The ever dependable Dick Miller, a veteran of so many Roger Corman horror and sci-fi films of the 1950s and 1960s, does double duty here; he’s both a soldier in a Mant! crowd scene as well as one of two shills employed by the irrepressible Woolsey to drum up business. The second shill is another famous east-coaster, director-actor John Sayles (Return of the Secaucus 7, Matewan).

The desire to capture the sight and sound of those original 1950’s “atom age” shockers is abetted by Dante’s masterful use of musical cues from that era. Though the film proper would be evocatively scored by Jerry Goldsmith, it was decided that the Mant! sequences would make use of original themes found on the scores of such films as The Deadly Mantis, Tarantula!, The Incredible Shrinking Man, The Mole People, and It Came From Outer Space – amongst others. One of the LPs in the personal record library of film editor Marshall Harvey was Dick Jacobs and his Orchestra performing Themes from Horror Movies in Ghoulish High-Fidelity (Coral 757240). I can tell you from experience that this particular LP was an object of fetishistic desire, an item coveted by every twelve-year old boy perusing the Captain Company adverts in the rear of Famous Monsters of Filmland magazine. In a brilliant move, the filmmakers secured the rights to the Jacobs’ orchestrations of the works of such composers as Hans J. Salter, Herman Stein, William Lava and Henry Mancini to compliment the otherwise original Goldsmith soundtrack.

One will cheat themselves should they choose not to delve deep into this set’s menu of abundant supplemental materials. It’s of particular interest to see how the juxtaposition of one technician’s memories of the Matinee project contrasts wildly from another’s. Production Designer Steven Legler beams with justifiable pride regarding his soundstage mount of the interior of the Key West Strand Theater circa 1962. Having first worked with Dante as a member of the art department on The Howling, Legler’s concept theatre, as it should, appears not as a big city golden movie palace. It’s a modest, neighborhood bijou with over-hanging balcony, an unassuming cinema unadorned but for dullish wallpaper of brown mustard-yellow, threadbare carpets, seat cushions of faded red and sturdy cedar banisters. Legler’s attention-to-detail matches only that of helmsman Dante who obsessively decorates and reconstructs movie theater lobbies with vintage one-sheet posters and modest middle-class homes with period bric-a-brac.

For his part, Legler recalls scouring through the pages of vintage magazines and books to best replicate an unassuming movie house of 1962. The marquee built for the faux Key West Strand is gloriously unassuming and authentic in presentation: a bit dingy and weathered, but with a beckoning neon glow. Legler was so keen on conveying a sense of realism, that he was insistent about having a downward sloped floor built – an artistic choice perhaps, but one both financially and technically imprudent. It looks marvelous on screen, but DOP John Hora relates that Legler’s too-authentic replication of an actual movie house caused all sorts of technical difficulties for the camera crew. Though built on Universal’s brand-new soundstage in Orlando, Legler’s boxy design allowed for no breakaway walls to allow for unimpeded camera movements. Additionally, while the sunshine Key West locations bring an undeniable atmosphere to the film, Hora recalls that shooting on-site in Florida was something of a nightmare. As weather and natural light conditions were prone to sudden change, properly illuminating outdoors scenes was, at best, difficult and inconsistent.

Film editor Marshall Harvey also recalled the travails of shooting feature films in the Sunshine State. Though Universal had built several soundstages on site, the company was more deeply invested in the very profitable amusement park surrounding it. Orlando was, to put it mildly, simply not a media center ala Los Angeles or New York. The soundstages of Orlando were of bare bone construction. There were no on-site lumber supplies, no wardrobe or set dressing facilities, no prop storages, no camera departments or lighting barracks on site to utilize. Harvey recalled Universal Orlando was effectively barely a production studio at all. Most of the so-called “soundstages” were rented out to various local businesses for the purposes of meetings and events – not for the purposes of movie-making.

There were other unforeseen problems caused by shooting on location in Florida. In the interest of visual authenticity, the self-contained movie-within-the movie Mant! was to be shot – as it would have been in the silver age of 1950’s sci-fi - on black and white 35mm film stock. This wouldn’t have been a problem ordinarily, but since Florida had no laboratories capable of processing B&W film, all of the day’s rushes had to be first sent to New York City and couriered back for screening, thus causing delays. The stories shared here are both interesting and compelling, but ultimately the final product of the company’s efforts and labor are all that matter… and the resulting film is positively enchanting.

Shout! Factory’s amazing and lovingly assembled “Collector’s Edition” Blu Ray of Matinee is presented in 1080p High-Definition widescreen with an aspect ratio of 1:85:1 and in DTS-HD Audio Stereo. The set includes an absolutely mind-boggling and generous array of special features and supplements that total nearly three hours in bonus content: Master of the Matinee: Joe Dante, The Leading Lady: an Interview with Cathy Moriarty, Mantastic!: the Making of a Mant (featuring Jim McPherson and Mant! actor Mark McCracken), Out of the Bunker: an Interview with Actress Lisa Jakub, Making a Monster Theatre: an Interview with Production Designer Steven Legler, The Monster Mix: an Interview with Editor Marshall Harvey, Lights! Camera! Reunion!: an Interview with Director of Photography John Hora, Mant! The Full Length Version of the Film with Introduction by Joe Dante, and Paranoia in Ant Vision: Joe Dante Discusses the Making of the Film. Simply stated, this remarkable set is a film geeks dream. Fans of the film will have, presumably, already added this remarkable “Collector’s Edition” of Matinee to their home video collection. Those who have not yet discovered the timeless charm of Joe Dante’s most personal film will find they’ve been richly rewarded in doing so.
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‘That minute when the lights go down is the part where the magic happens, because you know this could be great. You’re always kind of excited, like, “Here I am again in the church of movies, and Mass is starting.”
— Joe Dante, interview with The AV Club

“Magic ticket, my ass.”
— Chief Clancy Wiggum

In 1993, movie audiences looking for a good time could go watch a movie about an audience watching a movie as a metafictional mutual parasitism between fiction and the real. Or they could watch a movie about an audience watching a movie as a metaphor for the benefits of fake bullshit in the face of real reality and the perils of real bullshit creating fake reality. They ultimately watched Jurassic Park.

But while the people behind both Last Action Hero and Matinee would likely tip their caps to the straight spectacle of dinosaurs — realistic yet fabricated, both by the plot of the movie proper and by the artists of the movie’s effects — munching the shit out of people, they were looking to plumb something deeper. Why do we watch these movies? What do they do to us? What do we do to them? Does it matter?

Enough with your baloney, pointdexter, let’s watch some movies.
Last Action Hero is one of the most notorious flops of the last 30 years. John McTiernan directing Arnold Schwarzenegger, with Shane Black contributing to the script — roadmap, etc. It would probably even beat out that Spielberg flick about the dinos! But it’s become a punchline instead, see above.

And while the movie is tonally all over the place, large parts of it are a joke — spoofing Arnold himself and the kind of action Black helped define. After young wiener Danny is transported into the latest flick in the Jack Slater franchise via the much-mocked magic ticket, he finds himself teamed up with a ludicrously violent Arnold who shoots sticks of dynamite (Acme, of course) out of the air and henchman into the air — this movie sets the record for airborne henchfolk — and on one occasion into an ice cream truck. Which promptly explodes. McTiernan previously shot action enhanced but straight in stuff like Predator, here he leans into the insanity without sacrificing clarity and the bloodshed is laughable but still entertaining as violence.

The parody runs thick at this point, in ways cleverly metafictional (Arnold Schwarzenegger does not exist in Jack Slater’s world, Sly Stallone starred in Terminator 2) and amusing but over the top (a roll call of increasingly wacky buddy cop partnerships at the police station culminates with Whiskers, a cartoon cat). A mafioso’s farting corpse — no boner — is a plot point. Danny helpfully and points out plot points and dramatic beats, the best bit comes when Jack’s partner is clearly evil because he’s played by F. Murray Abraham “and he killed Mozart!”

All of this is fun enough, but the darkness around the edges moves to the center as Jack and Danny follow the ticket-stealing villain (Charles Dance, having a blast channeling Hans Gruber) into Danny’s home of New York City. It’s a place where bums are robbed and whores are abused, where bad guys can kill with impunity and no cops immediately come to the rescue — a place that Danny wants to escape by watching movies, but in its dark shadings, wet neon and ostentatious grit is just as unreal and exaggerated as Slater’s world. But in this world, Slater can’t punch and shoot with action movie impunity, “reality” doesn’t allow for that. And when he sees a billboard advertising Arnold Schwarzenegger in the new “Jack Slater” movie, it’s clear reality doesn’t allow for him.
“How do you feel when you find out someone made you up?” Slater wonders. We saw earlier that Jack Slater saw his son die in his previous movie — at the hands of The Ripper (an absolutely terrifying Tom Noonan), but Slater realizes now at the hands of a scriptwriter and an actor, making him dance for the amusement of people like Danny. Danny and a friend try to cheer Slater up — there are worse things than movies, like sickness, pain, politicians even. You don’t have it that bad! But no one likes being a pawn, and it’s pretty easy to read a meta-commentary on the real Schwarzenegger here as he was clearly growing tired of the action genre. And Arnold the actor is affecting as a guy discovering he may not be a demigod but could actually be a man, his listening to the real Mozart on the radio after a franchise (an eternity?) of hard rock is delightful.

And of course, the intersection of pain and pleasure, the recursive genre flick, has Shane Black all over it. Danny’s life is not Dickensian but it’s fairly miserable, he needs Jack to make it better. But Jack does not have a life at all because of this, his battles and losses occur because people like Danny enjoy them, because it’s good drama. Toward the end of the movie, Jack meets Arnold Schwarzenegger and growls “You brought me nothing but pain.” It’s a dark and cutting moment, but Arnold is the instrument of Jack’s pain, the composer — Black — is not found in the movie and while you can feel Black’s guilt, he doesn’t own up to his role. The movie blinks

“Keep your eyes open,” schlockmeister Lawrence Woolsey tells young fan Gene during Matinee. He’s talking about watching the scary and uncomfortable bits of scary movies, but there’s another layer to his advice. While Last Action Hero uses metafictional fantasy to combine action fantasy with “reality,” embracing the implausible to try to express truths, Matinee’s story contains multiple levels but is entirely plausible. A bunch of kids want to see the coolest movie in town, being shown by a huckster with more gimmick than filmmaking skill, while the world is coming to an end. That last bit really happened.
One of these movies is unfortunately a faux live-action-Disney turd (The Shook-Up Shopping Cart, a small masterpiece of body swap as excruciatingly wacky mugging and flat physical comedy), but the real attraction is coming in a few days — Woolsey’s MANT! Half man, half ant, all terror! Woolsey is an obvious riff on B-movie king William Castle and he and long-suffering partner Ruth (the sublimely deadpan Cathy Moriarty) begin to modify the theater with gimmicks in the hopes of impressing an agent who can book them nationwide. And he may have tapped into something with his tale of a man-ant mutated by nuclear radiation that is filmed in ATOMO-VISION, which puts you right at ground zero — “Not a safe place to be,” Woolsey intones at the start of the picture, “but today there is no safe place to be.”

Danny begs Jack to stay in the “real” world — he’s real to Danny, dammit — but Jack knows better. “I need you out there to believe in me.” Last Action Hero codifies a pact — we accept unreality because we need it in our lives, and we lend it the very real belief it needs to effectively enter into our lives. The outsize lives of the people in the films and who make them are their reward, living as our entertainment their curse. The funniest part of the movie comes early on, when Danny’s English teacher posits Hamlet as the first action hero and Danny fantasizes about Arnold in the title role (“To be or not to be?” *tosses grenade* “Not to be!”) Black and the other screenwriters are getting snarky here but also making a point — this deal between the dramatized and the dramatists and their audience has been going on for a long, long time. Real creating the unreal, unreal giving succor to the real.

Death...but not for you.

And it of course has seats shaking in Rumble-Rama, which causes the theater manager to think the bombs have dropped and seal off his bomb shelter. Gene and Cassandra briefly wind up stuck in there, after a run-in with a local hood hired to wear a Mant-suit and menace theatergoers who winds up legitimately assaulting a patron for going out with his girlfriend. Movie and reality collapse in on each other, with Woolsey going for the big bang at the end — his movie ends in a nuclear explosion that appears to set the screen itself on fire. The crowd loses its shit and rushes out of the theater to find … nothing but clear skies. They’ve seen (and in some cases lived) the unreal version of the real and survived. And as we soon learn, the real apocalypse has been canceled. Life will return to normal, and the first thing patrons want is to see that movie again.

In the end, Last Action Hero wants to lose it at the movies, to fall into the unreal through all of the real’s senses because the real is not enough to bear on its own. Joe Dante is a guy who loves the movies more than anyone I can think of. But he loves them enough to know that movies end. That you can illuminate the real with the unreal in a dark room, but that the lights eventually come up. But maybe you can see a little better.

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Eerie Indiana

May 2025

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