Beautifully photographed, dazzling action scenes, kick ass music and a very handsome leading man. I threaded the projector and starred the fUm, and what I saw was one of the most original B movies I'd ever run across.
#PLOR TO SUBURBIA GAME MOVIE#
Movie was in 'scope-that is, in a nice widescreen format-it was going co at lease look good even if the movie itself was mediocre.
One week at the Broadway we playedĪway, bur then, as I was building the print, I realized it
Torium played the most obscure of the B movies-Grave ofthe The fourrh audi Vampire, for example, or We had the bigger Hollywood movies in the main auditorium, and the remaining screens usually played curious double-bills like Attack ofthe Killer Years, and since it was a non-union job I also worked the candy counter. Ir had lost irs lusrre and was eventually renovated co become a four-plex. The Broadway, my theatre, was, naturally, situated on Broadway. They were weird, creative and unpredictable. I saw everything that came out-but I usually seemed ro dig the B horror flicks the most. Most of the time I sar alone in these auditoriums, as my friends, who had no idea why I mighr wanr ro sit and watchĮat My Dust back-ro-back with Crazy Mama, refused to join me. Since I saw these movies on the Saturday and Sunday marinee screenings, and the Rose Moyer was so new and rarher remore, rhey usually had very few customers. For this one, the theatre had to be pictures like Charles Band's white British importĮquipped with a special stereo sound system called INFRA-STEREO or something like that. It was brand new, and they played genreĬrash, Death Race 2000, The Young Cycle Girls, the black-and The Fiendish Ghouls, And Now The Screaming Stops, The Day After Halloween, and my personal favourite, Infra-Man. Sixplex in the Portland suburb of Gresham. My favourite multiplex was the Rose Moyer bills on the order of hack with Screams ofa Winter Night and Beyond Atlantis or Zombie back-to Up From the Depths or even Tourist Trap paired up appropriately enough with Wes Craven's classic The Hills Have Eyes. I grew up in the multiplex theatres that dotted Portland. I worked in the Broadway Theatre-one of those Grand Old Movie Palaces that typically populate the downtown centres of most major North American cities-bur I could use my passes at any cinema in the Luxury Theatre chain.
#PLOR TO SUBURBIA GAME FREE#
Oregon, working in a movie theatre was the closest thing to it-and I got free passes as well. IT TAKES A NATION O F HosERS To HoLD Us BAcK (2000 and onward) "You SHOULD KNOW HOW BAD THIS MOVIE IS ĪFTER ALL, YOU PAID FOR IT." (1975- 1977) IV.
Tab.fe of Contents FORWARD by David DeCoteau If anyone knows of these conditions nor being mer, they are urged to contact the publishers. Images in rhis publication and believe they have mer all conditions of c opyright. The publishers have made every effort ro conracr rhe Horror films-Canada-History and criticism. Includes bibliographical references and index. Book design by Steph Whitehouse/Public Image Narional Library of Copyriglu C 2004 Cadum Varnsdal Arbeiter Ring Publishing 201£♱21 Osborne St.Ĭanada R)L IY-4 Printed in Canada by the worken at Kromar Printing Ltd.
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