Manos: The Hands of Fate

IntroSequelHooks

A sequel hook is that very ambitious moment at the end of a movie where it boldly hint at a second film. While some can give the audience chills (think the ending of Batman Begins) there are a whole lot of them that end up becoming an embarrassment – usually when the film ends up bombing and ensuring that a second helping won’t be needed. Then again, when has a movie being bad stopped sequels from happening? I propose the following eight – ridiculous hooks to sequels that they really ought to have done, if only for the morbid curiosity.

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When Ben Solovey last checked in, it was with a busted print of Manos: The Hands of Fate and the high hopes that someone would give a damn about the infamous cult classic enough to help fund an effort to see it restored. He asked for $10,000, and he got $25,000. It turns out that a lot of people care about this movie enough to see it saved. His Kickstarter campaign has officially been kickstarted which means that the restoration will happen, and with it come a 2K to 35mm film-out preservation negative (meaning even more Manoses can be born), a commentary track featuring surviving cast members will be recorded, and a doc about the process to save the movie will be made and added to the DVDs and Blu-rays. That’s right. There’s going to be a Blu-ray of Manos: The Hands of Fate. Let that massage in for a second and rejoice!

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This week, on a very special episode of Reject Radio, Ben Solovey explains why he’s personally restoring a 16mm print of Manos: The Hands of Fate, one of the worst movies ever made. Plus, I Melt With You director Mark Pellington talks drugs and demons, and it’s Fat Guy Kevin Carr versus Geek Tyrant editor-in-chief Jim Napier in a Movie News Pop Quiz that will change everything forever and ever. Download This Episode

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Culture Warrior

The Room is different from other bad movies. Anybody who has seen it knows this. Its success is so potent, and the film is so rewatchable and addictive because it resides in an exclusive liminal space between the token wonderfully bad genre movies (e.g., Plan 9, Hobgolbins, Troll 2, and everything in between) and infuriatingly incompetent beyond-amateur crap like Manos: The Hands of Fate or Birdemic. The Room is so incredibly unique in part because, at a $6 million investment from the enigmatic Tommy Wiseau that covered everything from production to advertising, this is bad filmmaking on a relatively “large” scale. With The Room, Wiseau found himself in the impossible position of being able to – as the film’s sole source of funding – exercise total creative control while simultaneously displaying unwieldy incompetence regarding the entire filmmaking process.

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