The Blob

The Blob 1958

Anytime I’ve been asked about movies that should be remade, I’m pretty sure I’ve brought up The Blob. It’s the perfect property to go through the recycle bin, and this is coming from someone who likes the 1958 original and even more so the underrated 1988 version. It’s a horror scenario involving a gelatinous mass that rolls around and engulfs people. There’s an iconicity to the creature but not in a way that’s necessarily assigned to a time or storyline or anything else that fans can really take to their hearts. It could be redone at least once a generation, if not once a decade. So, I welcome the announcement that another remake of The Blob is finally on the move, and am fine with the choice of Simon West to helm this baby. The director of Con Air, Tomb Raider: Lara Croft and The Expendables 2 is hardly a great talent, but neither is Chuck Russell (’88), nor was Irvin S. Yeaworth Jr. (’58) before him. He’ll do nicely, however, if the idea is to do something that doesn’t take itself too seriously, unlike what Rob Zombie had planned when attached to a Blob remake years ago.



“Movie Houses of Worship” is a regular feature spotlighting our favorite movie theaters around the world, those that are like temples of cinema catering to the most religious-like film geeks. This week, reader Patrick Costello highlights one of his favorite theaters. His comments are those quoted. If you’d like to suggest or submit a place you regularly worship at the altar of cinema, please email our weekend editor. The Colonial Theatre Location: 227 Bridge St. Phoenixville, PA Opened: 1903, as “The Colonial Opera House” — the first stage show was held September 5th and the first film program shown December 19th. After changing ownership through the decades and then a few years out of commission in the 1990s, it was restored and re-opened on October 1, 1999. No. of screens: 1 Current first-run titles: None, although they are currently showing the Oscar-nominated shorts (including the documentaries, which screen tomorrow night) and screen second-run films like This is Not a Film, which is showing this afternoon. And Silver Linings Playbook begins on February 15.


Candy Corn Oreos

Welcome back to Junkfood Cinema; the only thing we haunt is casino breakfast buffets. You’ve arrived at the most unsettling of bad movie columns on the perfidious den of wickedness known as the interwebs. Every week we present for your viewing displeasure a particularly ghastly piece of cinematic schlock unearthed from the vaults of unspeakable horror (alias the Rubbermaid trash can full of VHS in the garage). As we force your unsuspecting eyes to behold the nightmarish horrors of the movie’s shortcomings, we cackle with sinister delight. We go so far as to then reveal our morbid appreciation for said filmic abomination. To top off the torture, we will force a fiendishly tasty snack food, themed to the film, down your cowering gullets. This boys and ghouls, is Junkfood Horror. October is the month that everyone watches horror movies. From the hardcore weirdos to the sissiest of sissy babies, for at least a few weeks, we all enjoy a good scare. As we sit on the front porch of Junkfood Labs, devouring bag after bag of “fun”-sized Snickers because the trick-or-treaters apparently won’t be showing up for several hours, and several days, it occurred to us that there is really no getting away from the horror genre. When November 1st arrives, you can lock away all your copies of The Exoricist and Amityville and Maid in Manhattan, but the irrepressible evil there contained will not relent. “Oh wait,” you say interrupting my column with your smelly internal monologue, “I can […]


Movie Goo

Mmmm. Grab a snack and get ready for some hot viscid action because we’ll be talking about movie sludge today! We’re talking creeping and colorful gunk – the thicker and scarier the better. Why? You ask? Because behind every adult – every respectable member of working society – is a little kid, morbidly fascinated with the creepy and slimy. This is why Reality TV thrives like it does.


Carnival of Souls

Flesh for Frankenstein and Blood for Dracula. Island of Lost Souls. The Most Dangerous Game. The Night of the Hunter. The Blob. For a company perhaps best known for releasing pristine editions of international arthouse classics, The Criterion Collection certainly has a healthy amount of cult films in its repertoire. Cult cinema is often a difficult beast to recognize, for such films avoid the roads best travelled in their journey towards recognition and renown. Unlike seminal films in the collection including The 400 Blows, 8 ½, or Rashomon, cult films aren’t typically met with immediate cultural or institutional recognition upon release, aren’t made by internationally-recognized talent, and don’t always have an immediately traceable history of influence. That is, however, what makes cult films so interesting and so valuable: they emerge without expectation or pretense and signal the most populist and anti-elite means by which a film can gain recognition, pointing to the fact that there are always valuable films potentially overlooked between the pages of history. Herk Harvey’s low-budget drive through horror masterpiece Carnival of Souls (1962), like many cult films, emerged into the top tier of film culture in some of the unlikeliest of ways. Harvey was an industrial and educational filmmaker; the $33,000 Carnival was his only feature work. The film had ten minutes lobbed off of it for its drivethru run to fit more screenings, and was largely a non-event when it first graced American screens. Carnival’s success is owed mostly to genre film festivals, late-night television […]



In 1960 Alfred Hitchcock released Psycho, oft-credited as the film that brought the horror genre out of the predominance of drive-in culture and into the realm of serious cinema, at least domestically since the early days of James Whale and Tod Browning. It’s the film that validated horror as a category thematically capable of producing accomplished art. Two years prior a film was released that was very much intended for the drive-in crowd with all of its conceptual silliness (a giant glob of jell-o envelopes humans and grows exponentially as it devours) may not have left as prevalent a mark on cinema history as Hitchcock’s masterwork, or even some of its popcorn entertainment contemporaries like Invasion of the Body Snatchers, but where Psycho progressed the genre forward in artistic cinematic inclusiveness and Body Snatchers (as well as many others from prior decades) solidified its usage as powerful allegory The Blob accomplished multiple feats that in hindsight can make one wonder whether or not the minds behind it were, like the the film’s antagonist, not of this world. The Blob, fifty-plus years after its release, seemed to have been made by either soothsayers or time-travelers. How’s that for science-fiction?



This week, on a very special episode of Reject Radio, we invite Fat Guy Kevin Carr to give his opinion on a truly horrific weekend of bad releases. Also, we talk about the movies that came out.



Rob Zombie’s newest abortion horror film, Halloween 2, hits theaters today but he’s already deciding what to screw with next. A third Halloween perhaps? An original horror film? A movie with real characters instead of white-trash caricatures? What’s a shtick-rocker turned shit-director to do?


Admit that you're looking up her skirt.

Is there anything more worth celebrating than B-movies of the 1950s? The aliens, the UFOs on strings, the rubber-suited monsters. There’s nothing else like it in cinema, and the genre is back in the spotlight with this week’s releases.



Our scoops about The Blob just keep on coming…



Sources from inside the production confirm for us that The Blob is in, and he is “huge”.

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published: 01.28.2015
published: 01.28.2015
published: 01.28.2015
published: 01.27.2015

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