easy like Tuesday mornin'

Look at me, making a new choice for the next installment of the Film Club so quickly. 99% of you have probably already seen this one, but somehow it's always slipped under my radar. That's right, folks, I've never seen John Carpenter's Prince of Darkness! Gasp, shock, awe.

The title is available from Netflix, and I'll have the info posted on the right sidebar as a friendly reminder to both you and me.

The movie: John Carpenter's Prince of Darkness
The date: April 30

In other news, check out this George Romero interview- link courtesy of the always-awesome Amanda By Night. Good ol' George! He rips into just about everything, from video games to Hollywood and back again. I love George Romero. I don't love all his movies- I mean, yeah, there's the zombie stuff, but there's also Bruiser, you know?- but I love love LOVE his attitude. For better or for worse, he's one of the very last true independent filmmakers out there- and to me, that makes even stuff like Bruiser enjoyable on some level. At least you know he's not in it simply for the paycheck.

Reading that interview bummed me out a bit, though, because it got me thinking about all the ways filmmaking has changed in the last 30-odd years. On the one hand, anyone can make a film today- scrape together a teeny bit of money for a camera and some editing software and you're good to go. Much like the facts of life, however, this is both good and bad. It's equal opportunity, but at the same time the days of getting funding for a feature film are pretty much over- and the chances of your indie feature making it into theatres are negligible as well. You read about guys like Romero and Hooper and Carpenter and how their early films- their masterpieces!- got made and...I don't know, little naive Final Girl wishes it was still possible. Someone agrees to finance you, you make you film with a group of like-minded individuals, and it gets shown on a few screens- drive-ins and Times Square porn theatres to start. And yes, I know there's no porn theatres left in Times Square, but go with me here.

And these kids- what's with their music today?

There's also a link in that Romero interview which takes you to his Resident Evil screenplay. Yes, if you want to know what would have happened if Romero had been handed the keys to Capcom's zombie franchise, then click here. The Master of Unlocking commands you!

For those of you too lazy to read the script, well, I've gone ahead and done it for you. All in all it's fairly true to the game- or at least, the elements are in place. Here's a quick, uber-nerdy rundown:

-Jill and Chris are lovers. OMGLOL!!111!WTF
-Jill is a member of STARS, Chris is not. He's a Native American superstar who runs a farm near "the old Arklay place"
-Wesker leads a group of STARS members into the mansion to retrieve Dr Marcus, the man who holds the antidote to the pesky zombie virus plaguing Raccoon City- which, of course, is now located in Pennsylvania
-the group heads into the laboratories underneath the mansion but finds that Marcus is now zombified himself; they continue their search, but Wesker has other nefarious plans
-the film would end almost exactly as the game ends- the keywords being rocket launcher, helicopter, Tyrant
-all your Resident Evil pals are in place: Jill, Chris, Barry, Wesker, Rebecca, Ada Wong, the Tyrant, the Hunters, the giant snake, and Plant 42. And yes, there are zombies.

All in all, I think it would've been a big fat nerdgasm. As a film, however, well, I didn't come away thinking it would be that great. It's a little videogame-walkthrough-ish...A to B and back again. This is just based on reading the screenplay, though, so who knows. It probably would have been fun, and he didn't skimp on the monsters- I mean...Plant 42!

Not so long ago, The Horror Blog posted the Japanese commercial for Resident Evil 2 directed by Romero. Again, it's true to the game, I'll say that much. I think there's more zombies in that commercial than there were in Resident Evil: Apocalypse.