Looking Back at "The 4:30 Movie"

If you grew up in the 1970s, well before the days of DVD, VHS, cable, and internet streaming, and long before almost every movie or TV show was a click away, you had to watch your favorite genre movies when they were shown on regular TV. For science-fiction and horror fans in the New York area, this meant viewing programs like Chiller Theater on WPIX and Creature Features on WNEW, but there was another place to catch films like the Planet of the Apes saga, The Omega Man, Godzilla vs. the Thing, and The Blob. It was a show where you could see one of these films each weekday after you got home from school! Of course, I’m talking about WABC’s The 4:30 Movie. This much beloved weekday afternoon movie showcase ran from 1968 until 1981. The 4:30 Movie began as a two-hour program, but about a year into its run, settled into its more famous 90 minute format.

The 4:30 Movie would often broadcast theme weeks dedicated to a particular actor, genre, or film series, so there would be a Jerry Lewis Week, Elvis Presley Week, John Wayne Week, Beach Party Week, or Secret Agent Week. But what really made The 4:30 Movie beloved by genre fans of a certain age were things like Planet of the Apes Week, Vincent Price Week, or the ever popular Monster Week. After doing your homework, you could plunk down in front of your TV, and see Charlton Heston in Soylent Green, Ray Harryhausen’s incredible stop-motion creations in Mysterious Island, or giant monsters terrorizing Japan while battling it out in Frankenstein Conquers The World. The local editions of TV Guide used to run a lot of clever and often humorous ads for the movies running during those theme weeks.

 

The 4:30 Movie was an essential component in my development as a film fan, and it helped shape and inform my love of movies. As a devotee of fantastic films, The 4:30 Movie was the place where I first got to see movies like the Roger Corman helmed Poe adaptations, such as The Pit and the Pendulum, the original The Fly, the Hammer thriller The Gorgon with Christopher Lee and Peter Cushing, and Journey To The Center of the Earth with James Mason, which like many films with longer running times, was split into two parts. Because of the 90 minute format of the program, most movies were edited to fit into that time frame. But if a film had an even longer running time, it would be split into two parts. The second part would begin the next day with an off screen narrator recapping the events of part one over the film's credits, and the movie would then start about fifteen minutes to half an hour from the close of the previous day’s installment.

The 4:30 Movie wasn’t just about sci-fi, fantasy and horror films. You could check out classics like The Great Escape, Ben-Hur, and indulge in other theme weeks, including Caper Week, Romance Week, Suspense Week and Western Week. The program also screened the TV movies compiled from the short-lived Planet of the Apes TV series, featuring new introductions filmed by Roddy McDowall, who had played Galen in the show, and had portrayed Cornelius and Caesar in the Apes films. That was worth planning your afternoon around! For a burgeoning film buff like myself, The 4:30 Movie was a go-to destination to see movies back in the day. It was a little sad to see the show end its run in 1981, when the expansion of local TV newscasts and the expanding cable and home video market took its toll on the broadcast of movies by local stations. You can watch the program’s memorable and iconic opening of The 4:30 Movie following this link: https://www.youtube.com/watch?v=2es-lfRSDOI.

Caught Up In "The Grip Of It"

Moving into a new house can be a daunting task, but its usually an exciting and positive event. In Jac Jemc's extraordinary and eerie novel, The Grip Of It, James and Julie, a young married couple, purchase a house in the country, in order to escape the big city, and put the problems caused by Jame's gambling addiction behind them. What they don't know is that the house contains a supernatural presence that will threaten their already tenuous relationship.

The chapters of the novel alternate between the points of view of Julie and James, who tell the story of the frightening events they experience from their own perspectives. Much like the locations in classic tales of terror like Shirley Jackson's The Haunting of Hill House, Richard Matheson's Hell House, and Stephen King's The Shining, their new home is alive, and the effect it has on the couple will shatter them both mentally and physically, particularly in Julie's case. She suffers from the appearance of mysterious bruises on her body that change in size and location, and has some severe hallucinations.

The house seems to have a mind of its own, with strange writing appearing on the walls, previously unseen rooms and pathways opening up, and there are odd noises which occur on a regular basis. Julie and James also both experience instances of lost time. When James begins to dig into the history of their new home, he finds out that its past is plagued with troubling incidents. As the strange and otherworldly occurrences begin to multiply in number and intensity, the couple begins to suspect one other of being behind them.

The Grip Of It is an unsettling thriller that builds up to a powerful climax. This isn't just a tale about a haunted house, it's a story of a haunted relationship. Jemc's superb prose effectively conveys the fractures between Julie and James. You can feel the severity of the stresses caused not only by the supernatural forces beset them, but from the cracks that already exist in their relationship. Could it be that the problems between them are the cause of this haunting, or is the house using the issues in their relationship against them? There are no easy answers in The Grip Of It, but if you're a fan of literate chillers and exceptionally told tales of the darkness lurking within, check out Jac Jem's terrifying novel.

Marc Platt's "Golden" Reflections

If you're a regular reader of this blog, you've no doubt come across my previous posts regarding the superb work of singer-songwriter Marc Platt. He's released some terrific albums in the last couple of years, including Dis Time It's Poisonal and Colors of The Universe. He's back with The Golden Ticket, the follow up to this past April's That Midlife Thing, and like that excellent record, this latest album finds him in a reflective mood. While That Midlife Thing featured Platt's ruminations on middle-aged men and the emotional territory we all navigate these days, The Golden Ticket widens its focus to take a look at the state of the world we live in, and how that world has changed in the last few years.

Tracks like "The Fighting Americans" and "Banana Republic" deftly examine the current political and ethical landscape. We are living in a much different world right now, and the insightful commentary contained in these observational songs really hits home. Whatever side of the fence you're on, you can't deny the feelings these tracks will stir up in you. It's refreshing to see an artist as accomplished as Platt put himself out there on songs like these, which aren't the last bit preachy, but definitely get their point across.

While Platt takes a look at some weighty issues on The Golden Ticket, he hasn't forgotten about the type of music that's his forte. The album also includes several of the thoughtful songs about love and relationships that are the hallmarks of his best work. Give a listen to exquisite selections such as "All My Life," and "When Love Has Gone Wrong." Those tracks, and the evocative "Extraordinary" and "Watching You Sleep," are expressive, powerful songs that deftly examine the complex nature of modern relationships. These poignant songs will touch your heart and infuse themselves into your spirit. For Marc Platt, there's always a ray of light, even in the darkest moments.

 

The Golden Ticket closes with the Dylan-esque, folk-inflected "God Owes Us Nothin," which in my opinion, is one of the best songs Platt has written to date. Like many of the tunes in his oeuvre, it has a definite 1960's vibe, but still manages to sound fresh and up to date. As usual, Platt's vocals and guitar work are top notch, and he's also done a masterful job producing the album. The Golden Ticket is a great record, and like Marc Platt's previous work, absolutely deserves your time and attention. Check out the tracks on the album at https://marcplatt.bandcamp.com/. Here's a link to the video for "Dark Side," the opening track of the album: https://www.youtube.com/watch?v=iXaf2pDqBno.

The Night House: A Tale of Love & Death

Do we really know everything our spouses? As director David Bruckner's The Night House opens, Beth is grieving after her husband Owen suddenly commits suicide. There seems to be no reason for his actions, and she's lost her moorings, drinking heavily, poring over pictures and going through his things, trying to find an explanation. Strange things begin to happen in the house they shared, which Owen built for them. Beth begins to suspect these events are supernatural in origin, and may be tied to a near death experience from her past.
 
Beth finds evidence that Owen may have had a secret life, and discovers an odd, reversed floor plan of their house among his things. Was Owen really the man she thought he was? As the layers of the story are unraveled, we learn things about both Beth and Owen which shed a different light on their relationship, and the haunting events that are plaguing Beth. Is Owen returning from beyond death to warn her about something, or are there other forces at work here? What is the real truth of Beth and Owen's relationship?

 
The Night House is a compelling thriller, written by Ben Collins and Luke Piotrowski. It's a thoughtful and intriguing look at the bond between couples, intertwined with an eerie tale of the supernatural. It's a powerful story that's as much about the intensity of the relationship between Beth and Owen as it is about deeply scary moments. The film mostly takes a more reserved approach than some modern horror fare, though there are some jump scares and a couple of frightening set pieces. The movie also has a great visual style, thanks to director Bruckner and cinematographer Elisha Christian.


The cast in The Night House is first-rate. Sarah Goldberg and Vondie Curtis Hall as Beth's friends and Evan Jonigkeit as Owen are excellent, but this film belongs to Rebecca Hall. Hall, who's been terrific in movies like The Town, is superb here, anchoring the film with her dedication to the central role. You can feel the intensity of every emotion that Beth feels, see it in her face and in the way she moves, and hear it in the way she speaks. It's a bravura performance, and if there was any justice, Hall would have won several trophies for it, though most awards shows don't give out accolades for genre films.

 
The Night House is an atmospheric thriller that's well worth seeking out for horror and suspense fans looking for something a bit different on movie night. Director David Bruckner also helmed the upcoming re-imagining of Clive Barker's Hellraiser, so if you want to see some of his earlier work, you can start here. If you enjoy movies like The Sixth Sense and The Others, or well-produced tales of ghostly happenings, eerie occurrences, complex relationships, and love after death, then seek out this film. The movie is currently streaming on HBO Max, and is also available on Blu-ray and DVD. Here's a link to the trailer for The Night House: https://www.youtube.com/watch?v=2Tshycci2ZA.

Last Night In Soho: Darkness in 1960s London

Sometimes viewing the past through the haze of a romantic prism leads to a harsh dose of reality. That’s just what happens to aspiring fashion designer Eloise “Ellie” Turner in director Edgar Wright’s thriller, Last Night In Soho (2021). Ellie has an idealized view of London’s fashion and culture, thanks to her grandmother, Peggy, who raised her after Ellie’s mother died when she was just seven years old. Peggy has told Ellie stories of the old days in the “swinging London” of the 1960s, and Ellie loves playing her grandmother’s old records, listening to the likes of Dusty Springfield, Cilla Black, and The Walker Brothers. When Ellie journeys to London to study at the city’s prestigious College of Fashion, she expects to have a great adventure and become a star designer. Instead, she becomes embroiled in a terrifying mystery that has its roots in the past times that she loves so much.

When her living situation at the dorm proves to be less than ideal, Ellie rents a upstairs room in a flat owned by an elderly lady named Ms. Collins. She begins to have vivid dreams of London in the 1960s, in which she shares the experiences of a young singer name Sandie, who’s trying to break into the music business. Sandie becomes enthralled, and later manipulated, by a calculating man named Jack, who isn’t quite the helpful guy he seems at first glance. As Ellie’s dreams get more frightening and intense, her life and Sandies start to intertwine. Her dream world spills over into her real life, and Ellie realizes that Sandie may have been murdered in the past. But how can she convince her friend John or the police that her experiences are real? Since her late mother had a history of mental illness, will everyone assume that Ellie’s going mad? 

Last Night In Soho is an intense, stylish thriller that is worlds apart from director Wright’s previous works, which include Shaun of the Dead, Scott Pilgrim vs. the World and the hyperkinetic action thriller Baby Driver. Last Night In Soho is a visually dazzling film, thanks to Wright’s excellent direction and the superb work of cinematographer Chung-soon Chung. There are several striking sequences in this compelling mix of murder mystery and ghost story, including a scene where Sandie descends a staircase in a club, and Ellie is reflected in the mirror along the stairs. Much of the story deals with the duality of images and the harsh truths behind what you see in the mirror, as even Ellie begins to question what she's really seeing in her lucid dreams.

The costume design is excellent, and the recreation of 1960s era London is very well done. As with Wright's previous work, the soundtrack is fantastic. He and his crew have carefully selected songs that evoke the era, including music from Dusty Springfield, The Searchers and The Kinks. The cast is fantastic, with Thomasin McKenzie doing a fine job conveying Ellie's wide-eyed vulnerability, and Matt Smith offering a chilling portrait of the manipulative Jack. Anya Taylor-Joy, who was so good in The Witch and the Netflix series The Queen’s Gambit, is a revelation as Sandie. Not only does she fully embody the part of a 1960s ingenue with dreams of pop stardom, she even sings in the film, performing the Petula Clark classic “Downtown.” As an enjoyable bonus for fans, a trio of British actors who rose to fame in the 1960s are featured in the film; Terence Stamp, Rita Tushingham and the late Dame Diana Rigg, who plays Ms. Collins.

Last Night In Soho is an eerie, thrilling tale of psychological terror. While it celebrates the pop art world of 1960s London, the film also effectively conveys the darker, misogynistic streak beneath the glitter and flash of the era. Wright pays homage to several directors, including Alfred Hitchcock, Roman Polanski, Brian DePalma, and Mario Bava and his use of rich colors in his giallo films. There are also nods to classic tales of terror like The Innocents, Carnival of Souls, and Suspiria, and 1960s era British dramas like A Taste of Honey and Beat Girl. While it falters a bit in its final act, Last Night In Soho is an absorbing film, and worth checking out for thriller fans and cinephiles. The movie is now streaming on HBO Max, and is also available on Blu-ray and DVD. Here’s a look at the trailer for the film: https://www.youtube.com/watch?v=AcVnFrxjPjI.

Gus Moreno's Unsettling "Thing Between Us"

In the best tales of horror and the supernatural, the most frightening demons are the ones that manifest inside ourselves. In Gus Moreno’s offbeat debut novel This Thing Between Us, the nightmare begins when Thiago and Vera, a married couple in Chicago, move into a new condo. They hear odd noises at night, which could be caused by their inconsiderate neighbors, but they also experience a number of other strange occurrences. Sometimes, the couple hears scratching in the walls. They believe they might have rats, but an exterminator doesn’t find anything. At first, these disturbances seem fairly innocuous. Then, their Alexa-like smart speaker, Itza,  starts talking to someone who isn’t there, ordering things they never bought from online retailers, and playing music at all hours of the night. When the couple looks into the history of their home, they discover that the previous tenant was a mysterious old woman, who just might have performed occult rituals there.

Tragedy strikes when Vera dies after being knocked down some stairs by a thief fleeing a crime scene at a subway station. A grief-stricken Thiago decides to leave Chicago and move into a remote cabin in Colorado. As you might imagine, this turns out to be a very bad decision. The supernatural forces which have taken hold of Thiago aren’t ready to let go, and his sanity begins to crack. His downward spiral continues, and the deep sense of loss he feels allows whatever entity is haunting him to gain a deeper hold. As things escalate, and darker and bloodier events occur, Thiago wonders if his own actions are the real cause of all the tragedy that he’s experienced. What is real, and what is imagined? Will he become a prisoner of the darkness inside his own mind? Will the cost be his soul, as well as his sanity?

This Thing Between Us is an eerie and unsettling tale, told by Thiago as he relates the story of the harrowing events that befell Vera and himself. It’s a powerful portrait of a marriage shattered by tragedy, and how loss can fracture our sense of self. Moreno also brings a cultural dimension to the story, as the criminal that causes Vera’s death is an illegal immigrant, and Thiago’s own family history has ties to the experience of being a stranger from across the border. The novel also raises the issue of just how intimately entwined we are with technology and social media these days, and how being so connected  to it can be both a blessing and a curse. There are some truly terrifying sequences in the Colorado portion of the story. Fans of Stephen King, H.P. Lovecraft and Arthur C. Clarke’s 2001: A Space Odyssey will notice some very clever homages to their work. The dark terrors experienced by Thiago have a deeply Lovecraftian element.

Moreno’s fine writing deftly escalates the sense psychological unease and impending doom felt by Thiago. While he’s the most well drawn figure in the book, it’s interesting to note how he relates to (and views) the other characters, especially Vera, and his mother in law, who becomes important  in the second half of the story. Is what we experience of the other characters less trustworthy because we view them through Thiago’s eyes? As a reader, you do feel a deep sense of sympathy for, and empathy with, Thiago. But could he be an unreliable narrator? Is the darkness calling to him, or was it within him all along? Once you finish this intense, disturbing and emotionally shattering novel, you’ll have to make up your own mind. One thing is for certain. Once you finish this chilling tale, you’ll never look at your Alexa the same way again.

Ken Sharp’s "I'll Remember The Laughter"

Ken Sharp is the gifted musician behind such excellent albums as Miniatures and 1301 Highland Avenue, and the author of a number of fine books about rock and roll, including Starting Over: The Making of John Lennon and Yoko Ono’s Double Fantasy and the Play On! Power Pop Heroes series. His latest record, I’ll Remember The Laughter, may just be his best work yet. The album features 50 tracks, which touch upon a number of musical styles, including power pop, glam rock, classic soul, 1960s style pop, 1970s rock and even a touch of folk.
 The songs feature a kaleidoscope of emotions, from joy, sadness, and the wistfulness of remembering times gone by, to loves lost (and found again) and the lasting power of true friendship.

The record kicks off with the marvelous “Maybe Next Summer,” which wouldn’t sound out of place on a classic Beach Boys record. The first disc also features the swirling, power pop-inspired “There Goes My Sanity” and “Lady Godiva” which sounds like a lost tune from Bread or America, circa early to mid 1970s, right down to the effervescent guitar work. Then there’s the gorgeous “Cracking This Heart Of Stone,” one of several tracks on the album where Sharp indulges his inner soul man. I think it’s one of the best songs he's ever written, and it’s a high water mark on an album that’s filled with brilliant tunes.

I’ll Remember The Laughter is bursting at the seams with a host of marvelous songs, including the 1960s garage rock style “Sock It To Me,” the gentle pop/rock swing of “42nd Street,” and the lovely, 1960s pop-infused “Baby It’s Just A Matter Of Time.” From the Raspberries-style power pop of “It Pays To Be A Rock and Roll Star,” to the guitar-oriented rock sound of “No More Silver Linings” and “Shut Out The Lights,” there are few pop, rock and soul genres that Sharp doesn’t masterfully (and successfully) tackle throughout the album’s expansive track list. There's even a tribute to the late Dennis Wilson of The Beach Boys on the sublime "Dennis."

I challenge you to listen to fantastic selections such as the joyously soulful “Philly Get Back,” the shimmering “Great Big Memphis Sky,” the California rock vibes of "Somewhere South of San Diego" and the awesome 1970s infused anthem “Wrote a Song For You,” without reaching for the replay button. In addition to the dazzling original compositions on the album, there are also several covers featured on I’ll Remember The Laughter, including a pop-tastic version of The Who’s classic “The Kids Are Alright,” an enchanting rendition of Davy Jones’ “Girl” and an outstanding interpretation of “Mr. Make Believe,” a track from Gene Simmons’ 1978 self-titled solo disc.

If that’s not enough to grab your attention, the disc also features Sharp taking on a pair of tunes from Rick Springfield’s 1973 disc Comic Book Heroes, the title track and “I’m Your Superman,” with Springfield himself providing backing vocals. Other guests on the album include Roger Manning of Jellyfish, as well as Rob Bonfiglio and Probyn Gregory, both of whom have toured with Brian Wilson. Co-produced by Sharp and Fernando Perdomo (who also appears on the disc), I’ll Remember The Laughter is a magnificent record that will bring great pleasure to rock, pop and soul fans with eclectic tastes and discerning eardrums.

You can find out more about this excellent album and sample the tracks over at https://kensharp.bandcamp.com/album/ill-remember-the-laughter. Here’s a link to the video for “Philly Get Back,” https://www.youtube.com/watch?v=U0ob1hHl9HA. I’ll Remember The Laughter is filled with splendid music, composed and performed from the heart. Ken Sharp’s deep love of rock, pop and soul is evident in every note on this superb record.