#David J Schow

[marcovaleyeah]

14.10.24

#Marco-Marathon | The Crow

Film Name: The Crow (1994); Production Studios: Image Comics, Miramax, Pressman Film, Jeff Most Productions, Crowvision Inc., Entertainment Media Investment Corporation; Director by: Alex Proyas; Screenwriter: David J. Schow, John Shirley; Starring: Brandon Lee, Michael Wincott, Ernie Hudson, Rochelle Davis, David Patrick Kelly; Genres: Horror, Action, Criminal, Drama; Running Time: 1 hour 42 minutes;

"The Crow" (1994) is a gothic action film with a dark atmosphere and impressive visual style. Brandon Lee gives a brilliant performance as Eric Draven, a musician who returns from the dead to avenge his death and the murder of his fiancee. His performance, enhanced by the actor's tragic death during filming, adds mythological depth to the film. A stylish image of the city and a strong soundtrack create a unique atmosphere, but the plot is sometimes simplified.

Four stars - powerful visually, but somewhat predictable in plot.

My rating:

⭐⭐⭐⭐

[90smovies]

[adamwatchesmovies]

The Texas Chainsaw Massacre: The Beginning (2013)

While I didn't enjoy this film, that doesn't mean you won't. No matter what I say, the people involved in this project did it: they actually made a movie. That's something to be applauded. With that established...

The Texas Chainsaw Massacre: The Beginning is a vile, sadistic film where gore replaces potential scares. It’s predictable, poorly written and doesn't show anything worth seeing, even to those who liked the 2003 film it serves as a prequel to.

Set four years before the events of The Texas Chainsaw Massacre (remake), the hulking Thomas Hewitt (Andrew Bryniarski) is working at a slaughterhouse. When the health department orders its closure, the people surrounding it pack up their things and leave - all except for Luda Mae (Marietta Marich), Uncle Monty (Terrence Evans), and Charlie Hewitt (R. Lee Ermey), who are determined to stay. If cannibalism is the only way to survive, then so be it. We witness the origin of “Leatherface” as brothers Eric (Matt Bomer) and Dean (Taylor Handley), along with their girlfriends Chrissie (Jordana Brewster) and Bailey (Diora Baird) pass through the town.

This is one of the most prequel-y prequels I’ve ever seen. We learn how the Hewitts developed their taste for human flesh, why Uncle Monty is in a wheelchair, how R. Lee Ermey’s character became the sheriff and why he has dentures, who Leatherface's mother was, where he was born, we witness his first murder, find out why he makes masks, and more. If there was a detail from the 2003 remake you never wondered about, it receives an origin story. We see cows in fields surrounding the town, which means the Hoyt’s would rather eat people than hamburgers? So what if it makes no sense?

The Beginning is also one of the most by-the-numbers, clichéd horror movies you’ve ever seen. The characters are simply there to get chopped up and have no personalities beyond what is required for you to remember who is still alive and who is now dead. You don’t care about anyone, and I mean ANYONE at all, making this an extremely dull experience. All it’s essentially doing is interrupting the prequel moments with the same beats we’ve seen in every single Texas Chainsaw movie since the original sequel in 1986.

General incompetence oozes from every frame of this film by Jonathan Liebesman (Darkness Falls, Battle: Los Angeles). The suspense is nonexistent and since we couldn’t care less about who lives or who dies, there aren't any scares either. You’ll want to close your eyes often though, as the film lingers on the gore constantly. I know “massacre” is in the title but did we need to see a human being vivisected while still alive? It might be disturbing but scary? No. How could anyone care when we already know none of these people will make it out alive - this would contradict the events of the other film. This means the picture is free to indulge in tropes we thought we’d left behind years ago such as “the killer is hiding in the back seat”!

Say what you will about the decline in quality the Halloween, Nightmare on Elm Street and Friday the 13th series saw, but some of the follow-ups were actually good or could be enjoyed ironically. Average out the rating these Texas Chainsaw Massacre movies have been receiving. That's a scary thought. This may be the worst-faring slasher franchise out there. Wish me luck as we proceed with the rest. (Unrated version on DVD, February 15, 2019)

[fictionz]

New Horror 2023 - Day 6

"You can't deny what's nailed down there in black and white."

"Last Call for the Sons of Shock" by David J. Schow (1994)

I'm sure "pleasant" is not something that horror authors want to read about their work, but it was! I wanna know if they get up to any adventures. This could be a whole series.

💀💀💀

"No one can put anything over on Biff Demmon!"

"Werewolf!" by Frank Frazetta (1964)

Phew, okay. I needed that comeuppance because this is otherwise just a man's man comic tale of the kind they were pitching to boys in the fifties to psych them up.

💀💀💀

"I have prayed many times for God to send me a friend."

The Bride of Frankenstein dir. James Whale (1935)

The first half or so left me grasping to understand what the hell I was watching, but it comes around to the point. It's neat to see how they took more from the book to set up this sequel. Also a great companion piece to today's short story.

[toomuchhorrorfiction]

Vintage horror paperbacks by David J. Schow, author who coined the term “splatterpunk”

[brokehorrorfan]

The End of the World As We Know It: New Tales of Stephen King's The Stand will be published in hardcover and e-book on August 19, 2025 via Gallery Books.

Edited by Christopher Golden and Brian Keene, the anthology features 34 short stories based on The Stand. It includes an introduction by Stephen King, a foreword by Golden, and an afterword by Keene.

Contributors include Wayne Brady & Maurice Broaddus, Poppy Z. Brite, Somer Canon, C. Robert Cargill, Nat Cassidy, V. Castro, Richard Chizmar, S.A. Cosby, Tananarive Due & Steven Barnes, Meg Gardiner, Gabino Iglesias, Jonathan Janz, Alma Katsu, Caroline Kepnes, Michael Koryta, Sarah Langan, Joe R. Lansdale, Tim Lebbon, Josh Malerman, Ronald Malfi, Usman T. Malik, Premee Mohamed, Cynthia Pelayo, Hailey Piper, David J. Schow, Alex Segura, Bryan Smith, Paul Tremblay, Catherynne M. Valente, Bev Vincent, Catriona Ward, Chuck Wendig, Wrath James White, and Rio Youers.

Since its initial publication in 1978, The Stand has been considered Stephen King’s seminal masterpiece of apocalyptic fiction, with millions of copies sold and adapted twice for television. Although there are other extraordinary works exploring the unraveling of human society, none have been as influential as this iconic novel—generations of writers have been impacted by its dark yet ultimately hopeful vision of the end and new beginning of civilization, and its stunning array of characters. Now for the first time, Stephen King has fully authorized a return to the harrowing world of The Stand through this original short story anthology as presented by award-winning authors and editors Christopher Golden and Brian Keene. Bringing together some of today’s greatest and most visionary writers, The End of the World As We Know It features unforgettable, all-new stories set during and after (and some perhaps long after) the events of The Stand—brilliant, terrifying, and painfully human tales that will resonate with readers everywhere as an essential companion to the classic, bestselling novel.

Pre-order The End of the World As We Know It.

[k-i-l-l-e-r-b-e-e-6-9]

The Crow (1994) directed by Alex Proyas and written by David J. Schow and John Shirley

[elfoscuro]

Laurence Mason, Michael Massee, David Patrick Kelly & Angel David as Tin Tin, Funboy, T-Bird & Skank in:

The Crow (1994) by Alex Proyas

Screenplay by David J. Schow and John Shirley, based on the 1989 comic book series by James O'Barr

Costumes by Arianne Phillips

Make-up by Sharon Ilson & Herita Jones

[briankeene]

F.A.Q. The End Of The World As We Know It: Tales From Stephen King’s The Stand

What follows are the Frequently Asked Questions for THE END OF THE WORLD AS WE KNOW IT: TALES OF STEPHEN KING’S THE STAND — a forthcoming anthology edited by myself and Christopher Golden. Please bookmark this page and check back from time to time, as I will update things as they develop.

Q: What is this, exactly?

A: An original short story anthology based on master storyteller Stephen King’s #1 New York Times bestselling classic The Stand!

Since its initial publication in 1978, The Stand has been considered Stephen King’s seminal masterpiece of apocalyptic fiction, with millions of copies sold and adapted twice for television. Although there are other extraordinary works exploring the unraveling of human society, none have been as influential as this iconic novel—generations of writers have been impacted by its dark yet ultimately hopeful vision of the end and new beginning of civilization, and its stunning array of characters.

Now for the first time, Stephen King has fully authorized a return to the harrowing world of The Stand through this original short story anthology as presented by award-winning authors and editors Christopher Golden and Brian Keene. Bringing together some of today’s greatest and most visionary writers, The End of the World As We Know It features unforgettable, all-new stories set during and after (and some perhaps long after) the events of The Stand—brilliant, terrifying, and painfully human tales that will resonate with readers everywhere as an essential companion to the classic, bestselling novel.

Q: Who is in the book?

A: Featuring an introduction by Stephen King, a foreword by Christopher Golden, and an afterword by Brian Keene. Contributors include Wayne Brady and Maurice Broaddus, Poppy Z. Brite, Somer Canon, C. Robert Cargill, Nat Cassidy, V. Castro, Richard Chizmar, S. A. Cosby, Tananarive Due and Steven Barnes, Meg Gardiner, Gabino Iglesias, Jonathan Janz, Alma Katsu, Caroline Kepnes, Michael Koryta, Sarah Langan, Joe R. Lansdale, Tim Lebbon, Josh Malerman, Ronald Malfi, Usman T. Malik, Premee Mohamed, Cynthia Pelayo, Hailey Piper, David J. Schow, Alex Segura, Bryan Smith, Paul Tremblay, Catherynne M. Valente, Bev Vincent, Catriona Ward, Chuck Wendig, Wrath James White, and Rio Youers.

Q: Who is the publisher?

A: Gallery Books, a division of Simon & Schuster, are publishing the hardcover, paperback, eBook, and audiobook editions in North America. Various foriegn language editions will be published by various foreign publishers.

Q: So there will be hardcover, paperback, eBook, and audiobook editions?

A: Yes. The hardcover and the eBook are already up for preorder via Amazon, Barnes & Noble, and all other booksellers. (Note: as of 10/16/24 Amazon’s hardcover link does not yet work, so check back often or use a different bookseller). You can also preorder from Overlook Connection and get a limited edition dust jacket by Glenn Chadbourne, as well as other cool collectibles.

Q: What’s the cost?

A: The hardcover is listed at $35. The eBook is listed at $16.99. The hardcover that comes with the extra dust jacket from Overlook is $69.95.

Q: Will there be a signed limited edition or a special collector’s edition of some kind?

A: Probably, but it is too early to say for sure.

Q: You listed the contributors above. Anything more you can tell us about the actual stories?

A: Sure. The book is split into four parts. Part One takes place during the initial spread of Captain Trips and the dreams. Part Two takes place between the migrations to Boulder and Las Vegas and the Hand of God moment. Part Three takes place after the conclusion of the novel, detailing the world in the decades that follow. And Part Four takes place… well, that would involve major spoilers.

Here is the finalized Table of Contents:

Foreword by Christopher Golden

Introduction by Stephen King

PART ONE: DOWN WITH THE SICKNESS

Room 24 by Caroline Kepnes The Tripps by Wrath James White Bright Light City by Meg Gardiner Every Dog Has Its Day by Bryan Smith Lockdown by Bev Vincent In A Pig’s Eye by Joe R. Lansdale Lenora by Jonathan Janz The Hope Boat by Gabino Iglesias Wrong Fucking Place, Wrong Fucking Time by C. Robert Cargill Prey Instinct by Hailey Piper Grace by Tim Lebbon Moving Day by Richard Chizmar La Mala Horla by Alex Segura The African Painted Dog by Catriona Ward Till Human Voices Wake Us, And We Drown by Poppy Z. Brite Kovach’s Last Case by Michael Koryta Make Your Own Way by Alma Katsu

PART TWO: THE LONG WALK

I Love The Dead by Josh Malerman Milagros by Cynthia Pelayo The Legion of Swine by S.A. Cosby Keep The Devil Down by Rio Youers Across The Pond by V Castro The Boat Man by Tananarive Due and Steven Barnes The Story I Tell Is the Story of Some of Us by Paul Tremblay The Mosque at the End of the World by Usman T. Malik Abigail’s Gethsemane by Wayne Brady and Maurice Broaddus

PART THREE: LIFE WAS SUCH A WHEEL

He’s A Righteous Man by Ronald Malfi Awaiting Orders In Flaggston by Somer Canon Grand Junction by Chuck Wendig Hunted to Extinction by Premee Mohamed Came The Last Night of Sadness by Catherynne M. Valente The Devil’s Children by Sarah Langan

PART FOUR: OTHER WORLDS THAN THESE

Walk On Gilded Splinters by David J. Schow The Unfortunate Convalescence of the SuperLawyer by Nat Cassidy

Afterword by Brian Keene

[theultimateflix]

The Crow is a 1994 American supernatural superhero film directed by Alex Proyas from a screenplay by David J. Schow and John Shirley, based on the 1989 limited comic book series of the same name by James O'Barr. The film stars Brandon Lee (in his final film appearance) as Eric Draven, a musician who is resurrected from the dead to seek vengeance against the gang who murdered him and his fiancée, all the while being pursued by a sympathetic police officer.

Production on The Crow was struck by tragedy when Lee was fatally wounded by a prop gun during filming. As Lee had finished most of his scenes before his death, the film was completed through script rewrites, a stunt double, and digital effects. After Lee's death, Paramount Pictures opted out of distributing the film and the rights were picked up by Miramax Films, who oversaw the film's completion. The film is dedicated to Lee and his fiancée, Eliza Hutton.

The Crow was released in the United States on May 13, 1994. The film received positive reviews from critics. A sleeper hit at the box office, it grossed $94 million on a $23 million budget and gained a strong cult following. The success of the film led to a media franchise that includes the sequels The Crow: City of Angels (1996), The Crow: Salvation (2000), and The Crow: Wicked Prayer (2005). The sequels, which mostly featured different characters and none of the original cast members, were unable to match the success of the first film.

[pulpman2]

The Gun

“All right, Red, take it nice and easy,” a male voice snarled in Dani DuPont’s ear as she wandered out from her kitchen and into the hall. She heard unmistakable sound of a safety catch being released and a rough hand grasped her round her waist, ruffling the purple material of her expensive silk dress. “Now you are going to do what I say, honey!” the desperate voice came again. “Hello, Carl,” Dani replied matter of factly, seemingly unafraid, “and what precisely will that be, “honey”?”

Carl snorted with frustrated anger at the woman’s refusal to be intimidated. “You know darn well, you supercilious witch!” he retorted. “Now give me the key or will I be forced to splatter your brains all over the walls of this dump and look for it on your cold white corpse?” Dani sniggered slightly. “Very dramatic, Carl” she rejoined and turned her head over her shoulder to look at the him, a sardonic smile on her face, “you been reading Hard Case Crime books in your spare time?” The redhead could feel the impotent fury of the dark haired man. “Why you- “ he began. “Take it easy, Carl,” the woman laughed, “you won’t have to commit the first crime in your life. Do you really think I’d leave a loaded gun out in plain view?” Carl’s face turned pale in disbelief and he glanced at the weapon clutched in his hand. Dani suddenly brought her high heel down hard onto the man’s foot in one swift movement. Carl cried out in pain and dropped the gun and Dani quickly scooped it up. “Well done on getting loose, sweetheart,” she told the cursing man, his face still creased in agony, “but this is as far as you go!”

Later, with Carl, now sobbing in frustration and broken hopes, safely retied, gagged and bound once again by his arms and ankles to a chair, but a lot more tightly, Dani rang her clients. “When are you sending someone to come fetch this schmuck?” the female kidnapper demanded down the phone. “He is getting harder to handle. Besides I want my money!” She listened intently and put down the receiver. She walked into the front room, very deliberately and visibly loading her gun. “Come on, sweet cheeks,” she told the bound man as he raised his tear streaked and cleave gagged head to face her, “we need to go downstairs and I need to get you comfy in the trunk of my car. We got a long drive.”

My interpretation of the story behind the cover to Gun Work by David J Schow, Hard Case Crime Books (November 2008)

[hypo-kiwi]

Lmfao, “Its becauae women prefer men to be their victims, not theor beloveds” a male weighing in on women’s preferences, the spelling mistakes really highlighting your urgency to blabber your drivel out is the sweet cherry on top. Was your other hand occupied since you were so excited to share what you felt was a perfect “gotcha”? 

Maybe the reason why there aren’t many female-centered films around the same theme is because seeing a woman on screen is too “woke” and is just part of the “forced diversity agenda”. Perhaps the reason why male characters are always attempting to “avenge” their female lovers is because writers love to disservice women and their female characters by having them raped, cut up, killed, etc - only to use their trauma as a catalyst of their male lead’s journey in the name of propelling their character development. Women’s pain and abuse is used as a trope for the purpose of mobilizing their male characters. You can be someone’s lover but also be a victim.

This is not a compliment to women as their stories and trauma are sidelined and weaponized by their male counterparts. Instead of focusing and observing the actual victim and learning how they attempt to recover and react from their experiences, their stories and personhood are commodified - expendable and thrown aside, and instead, we allocate our attention to how a male character makes their lover’s pain all about themselves. They demand attention and sympathy for what someone else’s trauma did to them.

Women are only ever the victims in these stories. They were the ones murdered, they’re men’s victims who are further disrespected even in death. To insinuate the opposite is just a lack of media literacy. 

But, don’t be too annoyed. You can take your grievances up with the people who actually wrote such stories - who all happen to be men. 

“The Dark Phoenix Saga”: Written by Chris Claremont.

“Green Lantern Vol 3 #54: Forced Entry”: Written by Ron marz.

"John Wick": Written by Derek Kolstad and directed by Chad Stahelski.

"The Crow": Directed by Alex Proyas and written by David J. Schow and John Shirley.

"Gladiator": Directed by Ridley Scott and written by David Franzoni, John Logan, and William Nicholson .

"Braveheart": Directed by Mel Gibson, who also starred in the film, and written by Randall Wallace.

"Memento": Directed by Christopher Nolan , based on a short story by his brother Jonathan Nolan.

"Death Wish": Directed by Michael Winner and written by Wendell Mayes.

"Kill Bill: Volume 1": Written and directed by Quentin Tarantino.

"Quantum of Solace": Directed by Marc Forster and written by Paul Haggis, Neal Purvis, and Robert Wade.

"Mystic River" : Directed by Clint Eastwood, and written by Brian Helgeland.

"The Revenant": Directed by Alejandro González Iñárritu and written by Mark L. Smith and Alejandro González Iñárritu.

“Spider-Man: The Night Gwen Stacy Died”: written by Gerry Conway. 

“Daredevil: Elektra”: written by Frank Miller.

And if it weren’t already made clear - if the roles were reversed - this trope wouldn’t be a compliment to men either.

why is it always a male character going mad avenging his dead wife and never a female character cradling her dying pure of heart husband in her arms then dragging the whole world down with her

[90smovies]

[adamwatchesmovies]

Leatherface: The Texas Chainsaw Massacre III (1990)

While I didn't enjoy this film, that doesn't mean you won't. No matter what I say, the people involved in this project did it: they actually made a movie. That's something to be applauded. With that established...

The Texas Chainsaw Massacre series continues to torpedo itself with this third instalment. While the first sequel wasn’t good, at least it was trying something different. Leatherface: The Texas Chainsaw Massacre III is little more than a generic slasher movie. Ironically, this makes it the mirror opposite of the original in many ways.

Michelle (Kate Hodge) and Ryan (William Butler) are travelling through Texas when they stop at the Last Chance Gas Station. There they meet its greasy owner, Alfredo (Tom Everett), and a hitchhiker named Tex (Viggo Mortensen ?!). Following one of Tex’s shortcuts, they meet a survivalist named Benny (Ken Foree) and the serial killer Leatherface (R. A. Mihailoff), along with his family of murderous cannibals.

Originally rated X for its gore and violence (in fact, this was the last film to receive an X rating before it's rebranding as NC-17), for years, Leatherface was only available in the truncated R version. Now, you get to see it all in the uncensored DVD release. If you’re a psychopath looking for masturbatory material, here you go. The objective doesn’t appear to be to scare, but to nauseate. The film has so many prolonged shots of flesh being carved and people being tortured. It’s a horror movie, I know. In interviews, director Jeff Burr has stated he knew he would be offending some viewers but did it anyway. I kind of respect this mentality. Those who try and make movies for everyone often end up making movies for no one. The problem isn't that this movie is sadistic… it's that it isn't sadistic AND good. You're never invested in the characters. They’re just meat for the grinder, props whose stupidity is amplified to ensure they'll wind up in specific scenarios which will get them killed or captured. I know the characters don’t know they’re in a horror movie, but come on, that excuse only goes so far.

While 1974's The Texas Chain Saw Massacre featured little gore, sudden terror and a suffocating atmosphere of dread, this is a cartoon. Leatherface has a new high-tech chainsaw, characters die from injuries they should easily survive and others survive blows that should obviously be fatal. The performances are poor. Victims’ shrieks of terror seem muted and the psychopaths are way over-the-top, particularly a little girl (Jennifer Banko), who must have been included solely for shock value. Even Leatherface is overdone with his mismatched grin - he tends to appear from off-screen whenever a scare is convenient. At least the titular killer brings us the film’s one good scene, a gag in which he is playing with a Speak-and-Spell.

While there is plenty of gore to appease those who care more about blood and guts than anything else, even they will likely recognize Leatherface as a pale retread. Though Ken Foree's Benny can be engaging as he actually does more than run around idiotically waiting to be butchered, he’s a side character, more of a plot point than a real human being. Worst of all, the film is hardly - if ever – genuinely frightening. Leatherface: The Texas Chainsaw Massacre III is just a cash-grab. (Unrated version on DVD, November 30, 2018)

[howlgrowlsnarl]

The Horror Collection: Splatterpunk Dreams

THE HORROR COLLECTION: Splatterpunk Dreams KJK Publishing *** FEATURING A BRAND-NEW NOVELLA BY EDWARD LEE. Splatterpunk is a movement within horror fiction originating in the 1980s, distinguished by its graphic, often gory, depiction of violence, countercultural alignment and “hyperintensive horror with no limits.” The term was coined in 1986 by David J. Schow at the Twelfth […] The Horror…