#laloggia

[riparazionenotebooktorino]

Cavo connessione flat display Samsung BA39 01215A NP530U3C NP535U3C NP530U3B NP530UB3 #flet #Samsung #display #venditaeriparazione #assistenzatecnica #windows #mondovi #villastellone #carmagnola #nichelino #trofarello #varese #vercelli #rivalta #bruino #piobesi #piossasco #laloggia #rosta #candiolo #ivrea #borgomanero #assistenzainformatica #computer #notebook #torino #provinciaditorino #assistenza #bio #shein (presso Riparazione Notebook Torino) https://www.instagram.com/p/Cpmyz8RMcnI/?igshid=NGJjMDIxMWI=

[weirdlookindog]

Kathleen Rowe McAllen in Fear No Evil (1981)

[pierppasolini]

Fear No Evil (1981) // dir. Frank LaLoggia

[adamwatchesmovies]

The Wizard of Speed and Time (1989)

There will never be another film like The Wizard of Speed and Time. Even if Mike Jittlov hopped in a time machine, reassembled the original cast, used the same equipment, the same locations and shot the film using the same techniques on the same budget, it could never be duplicated. Difficult to track down unless you know where to find it - at which point it becomes ridiculously easy to view - it’s got that “lightning in a bottle” quality.

Based on his original short film, writer, cinematographer, animator, composer Mike Jittlov plays himself as he attempts to create a short film highlighting his DIY special effects techniques for a TV network special. He’s a complete unknown and more than a little odd, prompting the executives to place a bet on whether Jittlov will meet the deadline.

A childlike sense of enthusiasm, giddiness and pleasant naivete radiates from every frame of The Wizard of Speed and Time. As you might’ve guessed, Mike Jittlov is essentially playing himself. He creates and then sells the film he made in 1979 to a system which has stomped all potential for off-the-wall thinkers and radicals with its unions, business models and rules. He’s ambitious and gullible. Of course making a movie isn’t as easy as he expects it to be. Although the obstacles standing in his way are recognizable to us onlookers as completely necessary - although perhaps a little restrictive - he nonetheless brings you to his side. You want nothing more than for him to overcome the odds and show the world what wild abandon can do.

You know the movie is going to get made because you’re watching the movie the real-life Mike Jittlov made. This makes his triumphs feel like your own. The meta aspect turns The Wizard of Speed and Time into an experience rather than a story you simply watch. If he can make his dream come true, so can you. You can “see the strings” in all of the special effects sequences - that’s to say you know how they were done - but it doesn’t matter. Your jaw drops seeing them because you know this man did it all on his own. More than that; he invented the techniques. Particularly striking is the stop-motion animation - the best of which features Jittlov himself as the titular Wizard.

This picture is inspirational and hilarious. It’s big and wild and colourful and cheerful and clever. Watch it a half-dozen times and I bet you’ll still discover previously unseen jokes tucked away in the corners of the screen. Rather than self-congratulating and self-important, it’s a humble little picture that never takes itself too seriously and takes every opportunity to make fun of how crazy it is.

The number of successful gags makes the film’s lack of a proper DVD release even more disappointing. You want to be able to pause and take a look at what’s written on those sheets of paper on the wall in the background, or turn on subtitles to make sure you don’t miss a thing while the room is filled with laughter. Be honest; you’d never heard of this movie before and it’s largely faded away… except to the die-hard fans who, frustrated with the studio’s utter lack of enthusiasm when it came to a new home release, created a version you can find online - all with Jitlov's approval.

The Wizard of Speed and Time isn’t just a movie. It’s has romance, humour, likeable characters, crowd scenes, chase scenes, special effects, etc. but they're used in wholly original ways. To watch it is to open up an old cardboard box in your attic and rediscover your favourite toy all over again. (On VHS, May 10, 2019)

[babadork]

[deadrabbitjimmy]

Absolutely stunned by this composite shot from Lady in White (1988).

It's so seamless.

[twittercomfrnklin2001-blog]

Fear No Evil

Frank LaLoggia’s debut feature, FEAR NO EVIL (1981, Shudder) is one hot mess. It’s not as cohesive, technically accomplished or well-acted overall as his second film, LADY IN WHITE (1988). Yet there are parts of it that are thrillingly original and one performance that can stand next to the best of any in his or just about anybody’s else’s work. Like many high-schoolers, Stefan Arngrim, the kid from LAND OF THE GIANTS, seems to be the earthly reincarnation of Lucifer. Only this time he is. He’s pursued by the archangel Michael, now an aging woman (Elizabeth Hoffman, making an auspicious film debut at 54, and if anybody knows what she was doing before that, please let me know) searching for her fellow angel, who turns out to be another high-schooler (Kathleen Rowe McAllen). A lot of the school scenes seem derivative, but there’s one in the men’s showers in which the school bully (Daniel Eden) tries to bash Arngrim only to find himself stuck in a lip lock that won’t let go. This and a later scene with Eden have led some critics to label the film homophobic, but I think they’re more about bullying as a sign of misogyny and repressed homosexuality. There’s a local passion play in which Jesus really does die on the cross (how medieval), thanks to Arngrim’s magic. There’s also a beautifully staged funeral scene. But then, there are zombies whose decaying flesh has turned into corn flakes (they were forced on LaLoggia and ended up being what sold the film to a distributor). The film has some great locations, particularly Boldt Castle in Alexandria, NY. But shooting regionally on a low budget meant LaLoggia had to use some pretty poor actors (somebody needed to remind the gym teacher he was playing a human being). But then there’s Hoffman, who already has the command of the camera and characterization she would display in her later work. She makes even the worst dialog compelling and almost poetic and manages to connect with even the weakest actors. Fred Goodich did the excellent, very atmospheric camera work, while LaLoggia and David Spear composed an effective score. There’s also some great contemporary music on the soundtrack from artists like Patti Smith, The Ramones, Talking Heads, The Boomtown Rats, The B-52s and The Sex Pistols.

[roserosette]

Lady in White, 1988, Frank LaLoggia

[horror-aesthete]

Lady in White, 1988, dir. Frank LaLoggia

[all-souls-matinee]

Quick-bite reviews: Lady in White (1988) dir. Frank LaLoggia

Writer Frankie Scarlatti reflects on his idyllic 1960s childhood, which changed the Halloween night he witnessed a ghost reenact her own murder, and was nearly killed himself.

This is one of the weirdest movies I have ever seen. I was going to compare it to Spielberg in that it handles dark topics through the lens of something very saccharine and nostalgic, but halfway through realized a more apt comparison is Stephen King. I don't want to give the impression that LaLoggia doesn't have a unique voice (you don't get 'weird' without that), but King is all over individual story beats and character relationships; elements being autobiographical and its being based on a local legend only add to that. I do think the funniest difference is that while King imbues his writing with a christian system of morality and spirituality he's extremely critical of the church, whereas LaLoggia adheres to that same system but is extremely Italian Catholic.

(fig.1- sure.)

I mention Spielberg and King, maybe the most popular living American filmmaker and writer, to give an idea of the tone and stress that this is a well-crafted, commercially-minded movie. The weirdness rears its head in two ways:

It's violent in a way I've never seen before. Not something at odds with the movie's goals, but other artists working in this subgenre would probably shy away from actually showing children be stalked, harmed, or killed, and here it's done in a way that lingers and feels uncomfortably real. Most would also probably shy away from the civil rights subplot that goes nowhere and ends with a graphic hate crime. I'm guessing it was a topic on LaLoggia's mind (understandably so growing up in NY in the 60s and working there in the 80s), but it causes trouble in that it starts to call attention to African American absence and systemic racism within the movie's warm depictions of American life, and then doesn't follow through on that attention. I'm honestly still trying to parse it and I wonder if LaLoggia was too; it seems like he realized it was more suited for a central conflict than a subplot so tries to quietly drop it altogether.

It's a mystery that's not on a schedule. To focus on atmosphere over plot gives it the feeling of an indie drama,* which is fine, but the driving force is two concurrent mysteries, so we get scenes where a character will discover a vital piece of information and then instead of following up on it they go to have fun outside with whimsical autumnal music (there's even an early scene that feels so oddly placed it immediately comes to mind as a clue.) Whereas the violence confused me in a negative way this confused me in a very positive one; I kind of loved it. I don't think the solution to either mystery is bad, and I like that the guy wrote a bittersweet coming-of-age novel that's fighting for its life to be an HBO serial killer miniseries.

I mostly just appreciated that Lady in White is so memorable. No idea if it's 'good,' jury's still out, but it has a concrete sense of place and purpose, and that does a lot of heavy lifting in storytelling.

Buy a ticket? I think you have to already like 80s movies and be willing to put up with a lot of bullshit (not mutually exclusive), but if that's the case then yes.

*It was the first and only occasion that a single, feature film was financed [through a penny stock offering.]!

[weirdlookindog]

Stefan Arngrim in Fear No Evil (1981)

[fictionz]

New Fiction 2024 - December

The Haunted Car by R.L. Stine (1999)

This Goosebumps story had a good sense of place. I could feel the autumn chill in the air, imagine the little town with its hills and winding roads. Perhaps I simply read it at just the right time of year. We've seen haunted cars in horror before and I think Stine did good work in differentiating his take from the rest.

The Simpsons: Tapped Out - "Taps 2024 Event" dev. Electronic Arts (2024)

I caught quite a few feelings about the end of this mobile freemium game. Like the show itself, this was around for so long that it'll be strange to live in a world in which Tapped Out is no longer part of our lives.

"The Simpsons Meet the Bocellis in Feliz Navidad" dir. David Silverman (2022)

Maybe I'm just hating but why is an Italian singer featured singing a Latin American Spanish song?

Vampire Clay dir. Sôichi Umezawa (2017)

Definite Hausu vibes in this Japanese tale of blood in the clay.

Speak No Evil dir. Christian Tafdrup (2022)

I can't believe the 2024 remake goes as far afield as it does with the ending. Whether the ending of this movie is believable is irrelevant to its impact. But I also had thoughts about the social commentary.

Revenge dir. Coralie Fargeat (2017)

I dug it but I did have to wonder why she didn't grab the fatigues and boots from one of them.

Flow dir. Gints Zilbalodis (2024)

Impressive animated performances out of animals that don't talk.

Y2K dir. Kyle Mooney (2024)

The references fly at you fast but it just lacked a heart at the middle of it.

Werewolves dir. Steven C. Miller (2024)

It'll pass quietly.

Interstellar dir. Christopher Nolan (2014)

The one Nolan I hadn't seen yet. I'm always in to see how he messes with perceptions of time.

My Neighbor Totoro dir. Hayao Miyazaki (1988)

A series of fantastical beast events. It's a wonder that I waited as long as I did to watch it.

Get Away dir. Steffen Haars (2024)

Well, comeuppance is comeuppance.

Queer dir. Luca Guadagnino (2024)

I missed Challengers but this makes me think I should go back and watch it. The sensuality's next level amid a sad field of neutered filmmaking.

The Man in the White Van dir. Warren Skeels (2024)

I'm building up to a theory of storytelling founded on the idea that the greatest tragedy of humankind if when we fail to protect and save children. But this also allows for stories in which the children save and protect themselves when the adults fail them. That's a powerful tool for hope.

The End dir. Joshua Oppenheimer (2024)

Lots of musicals showing up in film this past year. And I get it. Sometimes only a song can get that feeling out.

The Lord of the Rings: The War of the Rohirrim dir. Kenji Kamiyama (2024)

I liked it, but it doesn't quite hit the high notes.

Twilight Zone: The Movie dir. John Landis, Steven Spielberg, Joe Dante, George Miller (1983)

I really had to consider whether I wanted to watch a movie that still released after a director so failed his cast and crew that his lead actor and two children were killed. But I did, and you might as well skip the Landis and Spielberg segments because the Dante and Miller segments are the real highlights.

Lady in White dir. Frank LaLoggia (1988)

A recommendation I received when I went on about how stories featuring kids in peril are my current jam. It has that eighties quality of focusing on the kid experience during horrifying events but really not holding back on depicting the horror.

Nosferatu dir. Robert Eggers (2024)

There are movies that hit and movies than linger, and this movie is made to linger.

Carry-On dir. Jaume Collet-Serra (2024)

I was told it's new holiday action movie in the style of Die Hard, but the lead just didn't have the same charisma.

Leo dir. Robert Marianetti, Robert Smigel, David Wachtenheim (2023)

It got to me. I guess anything where children receive useful advice that helps them cope with and succeed in the world will do that.

Big Hero 6 dir. Don Hall & Chris Williams (2014)

The saddest thing I heard is that we probably wouldn't see more of these movies because Disney has Marvel now.

Sonic the Hedgehog 3 dir. Jeff Fowler (2024)

I can appreciate new ways to retell Frankenstein.

Mufasa: The Lion King dir. Barry Jenkins (2024)

Just kinda muted? Not nearly as vibrant as the 2D classic. I know these have an audience but I don't know who.

Pathogen dir. Emily Hagins (2006)

Listen, I could barely conceive of the idea that people make movies when I was 12. This is a very impressive zombie effort led by someone just getting into middle school. Watch Zombie Girl: The Movie for the behind-the-scenes journey.

The Simpsons - "O C'Mon All Ye Faithful" (2024)

It's an earnest discussion about faith in God, but I just kept wondering where are the jokes? Is all new Simpsons so slow-paced?

The Twlight Zone - Season 1 (1985-1986)

There are so many run-ins with the devil in the first season. But beyond that, it's a fun bit of 80s TV.

Star Trek: Lower Decks - Season 5 (2024)

It's a sweet finish for the show that hewed closest to the "classics" of the 80s and 90s.

The Boys - Season 4 (2024)

They are really spinning wheels until they can off the big guy. That's really my only reason to continue because I need to see it happen. We're all a Butcher I suppose.

[badarchitectrecords]

Listen to this new track by Frank Laloggia. Here’s a message from the artist. 

"Mahler's Dream" is one of eight tracks on Frank Laloggia's album "A Cue With A View". LaLoggia is also the composer of the soundtrack for his critically acclaimed 1988 film, "Lady in White", starring Lukas Haas, Len Cariou, Alex Rocco and Katherine Helmond.

[docrotten]

FEAR NO EVIL (1981) – Episode 242 – Decades Of Horror 1980s

“After all, you’re his father! If it wasn’t for you, that little pecker wouldn’t be here anyway.” That’s a heck of a thing to say to the devil’s father. Join your faithful Grue Crew – Chad Hunt, Bill Mulligan, Crystal Cleveland, and Jeff Mohr – as they try their best to decipher the story of Lucifer’s newest incarnation battling three archangels in Fear No Evil (1981).

Decades of Horror 1980s Episode 242 – Fear No Evil (1981)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! Click the alert to get notified of new content! https://youtube.com/gruesomemagazine

Decades of Horror 1980s is partnering with the WICKED HORROR TV CHANNEL (https://wickedhorrortv.com/) which now includes video episodes of 1980s and is available on Roku, AppleTV, Amazon FireTV, AndroidTV, and its online website across all OTT platforms, as well as mobile, tablet, and desktop.

 A high school student turns out to be the personification of Lucifer. Two arch angels in the form of human women take him on.

  Writer/Director: Frank LaLoggia

Cinematographer: Fred Goodich

Assistant Editor: Joel Coen

Makeup Artist: Richard Jay Silverthorn

Special Effects: John Eggett (special effects coordinator/special photographic effects)

Visual Effects:

Robert Brown (optical effects supervisor: RGB Opticals)

Peter Kuran (special visual effects supervisor: VCE)

Selected Cast:

Stefan Arngrim as Andrew Williams

Elizabeth Hoffman as Mikhail / Margaret Buchanan

Kathleen Rowe McAllen as Gabrielle / Julie

Frank Birney as Father Daly

Daniel Eden as Tony

John Holland as Rafael / Father Damon

Barry Cooper as Mr. Williams

Alice Sachs as Mrs. Williams

Paul Haber as Mark

Roslyn Gugino as Marie

Richard Jay Silverthorn as Lucifer

Fear No Evil (1981) is directed by Frank LaLoggia (The Lady in White, 1988) stars Stefan Arngrim as high-schooler Andrew Williams and the Lucifer. The film won the 1981 Saturn Award for Best Low-Budget Film, but does the film hold up today? Jeff, Crystal, and Bill will let you know if it does… or not. Regardless, the music is top notch and includes “Psycho Killer” performed by Talking Heads, “I Don’t Like Mondays” performed by The Boomtown Rats, and “Blitzkrieg Bop” performed by the Ramones. 

At the time of this writing, Fear No Evil is available for streaming from Shudder, AMC+, ShoutTV, Freevee, and Plex, as well as PPV from multiple sources. It is also available on physical media as a Blu-ray disk from Shout! Factory.

Every two weeks, Gruesome Magazine’s Decades of Horror 1980s podcast will cover another horror film from the 1980s. The next episode’s film, chosen by Crystal, will be Witchboard (1986), featuring Tawny Kitaen. You can expect that to be a fun ride!

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans – so leave them a message or comment on the Gruesome Magazine Youtube channel, on the Gruesome Magazine website, or email the Decades of Horror 1980s podcast hosts at feedback@gruesomemagazine.com.

Check out this episode!

[babadork]

[jackssoftballtorino-blog]

2’ giornata degli European Masters Games, al campo di via Passo Buole Le Zie superano 8-0 le canadesi dell’Ottawa. Domani sfida per il vertice contro Le Pallet Girls. #emg2019torino #EMGTorino2019 #EMG #sport #torino #athletes #italy #europeanmastersgames #softball #over35 #LaLoggia #EMG2019 #EuropeanMastersGames2019 #CULTURA #DIVERTIMENTO #staytuned #emg2019torino #emg2019turin #europeanmastersgames2019turin #womensoftball #softballfastpitch #fastpitchsoftball @softballemg2019torino @emgtorino2019 (presso Via passo buole Stadio Baseball) https://www.instagram.com/p/B0l-vlooZAQ/?igshid=y4llc6jong8s