#tony malanowski

[weirdlookindog]

The Curse of the Screaming Dead (1982) - VHS cover

[docrotten]

THE ALIEN FACTOR (1978) – Episode 216 – Decades Of Horror 1970s

“I’m surprised you haven’t figured it out. Edie, don’t you see? I am an alien too.” After all, isn’t everyone waiting for the mothership? Join your faithful Grue Crew – Doc Rotten, Bill Mulligan, Chad Hunt, and Jeff Mohr – as they consume the cheesy goodness of Don Dohler’s The Alien Factor (1978).

Decades of Horror 1970s Episode 216 – The Alien Factor (1978)

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

Decades of Horror 1970s is partnering with the WICKED HORROR TV CHANNEL (https://wickedhorrortv.com/) which now includes video episodes of the podcast 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 spaceship crashes in a sparsely populated area of Earth and three horrific aliens survive the accident. The grotesque extraterrestrials soon begin to terrorize the locals until a mysterious stranger shows up claiming to be able to save the day.

  Writer/Director: Don Dohler 

Makeup Department: John Cosentino, Britt McDonough, Larry Schlechter

Special Effects by:

Larry Schlechter (‘Inferbyce’ (insect) designed by / special effects)

John Cosentino (‘Zagatile’ (tall creature) designed by / special effects)

Ernest Farino (‘Leemoid’ designed & animated by) (as Ernie Farino) 

Britt McDonough (special effects)

Ted Rae (special effects assistant) (as Ted Richard Rae)

Bill Cosentino (special effects assistant

Production Assistant: John Dods

Selected Cast:

Don Leifert as Ben Zachary

Tom Griffith as Sheriff Cinder

Richard Dyszel as Mayor Wicker

Mary Mertens as Edie Martin

Richard Geiwitz as Pete

George Stover as Steven

Eleanor Herman as Mary Jane Carter

Anne Frith as Dr. Ruth Sherman

Christopher Gummer as Clay

Don Dohler as Ernie

Dave Ellis as Richie

Dave Geatty as Man in Bar

Margie Van Tassell as Susan

Tony Malanowski as Ed Miller

Debbie Pietron as Couple in Woods

William Cosentino as Couple in Woods (as Bill Cosentino)

Rick Cosentino as Biker

Greg Dohler as Three Children

Kim Pfeiffer as Three Children (as Kim Dohler)

Joey Merenda as Three Children

Ann Hanks as Barmaid

Lon Talbot as Rock Band

Glenn Ruby as Rock Band

Jack Campbell as Rock Band

Daniel White as Vance (as Dan White)

Britt McDonough as Ted

William L. Brown as Drunk

Cathy Oldaker as Girl in Bar

Donna Foster as Girl in Bar

Toni Watcheski as Couple in Bar

Ed Watcheski as Couple in Bar

Johnny Walker as Rex

Larry Schlechter as Inferbyce – Insect

John Cosentino as Zagatile – Tall Creature

It’s time to head for Maryland, USA to head off an alien invasion of sorts with the overly ambitious, roughly made, yet surprisingly entertaining creature feature, The Alien Factor (1978). Fans of horror host Count Gore De Vol will have a delightful surprise inside. And, for those who remember the odd alien creature cover of Famous Monsters of Filmland – with a ‘pink’ background – will finally get to see that monster and three others in this minor… masterpiece (?- Bill, really, I have to say this? – Okay…sigh.) All kidding aside, if for no other reason, this episode (and the movie watched for it) is a blast because of Bill Mulligan’s unwavering love for Don Dohler, his magazines, and his first full-length feature film. For better, or worse.

At the time of this writing, The Alien Factor (1978) is available to stream from Wicked Horror TV, Classic Horror Movie Channel, Tubi, and PPV on Amazon.

Gruesome Magazine’s Decades of Horror 1970s is part of the Decades of Horror two-week rotation with The Classic Era and the 1980s. In two weeks, the next episode, chosen by Bill, will be Mark of the Devil (1970), starring Herbert Lom, Udo Kier, Olivera Katarina, Reggie Nalder, and of course, Herbert Fux and Gaby Fuchs. The movie proudly owns the tagline, “This vomit bag and the price of one admission will enable you to see… the first film rated V for violence.” Oh-oh.

We want to hear from you – the coolest, grooviest fans: comment on the site or email the Decades of Horror 1970s podcast hosts at feedback@gruesomemagazine.com.

Check out this episode!

[markredfield]

Meet the cast of FRANKENSTEIN MOBSTER !

Eric Supensky is the voice of gangster Gunner Terski !

Eric voiced Captain Boola in the Redfield Arts Audio production “Sinbad and the Pirate Princess”. Bringing to life a flesh eating Zombie in Tony Malanowski's "Curse of the Screaming Dead", Eric Supensky first appeared in film during the summer of 1982 at the age of 14. While he continued to occasionally act over the next 30 plus years, Eric focused his skills as a designer, sculptor and carpenter in TV, Film, Theater and the Museum Industries. In 2014 Eric refocused his passion for acting and since that time has been cast in principal roles and can been seen in over 15 primetime television shows and several commercials including a GEICO spot featuring the "President Heads" of the Washington Nationals Baseball Team.

FRANKENSTEIN MOBSTER is available now on Audible worldwide!

RedfieldArtsAudio.com

Have We Got A Story To Tell You

[moviesandmania]

NIGHT OF HORROR (1981) Reviews of worst horror movie - free to watch on YouTube

NIGHT OF HORROR (1981) Reviews of worst horror movie – free to watch on YouTube

Night of Horror is a 1981 American horror film directed by Tony Malanowski. The lower-than-low budget was apparently a mere $4,000. Although there are many productions often cited as ‘the worst movie ever made’ most critics agree that Night of Horror is genuinely a strong contender. Nevertheless, the film still has its admirers. Malanowski followed this much-maligned movie with another…

[videoreligion]

Curse of the Cannibal Confederates (1982)

[themastercylinder]

How many of us started into filmmaking with crude, 8mm “mad scientist” horror epics, churned out on weekends in basements, garages, and living rooms? How many of us later progressed to more sophisticated Super or Single 8 (maybe even 16mm) films with sync-sound, elaborate special effects, and jazzy titles? And finally, how many of us through these first two stages of normal film-making development yearn for the big times that crack at doing a real, honest-to-goodness feature film? The answer to all three questions is most of us. And our group certainly wasn’t an exception. Ever since the beginning of this magazine back in 1972 I have become very aware of the abundance of true talent hiding itself in the shadow of the words “amateur filmmaker.” I think the articles and film profiles presented in Cinemagic testify to that fact. And though many of the films and filmmakers presented in these pages are truly amateurs (albeit creative, talented amateurs), a good many have the ability and experience to rub elbows with the best of professional film people. With this knowledge in mind, and the fact that I’ve come to personally know so many talented filmmakers through the sheer existence of this magazine, I figured that it was time to pool local (and some not-so-local) talent for the purpose of making a feature-length theatrical film.

The plan was simple enough: gather together a group of technicians and special effects artists get each individual to chip in an equal share of money, and let everyone “donate” his time and talents. With this concept, and a very rough idea for a story, I called together a varied group of filmmakers from the local Baltimore area. Most of us knew each other pretty well on a social level, but few of us had ever worked together on a creative film project. That first meeting, back in June of last year, went exceptionally well, and after three or four subsequent gatherings, we had kicked the story concept around and were setting our sights on a July 1 starting date. Our assembled group consisted of Dave Ellis, who would handle the sound recording; Britt McDonough as our chief cinematographer; Tony Malanowski as assistant director; John Cosentino on creature designs and special effects; George Stover playing a featured role in the film, as well as pulling in additional local acting talent; and yours truly, as script writer and director. Actually, such “titles” are nice and professional sounding, but when you get right down to it on just about any independent film, everybody does a little of everything. As mid-June rolled around and we had spent about two thousand hours in pre-production work (the tiny details are endless), I got a call from our only out-of-state partner, John Cosentino, who was handling the creation of two of our creature designs. “We’ll die inside these foam rubber suits in that heat,” John persuaded. And I listened, and finally. I agreed. So the July 1 commencement was pushed up until an October commencement. That worked out just as well, because typically, we hadn’t realized the tremendous amounts of time necessary to merely get ready for Day One of the shoot. October 1st came and went, and it wasn’t until October 16th that Day One actually happened. Now it is mid-January, and filming is just about completed. After working for five weekends in October and November, and knocking off for the holidays during December, filming was resumed a few weeks ago. We would be finished filming now, too, except for some terrible sound problems which cannot be ironed out. At the outside location for one of our major sequences we discovered that we were near a small suburban airport. Despite waiting endless hours for small planes to either land or get out of mike range, we still picked up enough of the buzzing airplane engines to be very noticeable. Our choice is to spend tons of money and time in a studio dubbing sound, or to find a new location and re-film that major sequence.

The Leemoid in the climactic battle scene in The Alien factor.

We’ve decided that in the long run, it’ll be much cheaper to re-film. The result is that we have only two small sequences which are usable from our October/ November shooting. Those sequences represent a lot of the total film, and our challenge now is to complete filming within a few weeks. We’ve already been out for two weeks in the worst winter weather in Baltimore history (average temperatures of about 10 degrees or lower) , and we have three more weeks to go. We’ve got most of the film in the can now, and we’re confident that we’ll have 100% by February 13th. Of course, by the time you read this it will probably be late March, and filming will have been finished, but I’ll let you know how it worked out in the next issue.

The Evolution Of The Story

My original idea was to make a ” film quickly and cheaply, a fast-buck vehicle that we could use as a springboard to bigger and better projects. The first title for our film was Lance Sterling Monster Killer, and it was to be a parody of every horror flick we’d ever seen. At first there was so much enthusiasm for this approach that we were coming up with more comedy and sight-gags than plot, and it seemed that the whole thing was turning into a sort of one-act satire. Finally, we came to our senses and said. nix.. From everything we had heard and read, the safest bet for a “first feature” was a straight-approach horror film. We continued on that premise, and I began writing the script. As the days rolled on, and script page after script page was completed, I started to notice that our ordinary horror film was turning more into a science fiction kind of thing, demanding a lot more special effects and good acting performances than we had previously calculated. A conflict then set in: should I continue writing this rather involved story, or scrap it and go back to a simple “monster-on-the-loose” concept? My decision was to compromise: three monsters on the loose with science fiction overtones. Thus our monsters became alien creatures, set loose on earth by an accident. Since we wanted our film to ring nostalgic of sci-fi films of the ’50’s, I set the whole story within the mythological small town of Perry Hill. If you change “Hill” to “Hall,” it should sound like a familiar place but “Perry Hall” somehow just doesn’t cut it as a small town.

The Zagatile attacks george Stover in this publicity still from Alien Factor.

So our imaginary small town took on all the characteristics of typical old sci-fi movies. Although there isn’t really any scene in the film taking place in the town’s exterior, we did find a suitable location for a few establishing shots. Just about all of the action “in town” was written to take place in the sheriff’s office, an interior we built on a super-modest budget in part of my basement. Our total office set budget came to about $50.00 and most of that was for lumber. I had several planks of sheet rock, which we used for the walls, and between us we all donated something to embellish the set: an old varnished door and table lamp from Dave Ellis, Venetian blinds from Tony Malanowski, a black dial phone from George Stover, and even an old wooden coat rack brought to us by our good friend Bruce Dods, who came down from New Jersey to watch us film one weekend. Our gun rack was purchased from a secondhand store for $5.00, and the guns placed on it were borrowed from a variety of people. The large bulletin board in the set is merely another piece of sheet-rock, framed and painted tan; and the local Post Office was eager to donate several old “wanted” posters. For a “call box” we set up a microphone and a wood-encased stereo speaker on top of a small particle board desk. The mike is a genuine tabletop one, picked up by one of our actors, Chris Gummer, for a dollar at a flea market. With all the ingredients put together, I’ve got to say that our sheriff’s office has charm, and a definite photogenic quality. Composition was generally easy when we shot on this set, and it’s visually enjoyable on the screen.

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Having the set built early helped me tremendously to visualize camera set-ups while I wrote the script. I knew the limitations of camera angles, and I always knew which direction the characters would have to face for continuity’s sake. The basic story of The Alien Factor is fairly typical, but that’s the way we wanted it. Three alien creatures are loose in this small town, and they’re attacking the townspeople left and right. The sheriff is stumped (he at first attributes the deaths to a large animal), and the mayor is on the sheriff’s back to “get out and find the thing before it kills anybody else!” The town doctor (a woman) helps thicken the mystery by discovering strange, impossible symptoms in several of the bodies (“No animal I’ve heard of could do that”). Meanwhile, there is an overly ambitious girl reporter the small town girl who’s been to the big city to study journalism and has now returned home to become the assistant editor of the town paper. She’s pesky, and constantly risking her neck within the film. Finally we have the outsider who comes into town, befriends the mayor, and inevitably becomes the savior. With these characters it was easy to create emotion and turmoil and hence, conflict. You’ve got to have conflict to have any sympathy for your characters, and if the audience can’t sympathize the story loses credibility (and it’s tough enough trying to make horror and science fiction believable). So far, our actors have done a convincing job, and in the daily rushes they seem believable to me, so I’m confident that when all is cut together properly, our story will have believable characters with whom the audience can identify. I should point out that we did things a bit backwards in our preproduction scheme; that is, we held screen tests and chose our actors before the final script was written. I had roughed out a story, described the characters, and scouted most of the exterior locations before we held the screen tests. With our cast selected, I knew precisely what sort of personalities I was dealing with, and although I had preconceived notions as to the characters in the film, knowing what the actors were like really helped. This was my first crack at writing an entire feature-length script, and Baltimore is not Hollywood—so it wasn’t a matter of having hundreds of talented actors at our disposal. We had to take what we could get locally for the most part, but somehow, the people we cast fit beautifully into their respective roles. The only sort of difficulty we encountered with our performers ( who are all working on a deferred payment basis) was in scheduling. We wormed our way around this by giving available actors scenes which were written for other actors (who weren’t able to meet schedules on particular days). Luckily, this sort of character-switching had no ill effect on the story, and in one case it actually worked out better.

  The Special Effects

Although our original concept was to make a quickie, fast-buck monster film, we wanted to at least have the monsters look good. When the script metamorphosed to a more plausible story line, we at first still decided to let our special effects go at three different “monster” creations. However, as we got further into developing our story, we saw a definite need for additional and more sophisticated effects. The first decision here was to make one of our creatures a stop motion model, rather than a man in a suit, like the other two creatures.

The Leemoid

For this task I convinced our cameraman, Britt McDonough, to build a ball-and-socket, latex build-up model, based on my specs. Britt put the model together in one week, using a new, simplified ball-and-socket construction method recently developed by a young man in Virginia. (This new method does not require drilling or soldering, and uses ready-made parts. We will present an article on this in a future issue.) The only significant difference in our stop-motion sequence is that the model will be superimposed over live action of an actor. The reason is that we want the creature called a Leemoid in the film, to be a rather ghostly energy creature who is visible only at night. The sequence involving the Leemoid takes place near the end of the film, and will last about three minutes on the screen.

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Ernest Farino ened up constructing the final version of the Leemoid.

    The Zagatile

For our other creatures, we called on John Cosentino and Larry Schlechter. John (who, as I mentioned earlier, is from Michigan) submitted several drawings of various creatures, and two designs were chosen. One of them, a 7-foot-tall beast with furry legs similar to Harryhausen’s 7th Voyage cyclops, became our Zagatile in The Alien Factor. The second design must remain secret for now, for it would reveal too much about our plot. In any case, both creatures were meticulously sculpted in clay, and huge full body casts were made in plaster. John decided that he would have to wear the Zagatile outfit, so he somehow managed to make his own body cast. He used 700 pounds of plaster for the cast, and described it as “Yucchh!” His process was so intriguing, though, that I asked him to write an article about it for a later issue of CM (he agreed to do so). The unique thing about the Zagatile is its feet: a foot and a half of welded steel, with claw-shaped toes, and ski-boots at the top into which John strapped his own feet. Together with his own six-foot frame, John stood 7 feet tall when suited up and standing on the steel Zagatile feet.

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    The Inferbyce

Larry Schlechter chose a different approach to creature design. Since his Inferbyce was to be a man-like version of a cockroach, Larry decided that for it to look hard-shelled, it would have to be hard-shelled. He created the suit in hinged sections out of a cardboard base with papier-mache build-up. Several coats of liquid latex, paint, and varnish complete the effect of a shiny, slithery cockroach-thing. With our main three creatures out of the way,  we took to the task of additional special effects.

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    The Crashed Ship

Many of these were simply in-camera optical effects, while others were miniatures combined with live action. One of the most convincing on-screen effects so far is a shot of a huge spaceship which is crashed into the earth. Two of our characters walk up to the large craft and inspect it. Here again, we called on the talents of John Cosentino and Britt McDonough. Together they constructed a beautiful miniature of the spaceship and surrounding “earth.” The earth was sculpted in Celluclay (a ready-made papier mache substance) and appropriately painted. To pull off the illusion of the live actors looking dwarfed against a giant craft we did a “deceptive perspective” shot. That is, the spacecraft model platform was arranged in such a way as to blend in with the live terrain, and the actors were placed several hundred feet away from the miniature. The camera, sporting a 10mm wide-angle lens, was placed a few inches from the model, and the effect became the illusion of a large spacecraft and tiny men. The important thing in such a shot is how well the tiny miniature actually blends in with the live terrain, and having both the close miniature and the distant actors in sharp focus. We were fortunate when we shot this sequence because it was an extremely bright day and we were able to close down the lens to f8. To further insure sharpness, we focused mid-way between the miniature and the actors. All-in-all, the effect is totally convincing, and people who have seen it think it’s some sort of precisely executed matte shot.

John Cosentino places twigs into the miniature papier mache platform that the spaceship model rests on. The miniature was coated with real snow.

After the miniature blends into the real, life-size landscape, the camera with a 10mm wide-angle lens is placed close to the miniature.

The miniature placed close to the lens creates the illusion of a huge spaceship. The actors are placed 200 feet in the background, lined up so that they appear to be next to the spaceship. It is important for the miniature to blend perfectly with the life-size background. It is usually best, therefore, to assemble the miniature set. up on location. The models and main ground pieces are built beforehand, but the final assembly needs to include dirt, sand (or in this case, snow), rocks and twigs from the location properly blended to merge with the background.

The foreground miniature is complete and ready for setting up with the actors. Note that the small twigs on the platform will blend in with real trees in the background adding depth to the perspective illusion.

Space ship miniature

  Bill Cosentino … special effects assistant John Cosentino … ‘Zagatile’ (tall creature) designed by / special effects Ernest Farino … ‘Leemoid’ animated by (as Ernie Farino) / ‘Leemoid’ designed by (as Ernie Farino) Britt McDonough … special effects Ted Rae … special effects assistant (as Ted Richard Rae) Larry Schlechter … ‘Inferbyce’ (incect) designed by / special effects Visual Effects by Ernest Farino … additional photographic effects (as Ernest D. Farino) Original Source Material Cinemagic v1 09 (1977) Cinemagic v1 10 (1977) Cinemagic v1 11 (1978) Cinemagic v2 06

The Alien Factor (1978) Retrospective How many of us started into filmmaking with crude, 8mm “mad scientist” horror epics, churned out on weekends in basements, garages, and living rooms?

[mrmedia]

824 Jamie Malanowski, author, "And the War Came: The Six Months That Tore America Apart"

Today's Guest: Jamie Malanowski, author, And The War Came, former writer, Spy magazine

Mr. Media is recorded live before a studio audience that includes folks who still haven’t left my living room since the Tony Hendra interview… in the new new media capitol of the world… St. Petersburg, Florida!

Part 1

  Writer Jamie Malanowski knows Abraham Lincoln! (Interview; 1 of 2) "And The War Came" by Jamie Malanowski. Order your copy now by clicking on the book cover above!

When I heard that Jamie Malanowski had penned a book about the days leading up to the American Civil War, I assumed it would be something along the lines of Abraham Lincoln: Vampire Hunter. You know – something absurdist that could read, if well-crafted, as if it were true. Instead, the former SPY magazine writer and editor has produced something that is true and we can only wish it chronicled something absurdist instead of reminding us that Obama vs. the Tea Party is not unlike Lincoln vs. the Confederacy.

JAMIE MALANOWSKI audio excerpt: "I was confronted more clearly than I ever expected with just how fiercely (Southerners) believed in slavery. And how strongly determined they were to keep their property." 

And the War Came: The Six Months That Tore America Apart originally appeared online in serialized form in The New York Times “Opinionator” web pages. It is a mesmerizing, week-by-week account from the day of Abraham Lincoln’s election, through the secession of the Southern states, on up to the start of the Civil War. The book is currently available as an e-book, but a print-on-demand edition is in the works. As for Jamie Malanowski, he’s enjoyed one of those careers guys like me can only envy from afar. Writer and editor for SPY magazine, managing editor of Playboy – we could stop there – and he is also the author of a political novel, The Coup. More recently he’s been doing ghostwriting and private editorial consultation. It’s a real pleasure to welcome him to the show.

Jamie Malanowski Website • Blog • Twitter • YouTube • Facebook

Part 2

  Writer Jamie Malanowski knows Abraham Lincoln! (Interview; 2 of 2)

  Order 'The Book of Levon' by Jamie Malanowski, available from Amazon.com by clicking on the book cover above!

  Kicking Through the Ashes: My Life As A Stand-up in the 1980s Comedy Boom by Ritch Shydner. Order your copy today by clicking on the book cover above!

    The Party Authority in New Jersey, Pennsylvania, Delaware and Maryland!

Check out this episode!

[nightmarelist]

Night of Horror (1981, Tony Malanowski)

[thepoolscene]

The Pool Scene - Jasmin Ouschan - Euro-Tour

New Post on http://thepoolscene.com/?p=21696

Ouschan, Tahti and Uski new 8-ball Champions

The 8-ball tiles at the Dynamic Billard European Championships for Men, Women and Wheelchair Athletes in the Salgados Palace Hotel in Albufeira, Portugal, have been awarded. Jouni Tahti (FIN), Jasmin Ouschan (AUT) and Jani Uski (FIN) have snatched the coveted titles in the 8-ball individuals.

In the men’s division, Jani Uski started out as an underdog in the discipline. His victims on the way into the final match include Denis Grabe (EST) 8:5, Francisco Diaz-Pizarro (ESP) 10:6 and Francisco Sanchez-Ruiz (ESP) 10:8. These victories took him into the final match against Marc Bijsterbosch (NED) who had already taken the 10-ball title earlier this week. Bijsterbosch made his way into the final match over Jakub Koniar (SVK) 8:7, Ruslan Chinakhov 10:8 and Mario He (AUT) 10:7. The final match itself was determined by careful play from both actors. Uski however was always a margin up over Bijsterbosch and carried that advantage all through the match. In the end, Uski won his first title in defeating Bijsterbosch 10:7 in the final match.

Left to right: Jasmin Ouschan, Jouni Tahti and Jani Uski

Top 8 Men: 1. Jani Uski (FIN) 2. Marc Bijsterbosch (NED) 3. Mario He (AUT) Francisco Sanchez-Ruiz 5. Mieszko Fortunski (POL) Francisco Diaz-Pizarro (ESP) Maksim Dudanets (RUS) Ruslan Chinakhov (RUS)

In the women’s division, Jasmin Ouschan received her 25th Gold Medal on European level and her 50th medal from the EPBF by winning the 8-ball title today. She had a hard time in the semi-final when she just made it over Tamara Peeters-Rademakers (NED) with 7:6. Her opponent in the final match was Melanie Suessenguth (GER). The German had defeated Amalia Matas (ESP) the round before and met Ouschan in the final. However, in the final Suessenguth had no more energy to oppose to Ouschan. 7:0 was the very clear result in favour of the Austrian superstar.

Top 8 Women: 1. Jasmin Ouschan (AUT) 2. Melanie Suessenguth (GER) 3. Tamara Peeters-Rademakers (NED) Amalia Matas (ESP) 5. Vivien Schade (GER) Marharyta Fefilava (BLR) Sara Rocha (POR) Kristina Schagan (GER)

In the wheelchair division, Jouni Tahti was definitely one of the favourite players from the start. Having had a bad start in 10-ball, Tahti was hungry for another title. He met Kurt Deklerck in the final match. Deklerck already won the 10-ball event earlier this week and still had some wind underneath his wings. The final match was packed with action and drama fro both players with Tahti having the better end on his side, winning the match and the title with 5:3 over Deklerck.

Top 8 Wheelchair: 1. Jouni Tahti (FIN) 2. Kurt Deklerck (BEL) 3. Roy Kimberley (GBR) Tony Southern (GBR) 5. Emil Malanowski (POL) Fred DInsmore (IRL) 7. Matt Duffy (GBR) David Humpe (BEL)

Medal table after 3 of 5 events:

Earlier today, two rounds of team competition  were played at the Dynamic Billard European Championships for Men, Women and Wheelchair Athletes in the Salgados Palace Hotel in Albufeira, Portugal. In the men’s division, Team Croatia came up with the biggest surprise of the day. The clearly defeated the defending Champion Team Germany with 2:0. Ivica Putnik slammed Ralf Souquet 9:5 in 9-ball while Roberto Bartol just made it over Sebastian Ludwig with 8:7 in 10-ball. The third match between Tomislav Susic and Sebastian Staab in 8-ball was held up at 7:6 for Staab since the Croatians had already won the match being 2:0 up. Another huge surprise was brought to the tournament by Team Finland. They managed to triumph over Team Spain, consisting of Jose Alberto Delgado Hernandez, Francisco Sanchez Ruiz and David Alcaide, with 2:1. In 8-ball, Jani Uski wiped the floor with Francisco Sanchez Ruiz 8:1 while Kim Laaksonen stood tall over David Alcaide in 9-ball with 9:7. At that time, Petri Makkonen was also leading 7:5 over Delgado in 10-ball, race to 8. The team clash between Austria and The Netherlands was won by Team Austria today. Though Niels Feijen defeated Albin Ouschan 8:3 in 10-ball, the Austrians left the venue as the winner today. Mario He overpowered Ivar Saris in 8-ball 8:6 while Maximilian Lechner clearly remained the upper hand over Nick van den Berg in 9-ball with 9:5.

In the women’s team competition, Team The Netherlands won 2:0 over Team Finland and Team Spain defeated Team Portugal with the same result.

Tomorrow, the tournament will continue at 09:00 GMT with matches from the 9-ball individuals competition.

Every day, one match from the events will be shown LIVE on the Facebook page of the EPBF. All Facebook users may check out the high standard of quality which is provided for all the events and see what the Kozoom members receive all the time. You can see all the matches live via www.kozoom.com who stream the whole event on 24 tables on the internet LIVE. The FB live matches are announced on the EPBF Facebook page around noon every day. Results and schedule can be found at www.europeanpoolchampionships.com so why not come and check out all the LIVE action of the Dynamic Billard European Championships for Men, Women and Wheelchair Athletes.

[videoreligion]

Curse of the Cannibal Confederates (1982)

[videoreligion]

Curse of the Cannibal Confederates (1982)

[videoreligion]

Curse of the Cannibal Confederates (1982)

[videoreligion]

Curse of the Cannibal Confederates (1982)

[videoreligion]

Curse of the Cannibal Confederates (1982)

[videoreligion]

Curse of the Cannibal Confederates (1982)

[moviesandmania]

The Curse of the Screaming Dead aka Curse of the Cannibal Confederates - USA, 1982

The Curse of the Screaming Dead aka Curse of the Cannibal Confederates – USA, 1982

The Curse of the Screaming Dead is a 1982 American horror feature film directed by Tony Malanowski from a screenplay written by Lon Huber. It was picked up for distribution in 1987 by Troma Entertainment and retitled Curse of the Cannibal Confederates.

The film follows six young friends who unwillingly raise the undead corpses of Confederate soldiers, resulting in what the video box promises as…