Harvey Korman was one of the funniest supporting comedy actors of all time, brightening up the big and small screen with his memorable performances. On this episode of “The Online Movie Show,” the funnyman’s son and biographer Chris Korman discusses his father’s career and off-camera life.
Director William Lustig’s “Vigilante” is a lot like “Death Wish” on steroids. It’s a bonafide mix of a prison movie, it’s a drama about PTSD, a parable about political corruption, and a surefire revenge thriller to the very end. While the aforementioned ends on a twisted note, “Vigilante” is something of a contradiction. It seems to celebrate the idea of vigilante justice and revenge, but it ends on such a low, bleak note where our hero gets his vindication but literally has nothing left in his life.
Please introduce yourself.
I’m Ashlea Wessel, I’m a writer and director with a love of aesthetically driven horror and a soft spot for stories rife with social commentary. You can watch two of my previous shorts INK and TiCK on ALTER now, and my most recent short, Weirdo is making the festival rounds as we speak.
Please introduce yourself.
I am Elaine Pascale. I have been writing for as long as I can remember. What I write has almost exclusively always been horror. In my “pay my bills life,” I work in academia and the focus is on academic writing, but I do find ways to sneak in some gothic/horror stuff when allowed. I have two grown children and have been happily married for over a hundred years.
With the advent of technology and the destruction of the concept of celebrity, there are many movies like “Kid 90” coming to theaters and VOD. It’s an important trend of movies that discuss the pitfalls, perils, and hazards of being a child movie or TV star in any decade. Soleil Moon Frye allows a somewhat unfiltered look in to her not so happy childhood that involved a lot of pressure, a business that seemingly abandoned her, and being sexualized at the age of thirteen.
Photo Credit: Patrick Patton
Please introduce yourself.
I never outgrew my goth stage and have a deep preoccupation with crime and especially murder. My favorite bedtime stories as a toddler were Alfred Noyes’ “The Highwayman,” which – SPOILER – ends in a murder suicide, and “The Little Match Girl.” I read a lot of Michael Crichton in elementary school and loved his movies, especially COMA (but later in life). I came to filmmaking after school, studying journalism in college and even interning for major press organizations in Russia and Belgium. The media industry was imploding, though, as I graduated, so I worked a lot of odd jobs before stumbling into screenwriting and eventually directing in my mid-20s. I like to tackle social issues with my projects but drench them in buckets of blood. I find it very therapeutic.
Please introduce yourself.
First, thank you for the invitation! My name is Anouk Whissell, I’m a writer-director based in Montreal, Canada. I graduated in Traditional Animation, worked in animation studios for 10 years while making short films within the RKSS Films Director Triforce with François Simard and Yoann-Karl Whissell. Together, we’ve made our feature debut TURBO KID, which premiered at Sundance in 2015, where we returned a few years later with our follow-up film SUMMER OF ’84. As a director, I thrive on passion, my love for genre and character-driven stories.