Skull Heads is a 2009 drama/horror film written and directed by Charles Band and distributed by his company Full Moon Features. The film revolves around an backward young woman who lives in a castle in Italy with her mother and her aggressive father, along with a dark secret hidden within the castle; the film begins with Naomi Arkoff being taken by her father Carver Arkoff into the basement of their castle home in Rome, where there lies a rack. Carver turns the wheel, hurting her. Carver claims that her punishment this time is for having a cell phone, against the father's wishes. After begging her father to let her go, Carver unties her, but warns her that the next time she has a cellphone in the house, her punishment is not going to be slow and painful; as she gets released, she runs off upstairs, strangely screaming: "I can run faster than you!" over and over again. The next afternoon, Carver comes downstairs into the dining room to be questioned by his wife Lisbeth about what he did to Naomi the previous night.
They encourage Carver's half brother Peter, mentally retarded, to have lunch with them, where Carver tells Peter that the lamb that they're eating was Sophia, who Peter had grown an affection with. When Naomi comes downstairs and finds out what's up, she gives her toy animal of a horse to him, which appears to cheer him up. Lisbeth takes a tray of food upstairs to her father, who throughout the entire film has his face not seen. Lisbeth continues to read Edgar Allan Poe's "From Childhood's Hour" to him. Afterward, she alerts him that his guardian angels are in the room to protect him, which are shown to be small little creatures with big skull heads. Lisbeth goes to check on Naomi and Naomi tells her that she wants to go away to college because she wants to be able to get out and meet people and do exciting things. Lisbeth, tells her the story of Naomi's grandmother, who ran away when Lisbeth was a baby to go see the circus and never came back; when Lisbeth became a teenager, the circus came back into town and when she went to see it, she saw her mom in the circus act performing acrobatics on a wire.
The moral is, that if Naomi leaves, she might never come back to see her father and mother just like her grandmother did. Lisbeth finds an iPod underneath Naomi's pillow, but after finding out how useful it can be, she allows Naomi to keep it unless she doesn't have her father see it. The next morning, the Arkoffs' maid, opens the two double doors that lead outside of the castle to be greeted by three people: Kimi, L. J. and Jensen, who claim that they are Hollywood Producers looking for a place to shoot a couple scenes for a spy/war movie they're doing. Before shutting the door in their faces, Naomi invites them in so she can meet new people, but the opportunity is ruined when Carver comes outside and insults the trio, forcing them to leave, not before Kimi hands Carver her card in case anyone changes their mind. Carver tears up the card, throws it down, telling Uncle Peter to escort the trio out. Meanwhile, Naomi gathers up the card. On that day, Naomi sneaks a cell phone away from one of the water delivery boys and calls the number on the card so they can come over for dinner that night.
That night, after calming her father down about having guests over, everyone settles down for a lovely meal until they hear something. The family explains that it's the "protectors" A. K. A.: Grandpa's Guardian Angels. Lisbeth explains that the Romans used to bury the dead in underground catacombs, it is believed that a couple of tombs are buried beneath the castle. Back when the Ostrogoths and the Vandals sacked Rome, they violated the catacombs searching for valuables, hence why the castle was constructed above the burial grounds; the so-called "Protectors" in the castle are called Skull Heads, creatures born from witchcraft that were placed in the castle to protect the dead from any such type of violation for the past 200 years. It's believed that they have the power to have control on the living and the dead. After the grand tour of the castle, the film crew leave and it's revealed that they're not Hollywood filmmakers, but art thieves, after viewing the castle, they plan on robbing the place the next night.
The next morning, Carver tells Naomi that the breakfast that she has just received is the only thing she's eating because she's going to be put back on the rack on. As he heads downstairs, he finds Peter trying to stick his penis in Claudia's crack, he beats Peter out of the room, but forces Claudia to keep her pants down as he unzips his pants zipper. That night, Kimi, L. J. and Jensen sneak into the start stealing items. Meanwhile, Jensen finds Naomi tied up on the rack in the basement and just as they're about to escape, they run into Carver and Lisbeth; as they fight between the right decision for Naomi, Lisbeth explains why the family always sticks together and why they act strange: Naomi is not only Carver and Lisbeth's daughter, but she's their niece and Carver and Lisbeth are not husband and wife, they're brother and sister. The reason Naomi is a little bit retarded is because of being an inbred and confused about who she is. Lisbeth gets shot in the back and Carver, at the same time, gets shot in the chest by Kimi, who forces Jensen and Naomi back into the basement.
Kimi tricks Naomi for betraying his partner. Kimi presses an button, which causes the rack to run automatically instead of manually. Kimi locks Naomi in
Blood Dolls is a 1999 direct-to-video comedy–horror film written and directed by Charles Band. The story was conceived by Robert Talbot. Virgil Travis is a wealthy, soulless psychopath who lives in seclusion in his mansion home with his dwarf butler and his murderous, clown make-up-wearing maniac right-hand man. Tortured and forcibly mutated as a child by a woman who put him through body transforming procedures, Virgil has an abnormally sized head. Basking in the suffering, degradation and death of others, Virgil has killed, kidnapped a female rock group that he keeps imprisoned in his basement to help satisfy his constant need for perverse amusement. Never satisfied, Virgil decides that he will once again try to fill the emptiness that exists within him, so creates a trio of deformed, living dolls to systematically murder any and all people who have wronged him. What Virgil doesn't anticipate, though, is meeting his match and finding love, both of which come in the form of a woman, more evil and twisted than he is.
The film has 2 different endings: After his new wife sees his deformed head, she is horrified, so the dolls attack her while Virgil has the house filled with poison gas. Ms. Fortune frees the rock group. Rather than be disgusted, she finds him attractive for his intellect, she says that together, the world is theirs for the taking. In the film, there is a character by the name of Mr. Mascaro, he is a human version of the character Jack Attack, a character from Demonic Toys. Virgil Travis is the son of Myron Stackpool and from the yet-to-be-made Bride of the Head of the Family, Georgina. Pimp Sideshow Ms. Fortune Jack Maturin as Virgil Travis Debra Mayer as Moira Yulin William Paul Burns as Mr. Mascaro Warren Draper as Harrison Yulin Nicholas Worth as George Warbeck Jodie Coady as Mercy Shaw Phil Fondacaro as Hylas Naomi McClure as Cindy Agami Jack Forbes as Squires Jason Pace as Howard Loftus J. Paradee as Shirley Venesa Talor as Cotton Baby Yvette Lera as Razor Baby Persia White as Black Baby Matt Corboy as Warbeck Security Beth Fisher as Woman Security Merritt Bailey as Security Guy #1 Richard Ecks as Security Guy #2 Mike McDuffie as Security Guy #3 Will Kouf of Silver Emulsion Film Reviews states in his review: "Where do I start with this fucking movie?
Blood Dolls does its best to shock and awe the viewer into liking it. It’s a movie that will only appeal to the most demented group of people in the audience, which realistically is a large subset of the people who give a shit about Full Moon movies. I am not so keen on this particular brand of demented film, the “demented for the sake of being demented” variety. Killer toy Hollyweird, a documentary about the making of Blood Dolls Blood Dolls on IMDb
In evolutionary biology, parasitism is a relationship between species, where one organism, the parasite, lives on or in another organism, the host, causing it some harm, is adapted structurally to this way of life. The entomologist E. O. Wilson has characterised parasites as "predators that eat prey in units of less than one". Parasites include protozoans such as the agents of malaria, sleeping sickness, amoebic dysentery. There are six major parasitic strategies of exploitation of animal hosts, namely parasitic castration, directly transmitted parasitism, trophically transmitted parasitism, vector-transmitted parasitism and micropredation. Like predation, parasitism is a type of consumer-resource interaction, but unlike predators, with the exception of parasitoids, are much smaller than their hosts, do not kill them, live in or on their hosts for an extended period. Parasites of animals are specialised, reproduce at a faster rate than their hosts. Classic examples include interactions between vertebrate hosts and tapeworms, the malaria-causing Plasmodium species, fleas.
Parasites reduce host fitness by general or specialised pathology, from parasitic castration to modification of host behaviour. Parasites increase their own fitness by exploiting hosts for resources necessary for their survival, in particular by feeding on them and by using intermediate hosts to assist in their transmission from one definitive host to another. Although parasitism is unambiguous, it is part of a spectrum of interactions between species, grading via parasitoidism into predation, through evolution into mutualism, in some fungi, shading into being saprophytic. People have known about parasites such as roundworms and tapeworms since ancient Egypt and Rome. In Early Modern times, Antonie van Leeuwenhoek observed Giardia lamblia in his microscope in 1681, while Francesco Redi described internal and external parasites including sheep liver fluke and ticks. Modern parasitology developed in the 19th century. In human culture, parasitism has negative connotations; these were exploited to satirical effect in Jonathan Swift's 1733 poem "On Poetry: A Rhapsody", comparing poets to hyperparasitical "vermin".
In fiction, Bram Stoker's 1897 Gothic horror novel Dracula and its many adaptations featured a blood-drinking parasite. Ridley Scott's 1979 film Alien was one of many works of science fiction to feature a terrifying parasitic alien species. First used in English in 1539, the word parasite comes from the Medieval French parasite, from the Latin parasitus, the latinisation of the Greek παράσιτος, "one who eats at the table of another" and that from παρά, "beside, by" + σῖτος, "wheat", hence "food"; the related term parasitism appears in English from 1611. Parasitism is a kind of symbiosis, a close and persistent long-term biological interaction between a parasite and its host. Unlike commensalism and mutualism, the parasitic relationship harms the host, either feeding on it or, as in the case of intestinal parasites, consuming some of its food; because parasites interact with other species, they can act as vectors of pathogens, causing disease. Predation is by definition not a symbiosis, as the interaction is brief, but the entomologist E. O. Wilson has characterised parasites as "predators that eat prey in units of less than one".
Within that scope are many possible strategies. Taxonomists classify parasites in a variety of overlapping schemes, based on their interactions with their hosts and on their life-cycles, which are sometimes complex. An obligate parasite depends on the host to complete its life cycle, while a facultative parasite does not. Parasite life-cycles involving only one host are called "direct". An endoparasite lives inside the host's body. Mesoparasites - like some copepods, for example - enter an opening in the host's body and remain embedded there; some parasites can be generalists, feeding on a wide range of hosts, but many parasites, the majority of protozoans and helminths that parasitise animals, are specialists and host-specific. An early basic, functional division of parasites distinguished macroparasites; these each had a mathematical model assigned in order to analyse the population movements of the host–parasite groupings. The microorganisms and viruses that can reproduce and complete their life cycle within the host are known as microparasites.
Macroparasites are the multicellular organisms that reproduce and complete their life cycle outside of the host or on the host's body. Much of the thinking on types of parasitism has focussed on terrestrial animal parasites of animals, such as helminths; those in other environments and with other hosts have analogous strategies. For example, the snubnosed eel is a facultative endoparasite that opportunistically burrows into and eats sick and dying fish. Plant-eating insects such as scale insects and caterpillars resemble ectoparasites, attacking much larger plants; as female scale-insects cannot move, they are obligate parasites, permanently attached to their hosts. There are six major parasitic strategies, namely parasitic castration, directly transmitted parasitism, trophically transmitted parasitism, vector-transmitted parasitism, parasitoid
Crash and Burn (1990 film)
Crash and Burn is a 1990 American science fiction film directed by Charles Band. It was titled Robot Jox 2: Crash and Burn in most European markets, despite not being related to Band's 1990 film Robot Jox. Unicom is a powerful organization overseeing most of the world after its economic collapse, they have banned computers and robots in an attempt to ensure "life and the pursuit of economic stability." When a Unicom Synth robot infiltrates a southwest TV station and kills the manager, a revolutionary against the gestapo-like corporation, a lowly Unicom delivery man, must help the rest of the station survive through the incoming "thermal storm." Paul Ganus as Tyson Keen Megan Ward as Arren Jack McGee as Winston Wickett Eva LaRue as Parice Crash and Burn was titled Robot Jox 2 in most European markets at the time of release, but renamed when re-released on DVD. Despite the title, same opening theme, involvement of Charles Band, reused cover art, the plots of Robot Jox 2: Crash and Burn and Robot Jox are unrelated.
The film was discontinued for copyright reasons. The DVD contained a widescreen print of the film; the film was released onto DVD again through the Charles Band DVD Collection, released in 2006. The boxset contains Meridian: Kiss of the Beast, Doctor Mordrid, Head of the Family; the film was again released on DVD by Shout! Factory on June 14, 2011, as a double feature DVD with Robot Wars. Robot Wars - a 1993 film marketed as a sequel to Robot Jox Crash and Burn on IMDb
A film called a movie, motion picture, moving picture, or photoplay, is a series of still images that, when shown on a screen, create the illusion of moving images. This optical illusion causes the audience to perceive continuous motion between separate objects viewed in rapid succession; the process of filmmaking is both an industry. A film is created by photographing actual scenes with a motion-picture camera, by photographing drawings or miniature models using traditional animation techniques, by means of CGI and computer animation, or by a combination of some or all of these techniques, other visual effects; the word "cinema", short for cinematography, is used to refer to filmmaking and the film industry, to the art of filmmaking itself. The contemporary definition of cinema is the art of simulating experiences to communicate ideas, perceptions, beauty or atmosphere by the means of recorded or programmed moving images along with other sensory stimulations. Films were recorded onto plastic film through a photochemical process and shown through a movie projector onto a large screen.
Contemporary films are now fully digital through the entire process of production and exhibition, while films recorded in a photochemical form traditionally included an analogous optical soundtrack. Films are cultural artifacts created by specific cultures, they reflect those cultures. Film is considered to be an important art form, a source of popular entertainment, a powerful medium for educating—or indoctrinating—citizens; the visual basis of film gives it a universal power of communication. Some films have become popular worldwide attractions through the use of dubbing or subtitles to translate the dialog into other languages; the individual images that make up a film are called frames. In the projection of traditional celluloid films, a rotating shutter causes intervals of darkness as each frame, in turn, is moved into position to be projected, but the viewer does not notice the interruptions because of an effect known as persistence of vision, whereby the eye retains a visual image for a fraction of a second after its source disappears.
The perception of motion is due to a psychological effect called the phi phenomenon. The name "film" originates from the fact that photographic film has been the medium for recording and displaying motion pictures. Many other terms exist for an individual motion-picture, including picture, picture show, moving picture and flick; the most common term in the United States is movie. Common terms for the field in general include the big screen, the silver screen, the movies, cinema. In early years, the word sheet was sometimes used instead of screen. Preceding film in origin by thousands of years, early plays and dances had elements common to film: scripts, costumes, direction, audiences and scores. Much terminology used in film theory and criticism apply, such as mise en scène. Owing to the lack of any technology for doing so, the moving images and sounds could not be recorded for replaying as with film; the magic lantern created by Christiaan Huygens in the 1650s, could be used to project animation, achieved by various types of mechanical slides.
Two glass slides, one with the stationary part of the picture and the other with the part, to move, would be placed one on top of the other and projected together the moving slide would be hand-operated, either directly or by means of a lever or other mechanism. Chromotrope slides, which produced eye-dazzling displays of continuously cycling abstract geometrical patterns and colors, were operated by means of a small crank and pulley wheel that rotated a glass disc. In the mid-19th century, inventions such as Joseph Plateau's phenakistoscope and the zoetrope demonstrated that a designed sequence of drawings, showing phases of the changing appearance of objects in motion, would appear to show the objects moving if they were displayed one after the other at a sufficiently rapid rate; these devices relied on the phenomenon of persistence of vision to make the display appear continuous though the observer's view was blocked as each drawing rotated into the location where its predecessor had just been glimpsed.
Each sequence was limited to a small number of drawings twelve, so it could only show endlessly repeating cyclical motions. By the late 1880s, the last major device of this type, the praxinoscope, had been elaborated into a form that employed a long coiled band containing hundreds of images painted on glass and used the elements of a magic lantern to project them onto a screen; the use of sequences of photographs in such devices was limited to a few experiments with subjects photographed in a series of poses because the available emulsions were not sensitive enough to allow the short exposures needed to photograph subjects that were moving. The sensitivity was improved and in the late 1870s, Eadweard Muybridge created the first animated image sequences photographed in real-time. A row of cameras was used, each, in turn, capturing one image on a photographic glass plate, so the total number of images in each sequence was limited by the number of cameras, about two dozen at most. Muybridge used his system to analyze the movements of a wi
Variety is a weekly American entertainment trade magazine and website owned by Penske Media Corporation. It was founded by Sime Silverman in New York in 1905 as a weekly newspaper reporting on theater and vaudeville. In 1933 it added Daily Variety, based in Los Angeles. Variety.com features breaking entertainment news, box office results, cover stories, photo galleries and more, plus a credits database, production charts and calendar, with archive content dating back to 1905. Variety has been published since December 16, 1905, when it was launched by Sime Silverman as a weekly periodical covering theater and vaudeville with its headquarters in New York City. Sime was fired by The Morning Telegraph in 1905 for panning an act which had taken out an advert for $50, said that it looked like he would have to start his own paper in order to be able to tell the truth. With a loan of $1,500 from his father-in-law, he launched Variety as editor. In addition to Sime's former employer The Morning Telegraph, other major competitors on launch were The New York Clipper and the New York Dramatic Mirror.
The original cover design, similar to the current design, was sketched by Edgar M. Miller, a scenic painter, who refused payment; the front cover contained pictures of the original editorial staff, who were Alfred Greason, Epes W Sargeant and Joshua Lowe, as well as Sime. The first issue contained a review by Sime's son Sidne known as Skigie, claimed to be the youngest critic in the world at seven years old. In 1922, Sime acquired The New York Clipper, reporting on the stage and other entertainment since 1853 and folded it two years merging some of its features into Variety. In 1922, Sime launched the Times Square Daily, which he referred to as "the world's worst daily" and soon scrapped. During that period, Variety staffers worked on all three papers. After the launch of The Hollywood Reporter in 1930, which Variety sued for alleged plagiarism in 1932, Sime launched Daily Variety in 1933, based in Hollywood, with Arthur Ungar as the editor, it replaced Variety Bulletin, issued in Hollywood on Fridays.
Daily Variety was published every day other than Sunday but on Monday to Friday. Ungar was editor until 1950, followed by Joe Schoenfeld and Thomas M. Pryor, succeeded by his son Pete; the Daily and the Weekly were run as independent newspapers, with the Daily concentrating on Hollywood news and the Weekly on U. S. and International coverage. Sime Silverman had passed on the editorship of the Weekly Variety to Abel Green as his replacement in 1931. Green remained as editor from 1931 until his death in 1973. Sime's son Sidne succeeded him as publisher of both publications. Following his death from tuberculosis in 1950, his only son Syd Silverman, was the sole heir to what was Variety Inc. Young Syd's legal guardian Harold Erichs oversaw Variety Inc. until 1956. After that date Syd Silverman managed the company as publisher of both the Weekly Variety in New York and the Daily Variety in Hollywood, until the sale of both papers in 1987 to Cahners Publishing for $64 million, he remained as publisher until 1990 when he was succeeded on Weekly Variety by Gerard A. Byrne and on Daily Variety by Sime's great grandson, Michael Silverman.
Syd became chairman of both publications. In 1953, Army Archerd's "Just for Variety" column appeared on page two of Daily Variety and swiftly became popular in Hollywood. Archerd broke countless exclusive stories, reporting from film sets, announcing pending deals, giving news of star-related hospitalizations and births; the column appeared daily for 52 years until September 1, 2005. On December 7, 1988, the editor, Roger Watkins and oversaw the transition to four-color print. Upon its launch, the new-look Variety measured one inch shorter with a washed-out color on the front; the old front-page box advertisement was replaced by a strip advertisement, along with the first photos published in Variety since Sime gave up using them in the old format in 1920: they depicted Sime and Syd. For twenty years from 1989 its editor-in-chief was Peter Bart only of the weekly New York edition, with Michael Silverman running the Daily in Hollywood. Bart had worked at Paramount Pictures and The New York Times.
In April 2009, Bart moved to the position of "vice president and editorial director", characterized online as "Boffo No More: Bart Up and Out at Variety". From mid 2009 to 2013, Timothy M. Gray oversaw the publication as Editor-in-Chief, after over 30 years of various reporter and editor positions in the newsroom. In October 2012, Reed Business Information, the periodical's owner, sold the publication to Penske Media Corporation. PMC is the owner of Deadline Hollywood, which since the 2007–2008 Writers Guild of America strike has been considered Variety's largest competitor in online showbiz news. In October 2012, Jay Penske, Chairman and CEO of PMC, announced that the website's paywall would come down, the print publication would stay, he would invest more into Variety's digital platform in a townhall. In March 2013, Variety owner Jay Penske appointed three co-editors to oversee different parts of the publication's industry coverage; the decision was made to stop printing Daily Variety with the last printed edition published on March 19, 2013 with the headline "Variety A