Thursday, July 2, 2015

Damn, maybe I should re-title this blog The Shadowless Portland.

Unseasonable HOT weather makes me wonder if I should rename this blog.  After all, September is only....

TWO FREAKING MONTHS AWAY?!?!?  May Cthulhu drive me insane, rather than spend another moment in this blistering heat.  Oh, and the Congressman who brought a snowball into the chambers to prove climate change is a hoax, I hope he can fly out here and explain the above average temperatures.  At least until Cthulhu rises from R'lyeh and and shows his ass what cosmic climate horror is all about...

Oh, I'm ranting again.  Well, despite the heat, I'm still dedicated to delivering the genre news Pacific Northwest fans can use, so here's your update...

Friday, July 3

What We Do in the Shadows continues to sink its teeth into fans at Cinema 21 in Portland, OR.  Though the theater's website keeps advising the movie will end soon, this group of vampires trying to navigate the modern world keeps coming back for more!  Visit the Cinema 21 website for more details.

Closer to God, a cloning horror story, opens at The Clinton Street Theater through Sunday, July 5.  Check out The Clinton Street Theater website for more details and showtimes.


Stanley Kubrick's The Shining plays tonight at 9 pm at  The Capitol Theater (206 5th Ave. SE in Olympia, WA).  Part of the Friday Night Fright Club series, the film will look amazing on the big screen.  Check out the The Olympia Film Society website for more details.  


1971's Willy Wonka and the Chocolate Factory certainly has some chilling moments and a much darker tone than the Tim Burton remake.  And the chicken bit in the tunnel will freak some youngsters out, just so you know.  But it's a great film for creepy families and you can check it out on the big screen July 4 and 5 at The Hollywood Theatre and through  the Laurelhurst Theater from July 3 in Portland, OR.  Ticket prices vary for the 3 and 7 pm showings at The Hollywood, so visit The Hollywood Theatre website.  Also, the Laurelhurst offers adult only viewings, as well as all ages showing on Sunday, July 5.  Check out the Laurelhurst Theater website  for showtimes through July 9.

And you can catch a screening of it for free at Wilkes Park (NE 154th Couch Ct.) in Portland, OR, at dusk.

Sunday, July 5

Most outdoor movies tend to be family friendly, but Cartopia (1201 SE Hawthorne Blvd) in Portland, OR, is aiming for a different crowd, as tonight's screening of American Psycho shows.  And it's followed by an episode of Twin Peaks (note: episodes have screening since May, so you might be a bit behind).

As expected, the screening starts after the sun is down.  Still, get there early and partake in some of the food served at Cartopia!  Check out the Facebook Event Page for more details.

Friday, July 10

Brian DePalma's take on the classic tale of a mad musician and his protege, Phantom of the Paradise, plays through July 11 at The Hollywood Theatre in Portland, OR.  This is a digital restoration, and will look amazing on the big screen.  For more information and advance ticket sales, visit the link.


Friday Night Fright Club
 presents George Romero's zombie classic, Dawn of the Dead, tonight at 9 pm at The Capitol Theater (206 5th Ave. SE in Olympia, WA).  Social commentary, gut wrenching effects by Tom Savini and the chance to see it all on the big screen.  What more do I need to say?  Check out the The Olympia Film Society website for more details.


Well, that's what I have for now, but you know things are going to pick up during the summer.  And as October, THE MOST WONDERFUL TIME OF THE YEAR, is only a few months away, I'll have a lot more to share with Northwest Horror Fans, so be sure to keep reading!

As always, if you have a genre event you want to promote, email me at and I'll put it on the Horror Calendar, as well as my weekly updates and my upcoming Haunted Attractions page.

And, should you attend any of the events you saw at this blog, let the organizers know you read about it at The Shadow Over Portland!

Wednesday, June 24, 2015

The Monster That Challenged The World (1957)

Okay, we all know that Herschell Gordon Lewis invented the gore film with his 1963 release, Blood Feast.  But before that, some drive in features were experimenting with gruesome images such as dismemberment, decapitations and, in the case of The Monster That Challenged The World, desiccated corpses.  But, unlike other drive in movies dabbling with gore in the 50s, this film is quite good and hold up well today, despite a rudimentary plot.

Yeah, first we get the long monolog talking about an earthquake near the inland Salton Sea in California.  Though activity on the military base is back to normal a few hours later, a number of Navy personnel and civilians nearby resorts start turning up dead, their bodies drained of all fluids.

Yeah, just what you want washing up on the beaches during the tourist season.

Despite closing the beaches (to the dismay of local resort owners), desiccated corpses pile up at the morgue, until the Navy discovers the culprit, a giant prehistoric snail.

Despite destroying the entrance to it's cave with depth charges, a group of scientists believe the cave was opened by the recent earthquake, unleashing a group of these deadly mollusks.  And, as these creatures can transition from salt to fresh water, and travel across land, the lead scientist believes the snails are heading to a nearby series of rivers that serve as irrigation canals for the area.

Of course, the system leads to the deep blue sea, the ultimate destination of the snails.  Once in the ocean, they will breed unchecked, destroying all marine life and eventually threatening all of humanity as they travel through the waterways of the world.

The Navy, along with the scientists and local police officers, attempt to stop this migration, but are only able to follow a trail of withered corpses left behind by the ravenous mollusks.  One can only hope humanity can stop these monsters before they reach the ocean and breed out of control.

And if pointy sticks are our only option, I think we're screwed.

If you know anything about the giant monster genre of the 50s, you know the humans will prevail. No spoiler warning needed, as the end of the film is about as obvious as the references I made to more recent monster movies in the above paragraphs.  But this film is much better than the summery suggests, thanks in part to a solid script, some well drawn characters and terrific performances from the cast (at least as good as a 16 day shooting schedule).

Let's start with the main character, Lt. Cmdr. John "Twill" Twillinger.  Played by Tim Holt (who's previous credits include a lot of Westerns), Twill is a Navy straight arrow, not hesitant in berating personnel who admit to talking on the radio with fellow enlisted men "like on the phone."  Perfect hard case character, if you were casting someone like James Arness or Peter Graves.

But Holt isn't physically imposing, his character is nice to kids (more on that later) and, as he battles the last of the giant snails with nothing more than a fire extinguisher, he looks about to wet his pants in fright.  That might be a bit of an over-reaction on my part, but he feels more realistic than the square jawed hero facing a giant monster with a steely glare.  Holt is terrific, more human than most scripts would allow their hero to be, and a big reason why the film still works.  And remember, he pulled this off on a 16 day shooting schedule.  Bravo, sir.

Sure, it's nice to think you'd be more like Bruce Campbell.
But this photo is probably more accurate.  

And, as I mentioned it, let's get back to the kids.  Twill attempts to strike up a romance with the pretty secretary in the science lab, Gail MacKenzie (Audrey Dolton, Mr. Sardonicus), a single mother with a young daughter, Sandy (Mimi Gibson).  No big deal now, but remember, this was the 50s, and single parenthood was considered a taboo subject on film thanks to The Hays Code (which required the sanctity of marriage and Christian home life be upheld).

But, in another nice character arc, we learn that Gail is a widow, who's husband died in a military plane test years earlier.  Sure, it stops the film a bit after we get to see the monster for the first time, but it's a well written scene and Dolton does a wonderful job explaining to Twill her past and why she can't comfort another woman who learns her husband died investigating the deaths in the area.

Now this death leads into another interesting bit of scripting (yep, the segues just keep coming!).  As two scientist investigate an underwater cave never charted by previous divers, one is killed by a giant snail.  His diving partner swims away in fear and you might expect him to be the character that doesn't make it to the ending credits, as he has to "pay" for his cowardice actions.

Well, I was going to go back down, but now I think I'll stay up here with your guys.

However, the screenplay by Pat Fielder (The Vampire, The Return of Dracula), based on a story by David Duncan (The Time Machine, The Black Scorpion), refuses to follow the rules and allows this character a bit of redemption during the attack on the snail nesting ground.  And, as Twill looked ready to run away from the final creature in the last minutes of the film, I think the script shows that, in such circumstances, anyone might flee when facing such overwhelming odds.  It's a very human statement, and a refreshing change from the action heroes populating the Giant Monster Genre in the 50s.

And the creatures look amazing.  The effects work by Robert H. Crandall, Ted Haworth (as Edward S. Haworth) and Augie Lohman (as August Lohman) holds up better than most of the CGI work of today, and I'm not just talking Syfy cheese.  The desiccated corpses look great (okay, for the time, but still), and the full sized, PRACTICAL EFFECT snail is jaw dropping, especially during the final moments in the science lab.  You could argue that Harryhausen might have done a better job, but not on a half month shooting schedule.  The effect team delivered some of the best low budget giant monster effects I can think of, including the early works of Bert Gordon and, despite the budget, even rivaling THEM!.

Even as a black and white still, this looks so much better than most
modern monster movies.

Despite homages in Joe Dante's Piranha and Motel Hell, this film seems to be a forgotten classic, and that's a shame.  The Monster That Challenged the World delivers on the important giant monster tropes of the 50s, while the script undercut others as fast as possible.  The actors gave solid performances, despite a short shooting schedule, and the effects team created a monster that holds up against most of the CGI creations on the screen (both big and small).  If you haven't seen it, I seriously suggest checking it out.  I've watched it three times this year and still get lost in the film.  It's deserves to be included with THEM! as one of the best Big Bug (okay, MOLLUSK, quit being so picky) Monster Movies of the 50s.

Okay, and if that review didn't convince you to watch this film, 
here's Barbara Darrow in her few minutes in the movie.

I can't believe I'm sinking this low....

Tuesday, June 16, 2015

Meg might finally come to the big screen, but is it too late?

Okay, I'll admit, I love Steve Alten's Meg: A Novel of Deep Terror.  It's a light, easy summer read, and despite some painfully stereotypical characters, the novel features some terrific sequences as a prehistoric Megalodon emerges from the Mariana Trench to threaten the world.  It's a big ass shark threatening modern man, with some painful soap opera plot lines threaded among intense, and often graphic, action scenes.

The story is perfect for a summer box office thriller, but the property has lingered in development hell since 1997, when the novel was released.  Disney held the rights for a while, but bulked after Deep Blue Sea was released and underperformed.  Budgetary issues were a problem for New Line Cinema, as the film's budget ballooned to $200 million to bring the massive creature to the screen.  Even with Guillermo del Toro and Jan de Bont interested in directing, the film never found a backer.

Yeah, this wouldn't have interested filmgoers at all.

But today, Variety reported that Eli Roth is interested in directing the project and, based on the returns from Jurassic World, backers are coming forward.  And, while the action might take place in China, rather than San Francisco, I'm interested, but wonder if this film is a bit too late to get past the development stage.

Again, I admit to WANTING to see this novel on the screen.  Yes, the characters are horrid stereotypes, including a disgraced 50 year old deep sea diver seeking redemption for the death of his crew at the jaws of a Megalodon, who finds comfort from his domineering wife (also a TV reporter) in the arms of a much younger Asian woman.  And the novel includes another Asian character (father to the hero's new love interest) overlooking the death of his son by the shark and financing the capture of the monster to show to the world for a cost.  Of course, we get all the comeuppance one expects from such a bland novel.

And. come on, this is a moment that would make you wish you were wearing a wetsuit,
as no one would notice your bladder released in the theater.

But oh, the action sequences deserve to be on film.  The confrontation in the trench, the shark's attacks upon the modern world, and....


... the hero's final assault on the creature, as he drives his one-man submersible into the shark's stomach, then pushes aside the corpses of it's victims, including his wife, to cut his way to the beast's heart and stabs it to death.  Seriously, this needs to be an R-rated film, so our hero pushes aside mutilated corpses to burrow deep into the Megalodon's innards to rip it's heart apart (with a fossilized, yet razor sharp, Megalodon tooth; irony much?).  Seriously, I want to see this moment on the big screen.


Yeah, I'd pay good money just for that sequence.  If Roth can deliver on that, I'll be first in line for the premiere in Portland.

But I don't think it will happen.


First, I don't care how graphic PG-13 movies can be, they can't depict a man swimming through a shark's stomach full of it's recently devoured victims.  We are not talking dismembered arms and legs here, but full torsos bitten in half.  And I don't care how graphic the deaths in Jurassic World are, swimming amongst a stomach full of mauled humans will not garner good will from the MPAA.

And, to be honest, recent PG-13 shark movies suck.


Sure, Roth could deliver on the graphic nature of the finale, but one has to wonder if the backers will balk at such a scene and demand a cleaner ending to the shark, much like previous films.  Which brings me to my second point.

One has to wonder if monster sharks have saturated the small screen to the point that a big screen adaptation won't work.  For starts, we have Shark Attack 3: Megalodon, a rip off of Meg featuring some silly effects involving real great white sharks and imposed victims, and the WORSE PICK UP LINE EVER (Goggle it for yourself).

Laugh all you want, it's still a freaky moment.

And we've had Sharktopus, Mega Shark verses whatever, and a slew of other giant shark films on Syfy.  And, after Sharknado, can any film producer expect people to pay over $10 to see a giant shark movie in the theater without snarky remarks from RiffTrax accompaniment?

I don't think this film will work unless it delivers on the novel's final act.  Roth could pull it off, but it remains to be seen if the film's backers allow it.  If they do, it could be the most gruesome giant shark movie ever, making it a potential classic in my opinion.  But the ending is neutered, it's just another film to catch on cable.

Time will tell.  But I hope the final act of the novel is shown on the screen, because getting a Quint eye view of a monster shark would be worth any admission price.

Dammit!  Where is my submersible?!?!?!?

Monday, April 20, 2015

Why the Poltergeist remake will beat Crimson Peak at the box office, and how Alice Robb explained it.

Last year, Alice Robb wrote about what a horror fan is on The New Republic website, and the article wasn’t flattering.  I posted a response, citing how horror fans could defuse any argument used in the article, should family members, coworkers or acquaintances ask why you are such a monster.

However, two big horror movies hitting theaters this year caused me to think about Robb's article.  First, we have the 3D remake of Poltergeist, hitting theaters on May 22.  Guillermo del Toro’s latest, Crimson Peak, opens on October 16, a more appropriate date for a true horror film. 

Yes, I'm calling this a TRUE HORROR FILM.
I hope I'm not wrong.

You can check out trailers for both films on YouTube.  However, after seeing the trailer for Poltergeist in the theater last week, I was reminded of Robb’s article and why I believe the remake will likely be the bigger box office draw of the two. 

The trailer for Poltergeist was even more sense assaulting in the theater than on a TV or computer monitor, thanks to the big screen and a Dolby Surround Sound system.  Yet, it was also a case of déjà vu for me, as I saw the original when it opened in theaters, and multiple times since then.  Sam Raimi and company could have saved some money by just digitizing the original, as the preview shows nothing fans of the Tobe Hooper/Steven Spielberg version haven’t seen.  Little blonde girl in front of a TV (now a REALLY BIG HD TV) proclaiming, “They’re heeeere,” young boy being menaced by an animated tree, pathways leading to “the other side,” a much taller home exorcist spouting Zelda Rubinstein’s lines almost verbatim, and, of course, a scary clown.

Sorry, but the other clown was scarier.  Even in the trailer.

Seriously, I think the tagline for the film should be a redo of Rubinstein’s line, “It knows what scares you,” only with the new exorcist saying, “It knows what scared audiences in the 80s.  Now it’s ready to do it again, only with CGI effects and LOUDER MUSIC STINGS!!!”

As the trailer closed with the film’s release date, I was reminded of the article on The New Republic site, and Robb’s final assumption about horror fans, that they are males (a point she made earlier in the article) interested in dates that are “distressed women.”  In short, Horror Fans are mostly guys looking for women willing to cling to them in fear.  And, as long as the guys aren’t scared, or at least not as scared as their dates, the women enjoyed the date more (according to the study cited in the article). 

Zits says it better than I could in just four panels.  

Again, I will argue that Horror Fans are not the couples that comprise the study Robb cites in her article, but they will comprise the audience that attends the opening weekend of Poltergeist.  Despite the involvement of Sam Raimi, this film is not targeted at Horror Fans, but an audience eager for cheap jump scares, loud music stings and a reason to huddle/cuddle close in the theater. 

And, I suspect, this is the reason we don’t get many strong, atmospheric and creepy horror films, ones that play on our deeper fears and emotions.  Studios are looking for big openings, horror films that will make back their budget in a couple of days, than pull in home video sales, rather than develop an audience from word of mouth. 

Horror Fans can protest on Facebook, and our blogs (I am counting myself), that horror films can be artistic and scary, but as long as Hollywood sees a bigger box office return from the same cheap, make-the-audience-jump, crap infesting theaters over the past decade, I doubt the strong critical response to films like The Babadook and It Follows will lead to any changes in the films offered up to mainstream audiences. 

Give me a creepy pop-up book and a slow burn over cheap jump scares any day.

Also working against horror films is the tentpole mentality of the major studios.  A Poltergeist sequel is set up in the film’s trailer, as the exorcist proclaims the housing complex was built on a graveyard, but something stronger is present.  Sure, it’s a variation on a line in the original, but given the current cinematic climate, I suggest a CGI tequila vomit-worm will crawl into theaters within a couple years, if the box office returns for Poltergeist are strong enough.

I don't care how good the CGI looks.  It won't match this moment.

Nothing is going to change anytime soon, unless Horror Fans are willing to take a few risks.  We need to support the quirky independent features making it into theaters.  You might like them, or not, but vote with your dollars, Horror Fans.  We need to stop thinking about trying to change the minds of the studio executives and focus on the theater owners, especially local, independent theaters.  If we make a market, such theaters will respond and start booking independently produced horror film for a limited run.  Readers of this blog know independent theaters in Portland are finding box office success with independent horror films, and if other regional independent theaters are successful booking such films, the major studios might start paying attention. 

It’s a long shot, but better than a future of reboots, prequels and classic monsters in a shared, superhero-style universe films coming to a theater near you.


Post Script: I know I've fallen into the trap of judging the Poltergeist remake based on the trailer, but the previews in theaters are suppose to draw us into the film, not repulse us.  Still, I offer my readers this promise.  Barring unforeseen circumstances, I will watch the Poltergeist remake during its opening week and offer an honest review.  As I suspect I will be buying my own ticket (what studio will offer me a preview pass after this article!), but I will likely avoid opening weekend, as I don't want to support what I suspect is a cheap ripoff.  But I will post my honest opinion and really hope I'm wrong concerning my fears about the trailer.  Stay tuned!

Tuesday, April 14, 2015

Once again, the Gillman gets no love from Portland

The winner of this month's This is Your Theater vote has been announced and...

Really, Portland Horror Fans,  No love for Creature from the Black Lagoon in 3D?

The winner is the classic anime, Akira, which I will admit is a disappointment for me.  Still, the film will look pretty cool on the big screen at The Hollywood Theatre.

Remember, just winning the vote doesn't count.  Filmgoers need to buy 100 advanced tickets, and the current count is at 13 (as of 6:17 pm on April 14).  You need to buy your tickets within the next 9 days to ensure the screening will happen.  If 100 people purchase advance tickets, the film will screen on Saturday, April 25, at 7 pm.

And, as I've mentioned previously, an advance ticket purchase ensures you're able to attend.  Last minute buyers were turned away at the box office from previous screenings, so if you really want to see this film on the big screen, click on the link and buy your ticket now.

As for disappointed Creature fans, I will find a way to get the Gillman back into The Hollywood, I swear.

Monday, April 13, 2015

Why I’m dreading a Creature from the Black Lagoon remake, whether Scarlett Johansson is involved or not.

Word dropped on the Internet Thursday that Scarlett Johansson is being approached to star in the upcoming Universal remake of Creature from the Black Lagoon (click the link for the meager details). It took a bit of time for me, a devoted fan of the original film and the sequels, to formulate an opinion about this news.  But I'm okay with it, though I'll likely skip the film.  Like death, remakes of classic horror films are inevitable and as Universal Studio is looking to create a shared universe for their Classic Monsters, I knew the Gillman would end up in the mix at some point.  

And the casting of Johansson isn’t a problem either.  If the rumor is true, and, as we all know, everything on the Internet is true (please insert sarcastic tone when you reread that statement), I think it shows Universal plans to deviate from the original in a big way and that wouldn’t be bad.

But let’s get this out of the way.  Johansson would be a bit of stunt casting.  I’m not saying anything about her acting skills.  But one has to wonder if Universal isn’t looking to entice male moviegoers to the film with the promise of the underwater ballet between the female lead and the Gillman.  I doubt the studio will cast Johansson and not have her swimming in a bikini during the scene, rather than a one-piece swimsuit or a wet suit, which would be more practical for a scientist exploring the depths of the Amazon.  Nope, it will be a two-piece suit and it will look fabulous.

Yeah, this has NOTHING to do with the studio's casting decision.

Also, I think Johansson’s possible involvement spells a different direction for the remake.  If Universal is attempting to bring a star like Johansson into their Classic Monster Universe, the studio will have to rewrite the female lead.  As much as I love Julia Adams in the role of Kay, her character is a product of the 50s and will have to be rewritten to work in a remake.  And I’m sure Johansson won’t be interested in a script that reduces her character to a damsel in distress waiting to rescued (and upstaged) by a male lead during most of the movie.

A revamping of the female lead is NOT a bad thing in a remake.  Kay was a competent woman in the original, at least until the second act, when she turns into the hapless victim of a romantic pyramid between Mark, David and the Gillman.  For a modern remake, Kay’s character needs to be rebuilt, allowing her to be strong against the Gillman, even if she has a human romantic interest in the new film.  And such a character change can work, as proven by the remake of The Blob, where Shawnee Smith proves to be just as capable at battling the monster as Kevin Dillon.  I just hope the script doesn’t follow Peter Jackson’s King Kong remake, where the script tries to rationalize Ann’s affection for the creature over her attraction to her human suitor, Jack.  

Yeah, she's screaming at the start of the film, but Shawnee turns into Rambo by the end.

Regardless of how Johansson character comes across onscreen (I suspect the character would be named Kay as an homage the original film, but will be nothing like Adams’ version), my problem with the remake stems from Universal’s previous announcement, and the release of Dracula Untold, indicating a shift to more of a superhero style film.  And that is the problem.  The remake will not be helmed filmmakers wanting to bring a respectful re-imaging of the original, but a group of people interested on creating a franchise.  Say what you will about Jackson’s Kong, one can see the love and respect he had for the original.  And the remakes of The Blob, The Thing and The Fly prove that filmmakers can make solid remakes while still paying tribute to the originals.

But turning the Gillman into a pawn in a universal struggle of good and evil monsters destroys the heart of the character.  With few exceptions from the Classic Universal Monster film catalog, the monsters work best contained to their own stories, rather than a titanic struggle of good verses evil.  The Marvel Cinematic Universe works because the comics laid out the foundation, pitting hero against hero until they united as a team to overcome an overwhelming threat.  The Universal Classic Monsters work best with their own stories, depicting their struggles to exist in a world that despises them, not as pawns in an epic battle against each other.

Whether the Gillman is on the side of good or evil is irrelevant.  The fact is, the Gillman works best as a prehistoric creature looking for a mate and not well versed in modern courting techniques.  Laugh all you want at that last sentence, but it’s true.  The original Gillman was too primitive in his courting techniques, even for the 50s.  And while David embodies the perfect man for the time, Mark is the creepy in-between for Kay’s affection, a predatory suitor hidden under the veneer of civilization.

And that’s what the remake should focus on.  Sure, Johansson’s character should be more suited for current times, and the remake NEEDS the underwater ballet moment.  It’s an iconic scene and must be included, regardless of the swimwear worn by the actor.  But I worry that, in order to make the film part of a franchise, the Gillman will end up tamed by Johansson and she will use her power over him to fight on the side of “good” in the inevitable final conflict film.  You don’t sign Scarlett Johansson to a single picture in a franchise, and I can’t think of any other way the series could write her into future films.

Yeah, just ask Lori Nelson how well taming the Gillman worked for her.

And yes, I ignored the CGI verse practical effects debate, as we all know the outcome.   I suspect most of the underwater sequences will be CGI “enhanced” as well, which makes glad to have the original trilogy on DVD. 

Hell, even Zaat might look better that a CGI Gillman.

It would be easier to cheer for practical monster effects if I wasn't being groped by one.

Tuesday, April 7, 2015

Win VIP Tickets to the advance screening of Unfriended on April 15

So, your taxes are finally in the mail and you need to unwind.  Well, Portland Area Horror Fans, you could de-stress from the IRS induced fear with VIP Tickets to an advance screening of Unfriended!

The new Universal technological horror film, Unfriended, follows a teenager as she and her friends are stalled by someone out to avenge those who posted a shaming video that lead to a suicide.

The screening will take place at the Century Clackamas Theater (at the Clackamas Town Center in Southgate, OR) at 7 pm.  Each winner will win VIP Tickets for themselves and a guest.  Winners do need to check in by 6:20 pm, but you will be reserved a seat and not have to wait with the general crowd.  However, according to IMDb, the film is rated R, so you need to be 17 or older to win.  If you enter the contest and win, than are denied admission because you're too young, I warned you not to enter.

Other than that, the stipulation for this contest is you must be in the Portland area on April 15 and be able to attend the screening (valid ID will be required, so don't try to win and sell the tickets to someone else).  One entry per person, please.  Just send me an email at and I'll pull five random winners out of the hat I wore last Halloween.

All entries must be within my inbox by 6 pm on Sunday, April 11, to be entered in the drawing,

You'll find more information about the film, including a trailer, at the link.