Read Ebook {PDF EPUB} Restoration by D.A. Metrov Restoration by D.A. Metrov. Abel Ferrara's feature debut The Driller Killer might very well have slid into relative obscurity following its theatrical release in grindhouses around the U.S. had it not been for its inclusion on Britain's so-called "video nasties" list, an unofficial list drawn up by Scotland Yard in the early 1980s of films that had been or conceivably could be prosecuted under the Obscene Publications Act. There was a flurry of public hysteria in England at the time about the insidious nature of graphically violent horror films that found new avenues of easy circulation on home video, which at the time had no regulations whatsoever. The Driller Killer , with its salacious title and its video cassette case featuring a startling close-up of a man screaming while a drill bores into his forehead and blood pours out, made it an easy target. In fact, it was one of the first films, along with Cannibal Holocaust (1979) and SS Experiment Camp (1976), to be targeted, based largely on its lurid full-page advertisements in the early months of 1982. The irony is The Driller Killer is as much an art film-or, at least, it aspires to be-as it is a grotesque urban horror thriller. Ferrara himself has described it, perhaps somewhat tongue-in-cheek, as a comedy, noting in particular the fundamental absurdity of the deranged protagonist's modus operandi of murder-a phallic power drill. And it absolutely is. If you're intent on slaughtering the homeless denizens of New York City's mean streets, a power drill is about the most ridiculous means possible. Had he gone about his business with something more conventional like a gun, as Travis Bickle did in Martin Scorsese and Paul Schrader's Taxi Driver (1976), one of the film's most obvious inspirations, it probably never would have wound up on the list. But, it did, and the rest, as they say, is history. Made on an extremely low budget over a lengthy period of time, The Driller Killer was Ferrara's bid to break into feature filmmaking. Having given up on a career in a rock band (his ties to the underground rock and punk scene in New York is all over the film), he instead turned to the camera, making a number of short films in the early 1970s and one hard-core pornographic film (1976's 9 Lives of a Wet Pussy ). Because he couldn't find anyone else to commit to the project, he ended up playing (under the pseudonym Jimmie Laine) the lead character, a struggling painter named Reno Miller who is slowly losing his mind. A shaggy-haired bohemian who ends virtually every sentence with an emphatic man! , Reno lives in an apartment on the Lower East side with two women, Carol (Carolyn Marz), his ostensible girlfriend, and Pamela (Baybi Day), a vacant groupie. Carol and Pamela are sexually involved, an emasculating slight that only compounds Reno's economic frustrations. He is working on an enormous painting of a buffalo, which he believes he will be able to sell to his art dealer, Dalton Briggs (Harry Schultz), for a substantial sum and thus alieve his money problems, which should, in turn, make him more sexually and romantically appealing. But, nothing seems to be going Reno's way, particularly when a punk band led by Tony Coca-Cola (D.A. Metrov) moves in downstairs at Pamela's behest and start practicing at full volume day in and day out. Reno complains to the landlord (Alan Wynroth), but to no avail, as no one seems to listen to or care much about him. He is the proverbial loner shouting into the wind and getting nothing back but the empty echoes of his own despair, and when he sees a television commercial for a portable battery pack you wear around your waist to power electrical tools, he slides from acting out his anger and impotence verbally to physically, targeting random homeless people to drill to death. The phallic nature of the power drill matched with Reno's constant emasculation makes the film an easy metaphor for frustrated masculine desire, which isn't surprising given that Ferrara's later body of work would focus so much on alienated characters acting out violently. Ferrara's performance as Reno is functional at best; he's a significantly better director than he is an actor, which hampers the film and keeps it from developing the kind of psychological depth and spiritual torment that made Taxi Driver so devastating. Much of The Driller Killer comes off as kind of silly, despite Ferrara's numerous allusions to European art cinema, particularly the films of Pier Paolo Pasolini, whose depictions of urban squalor in his early neorealist films clearly influenced Ferrara's documentary-like capturing of the Big Apple at its most rotten (it shares a taste for urban hell with William Lustig's notorious Maniac , which came out a year later and was also a prominent entry on the "video nasties" list). Ferrara has also spoken of the film as a kind of documentary, as he based much of it on his and his friends' experiences making ends meet in New York in the '70s (minus the drilling killing, of course). Ferrara, of course, went on to a substantial career of notable and varied films and television projects, including the rape-revenge thriller Ms. 45 (1981), the urban romance China Girl (1987), the organized crime dramas King of New York (1990) and The Funeral (1996), the eviscerating corrupt-cop drama Bad Lieutenant (1992), the underrated Body Snatchers (1993), and the vampirism-as-drug metaphor The Addiction (1995). Ferrara's work is deeply uneven, even in his best films, and you can see both his strengths and weaknesses at play in The Driller Killer , although some of the latter can be explained at least partially by marketplace demands for a low-budget genre film (I'm thinking particularly of a superfluous soft-core shower scene that serves virtually no narrative purpose outside of pure titillation). Written by Nicholas St. John (who penned 10 of Ferrara's films over the years), The Driller Killer suffers from lazy pop psychology and derives too many of its ideas from much better films. It also feels padded, particularly the lengthy scenes of Tony Coca-Cola and his band practicing, which feel like a sop to the punk rock crowd that could conceivably make up a sizable portion of the film's audiences. Yet, at the same time, there are moments of deranged visual brilliance and shocking juxtaposition and wicked black humor that suggest Ferrara's artistry was on the rise. In the end, The Driller Killer was little more than a stepping stone for its director, a way to get noticed and move on to bigger projects, and in that respect it was a grand success. Restoration by D.A. Metrov. Quack! Quack! Quack! A killer stalks the streets of the City That Never Sleeps, targeting young women at random. Leaving no clues other than that he “sounds like a duck,” it's up to a grizzled cop and a psychoanalyst to decode the quacking. Following up his zombie quadrilogy, director Lucio Fulci's ultra-violent grindhouse giallo/slasher hybrid slices up the Big Apple into bloody pieces. A true slab of sleaze cinema so vile that only showering immediately afterward will help you feel clean. The dream you can't escape alive! A patient disturbed by vicious nightmares of his horrific past escapes from a mental institution and murders his way down New York City’s legendary 42nd Street (in its grindhouse heyday) before making the jaunt to Daytona, Florida. Famously sued by special-effects legend Tom Savini for using his name to promote the film, NIGHTMARES IN A DAMAGED BRAIN still delivers the gory goods with work by Ed French (TERMINATOR) and Monster Man Cleve Hall … and has the distinct honor of making Great Britain's “Video Nasty” list. Spiraling between grimy horror, punk rock and art film, Abel Ferrara directs and stars as Remo Miller, a starving artist struggling to make it in NYC. As the pressure mounts, his sanity slips, and the only way to fulfill his artist craving is by taking a power drill to anyone he encounters on the streets late at night. As the opening title card says: "This Film Should Be Played Loud," so prepare for mayhem at maximum volume. Falcon Lord -- Book Three: Escape from the Skookumchuck (An Epic Steampunk Fantasy Novel) EBOOK. Ebooks lezen is heel makkelijk. Na aankoop zijn ze direct beschikbaar op je Kobo e-reader en op je smartphone of tablet met de gratis bol.com Kobo app. Samenvatting. ''FALCON LORD is wonderful—the most enticing fantasy world I've come across in years, with characters we truly care about—and I have no doubt it'll hit the world with a bang.'' Robert Zemeckis, Academy Award winning writer-director-producer of BACK TO THE FUTURE, FORREST GUMP, CAST AWAY, POLAR EXPRESS. "I found the world of FALCON LORD to be majestic, visually stunning, and endearing. I have no doubt this franchise has the capacity to grow and grow." Bruce Joel Rubin, Academy Award winning writer of GHOST, JACOB'S LADDER, DEEP IMPACT, STUART LITTLE 2, THE TIME TRAVELER'S WIFE. "I was stuck by the magical nature of FALCON LORD, and sincerely hope to see it join the ranks of fantasy classics." Mark Johnson, Academy Award Winning producer of RAIN MAN, CHRONICLES OF NARNIA, A LITTLE PRINCESS, GALAXY QUEST, THE NOTEBOOK. An Epic Steampunk Fantasy Novel--In this third installment of Falcon Lord, a series of Steampunk Fantasy Novels, the good people of Valkyrie have finally driven off Dredgemont's gorpes and nzumbe trolls, but the enemies' evil spirits still haunt Perpetua. The great raven, Wark has died, and the citizens elect Brighton Aviamore the new Chancellor. The Falcon Rider's first challenge is to stop the mysterious winds that are growing worse by the day. But when Willowmena is kidnapped by a monstrous bird, and Brighton discovers she's been taken to a land called Amaraka, he abandons all other concerns, and swears an oath to get her back. Forced to traverse the dimensions of time and space, and reincarnate in a new body, Brighton is reborn in Kansas shortly after the end of the American Civil War which has been won by the South. An elitist mob of Rutheneist tycoons (part zombie, part vampire) are destroying the earth out of greed, and the same winds ripping apart Perpetua are driving humanity underground. Brighton grows up to be a brilliant inventor and aviator. He attends the finest steam technology university in the country where students race single-man steam jets in a city filled with a bewildering array of Babbage-steam driven vehicles, airships, and other inventions. Joined by Will, Pello, and Biffee (also incarnated as humans), Brighton discovers the winds are originating from an oceanic whirlpool that's being fueled by manmade disruptions to the environment. Though determined to find a solution, he faces a series of devastating traumas including Will's murder. Assisted by a small army of robots, he constructs an enormous levitating platform in the shape of a falcon to carry a reverse-ionization device over the sea and restore balance to the discordant atmosphere. His nemesis, Dredgemont has also incarnated in America, and sets out to destroy him by raising an army of phantom gorpes, trolls, and bats, including Gretch and Malgor. A clash of spirit armies takes place amidst the global hurricane and the Skookumchuck whirlpool threatens to swallow Brighton and his fantastic airship to the bottom of the sea. Restoration by D.A. Metrov. A minor obsession of mine is subculture representation in popular entertainment and mainstream media, especially as regards punk rock. That movement in particular was subjected to so many cartoonish misrepresentations that cataloguing them all would be a Sisyphean undertaking. The infamous “punk” episodes of TV’s Quincy and CHiPs set the gold standard for cluelessness, and countless hysterical local news segments ran the misconceptions into the ground. It’s more illuminating, in this scribe’s humble view, to look at the far rarer instances of anyone getting it right . One of my favorite examples of actually nailing it is Tony Coca Cola and the Roosters, the fake band from The Driller Killer , the 1979 debut feature from Abel Ferrara, who’d go on the give the world infamous filmed provocations like Ms. 45 , King of New York , and Bad Lieutenant . In the film, Ferrara himself (under the pseudonym Jimmy Laine) plays unsuccessful New York artist Reno Miller. Living off the largesse of his gallerist, Miller is unable to break through a creative block. Facing destitution and an eviction deadline, Miller approaches the art dealer for further funds, and is rejected unless he can complete a painting in a week. Complicating this challenge is his neighbor, Tony Coca Cola, whose band practices incessantly right in his apartment, depriving Miller of peace and sleep, causing his grip on reality to slip away. He snaps and embarks on an killing spree, offing derelicts with the movie’s eponymous power tool. Ferrara, a Bronx native, was surely really plugged in to NYC’s seediness, so nothing about Tony Coca Cola and the Roosters rings particularly fake—it’s an entirely plausible band of the era. Check it out: Sounds like an even more primitive Heartbreakers, with its stripped-down Chuck-Berry-via-Johnny-Thunders riffing. The band was made up of artist/author D. A. Metrov (under the pseudonym “Rhodney Montreal”) as singer/guitarist Tony Coca Cola, one Dickey Bittner on bass (in his only acting credit), and Steve Brown on drums, who’d resurface in a role in the 1988 gang/heist flick Deadbeat at Dawn . Metrov also executed the Reno Miller paintings in the film. The above clip is from a restored version of The Driller Killer that’s being released by Arrow Video. The Blu-ray/DVD set features a new 1080p high def restoration from original film elements and an audio commentary by Ferrara, among other goodies. It’s the entire original cut, which was once banned in the UK as one of the “Video Nasties” that were suppressed in an infamous episode of official censorship in the ‘80s. This last clip features Tony Coca Cola and the Roosters auditioning backup singers—at 2:00 AM, while Miller tries to paint a buffalo. Libro de NU: 10 Habitos Simples de Literalmente Salvarte a ti Mismo y Salvar Tu. El año 2010 al artista/autor D. A. Metrov se le diagnosticó un cáncer de próstata raro y altamente agresivo. Se le dijo que le quedaba menos de un mes de vida, aún estando bajo tratamiento. Ahora feliz, prosperando y en buena condición física, sus Principios únicos de Recuperación están siendo adaptados por muchos como el “Proyecto de Sostenibilidad NU”, orientado a la familia para lograr el máximo de salud de la mente, del Cuerpo y del Planeta. Diseñado para la familia que le importa la Sostenibilidad y para sus hijos, el LIBRO DE NU ofrece Principios completos y muy fáciles de entender, para mantener la sostenibilidad de la mente, del cuerpo y del planeta. Un libro para que toda la familia lo lean juntos y se formen y practiquen hábitos saludables. Bellamente ilustrado, el libro elabora acerca de los siguientes 10 PRINCIPIOS: 1 – ALIMENTA PENSAMIENTOS Y CREENCIAS SALUDABLES 2 – VIVE EN EL AHORA 3 – CREE EN EL AMOR 4 – COME ALIMENTOS SALUDABLES (TU ERES LO QUE COMES) 5 – HAZ MUCHO EJERCICIO 6 – ¡SÓLO DILE NO AL ESTRÉS! 7 – PRACTICA A CONSERVAR—RE-CICLA 8 – NO CONTAMINES 9 – PROTEGE LA TIERRA 10 – SÉ RESPETUOSO Y AGRADECIDO POR TODO TIPO DE VIDA. Un programa para que la familia logre la máxima salud mental, física y del planeta; este libro, pequeño pero poderoso, te enseñará: A tener una mente disciplinada, segura y positiva A enfocarte en tus metas y alcanzarlas más rápido A entender por qué el amor te llevará más allá del temor A aprender cuáles son los alimentos más nutritivos A perder peso y sanar tu cuerpo A reducir el estrés para lograr una salud completa A evitar enfermedades causadas por estilos de vida que se están extendiendo por todo el mundo A recuperarte de los devastadores efectos secundarios del tratamiento médico A contribuir a un medio ambiente saludable para las generaciones futuras A saber qué productos “verdes” debes comprar El programa ideal para unir a la familia y mantener la comunicación. Basado en la legendaria novela gráfica “LA LEYENDA DE NU” de Instagram, la criatura NU es el máximo mentor de la juventud para la vida sostenible. La doctora Patricia Bragg, legendaria pionera en la salud y fabricante del Vinagre Orgánico de Sidra “Bragg Organic Apple Cider Vinegar”, es una gran fanática. “¡EL LIBRO DE NU es maravilloso! Todos pueden aprender algo. ¡Quiero que lo lea todo mundo!”. Recientemente alabada por Katy Perry como “Su Reina de la Salud”, la doctora Bragg es considerada la Gran-Dama del Movimiento Moderno del Día de la Salud y la Nutrición.