More, More, More J.M. Dobies, Austin Classic Movies Examiner

Stripper in love: 'A Cold Wind in August' (1961)

Teenage rebellion: 'Riot on Sunset Strip' (1967)

Bury my heart in Scottsdale: 'The Ransom' (1977)

 

Bad trip: 'Angel, Angel, Down We Go' a/k/a 'Cult of the Damned' (1969)

Alfred Hitchcock's 'Psycho' at Violet Crown

Hit man Pitt: 'Killing Them Softly' (2012)

'Try and Get Me!' a/k/a 'The Sound of Fury' (1950)

Swampsquatch: 'The Legend of Boggy Creek' (1972)

In Sickness or in Hell: 'The Night Evelyn Came Out of the Grave' (1971)

To subscribe to the Austin Classic Movies Examiner, click HERE.

J.M. Dobies, Austin Classic Movies Examiner Facebook Page

The Return of the Austin Classic Movies Examiner

After a month-long hiatus, I am back to writing my daily Classic Movies column. Partly due to my frustration with the Examiner's new "pub tool," and partly due to having to work extra schlep jobs and temp gigs to keep my family fed and sheltered, I sort of took October off. Luckily, most of the stuff I've written for the column is "evergreen," so I still managed to get page views.

Anyway, here are the best of the columns I wrote in September and November:

This Week's Classic Movie Screenings in Austin (Nov. 12-18)

Don't Look Back, Ollie: I'll Never Forget What's 'Isname (1967)

The Killers (1946) vs. The Killers (1964)

Weird Wednesday: The Twilight People (1973)

New on Blu-Ray: Tommy (1975)

Art Smut: Sexus (1964)

Air Farce: Those Magnificent Men in Their Flying Machines (1965)

A Head of His Time: Zachariah (1971)

The Manfreds at the Beeb

Even though Manfred Mann's Abbey Road studio tracks are among the best-recorded of all the early British beat bands (even when the dreaded hot valve men intrude upon the band's tight combo sound), I prefer some of the versions on their BBC sessions even more. While I could do without some of the cheesier pop numbers, the group manages to come off much better soundwise than many of their contemporaries (The Who, the Beatles, etc.), whose music suffered from the the typically thin and dry BBC production style. Many of he takes that the Manfreds cut for the Beeb have a lot more energy than the originals. The version of "The One in the Middle" is particularly epic.

The CD was quietly released in 1999, around the same time that a lot of BBC sessions were finally getting legitimately released, and I was unaware of its existence until now. I was missing out on some great stuff, but it's been a pleasure to hear it for the first time.

1. Groovin' [Saturday Swings Recorded 14/10/64]
2. Watermelon Man [Saturday Swings Recorded 14/10/64]
3. Sha La La [Saturday Swings Recorded 14/10/64]
4. I Need You [Saturday Swings Recorded 5/1/65]
5. Look Away [Saturday Swings Recorded 15/2/65]
6. Come Tomorrow [Saturday Swings Recorded 15/2/65]
7. L.S.D. [Top Gear Recorded 23/3/65] Listen
8. Oh No, Not My Baby [Top Gear Recorded 23/3/65]
9. That's the Way I Feel [Top Gear Recorded 23/3/65]
10. The Abominable Snowman [Saturday Club Recorded 4/5/65]
11. The One in the Middle [Saturday Club Recorded 4/5/65]
12. Parchman Farm [Swing into the Summer Recorded 7/7/65]
13. What Am I to Do [Swing into the Summer Recorded 7/7/65]
14. I Put a Spell on You [Saturday Club Recorded 1965]
15. If You Gotta Go, Go Now [Saturday Club Recorded 1965]
16. Watch Your Step [Saturday Club Recorded 1965] Listen
17. It Took a Little While [Saturday Club Recorded 7/12/65]
18. There's No Living Without Your Loving [Saturday Club Recorded 7/12/65]
19. Spirit Feel [Saturday Club Recorded 7/12/65]
20. Tired of Trying, Bored with Lying, Scared of Dying [Saturday Club]
21. When Will I Be Loved? [Saturday Club Recorded 19/4/66]
22. Still I'm Sad [Saturday Club Recorded 19/4/66]
23. Pretty Flamingo [Saturday Club Recorded 19/4/66]
24. Machines [Saturday Club Recorded 19/4/66]

Still Yet More from JM Dobies, Austin Classic Movies Examiner

The recent site redesign at Examiner.com has been playing havoc with links to both old and new articles (and my page views, dammit). Things seem to have settled down, so you should be able to click on the links below to read these recent pieces Austin Classic Movies column:

Weird Wednesday: Village of the Giants (1965)

Master Pancake Theater Takes on 'The Breakfast Club' at the Alamo

Joe Bob Briggs Pays a Call on the Alamo Drafthouse

Weird Wednesday: Freebie and the Bean (1974)

Director William Grefé on 'Mako: The Jaws of Death' (1976)

Jack Nicholson Is a Far-Out Stud in 'The Wild Ride' (1960)

The Pistols' Last Stand: The Great Rock & Roll Swindle (1980)

The King in Vegas: Elvis - That's the Way It Is (1970)

Elvis, Dude: Tickle Me (1965)

Elvis Rocks Spring Break: Girl Happy (1965)

Elvis Presley's Greatest Movies

Audrey in Paris: Funny Face (1957)

Exile on Madison Avenue: How to Succeed in Business Without Really Trying (1967)

Bob Fosse's 'Lenny' (1974) and 'All That Jazz' (1979) at the Paramount

The Greatest Horror Movies of the 30s, 40s, and '50s

Weird Wednesday presents 'Hollywood High' (1976)

'American Grindhouse' at the Alamo

Double Noir: Where Danger Lives (1950)/Tension (1949)

Beach Bomb: The Fat Spy (1966)

Subscribe to the Austin Classic Movies Examiner HERE.

Subscribe to the British Music Examiner HERE.

My Alamo Drafthouse Host Audition

The Alamo Drafthouse had an open call for potential hosts. I waited until the last day and uploaded this less-than-stellar, lo-fi audition. The best part about it is that it looks like Oliver Reed is holding a gun to my head.

I watched some of the other audition videos -- some people went whole hog and obviously spent hours and hours on theirs, with martial arts sequences, multiple edits, etc. -- I just hope that this gets me in the door for the live audition.

J.M. Dobies, British Music Examiner

I have a new column, The British Music Examiner. This is not to say that I'm a Brit and examine music in general, but that I am examining British music of all stripes.

Recent columns:

The Sex Pistols' Last Stand: The Great Rock 'n' Roll Swindle

'All the Rage: My High Life with the Small Faces, the Faces, and the Roling Stones' by Ian McLagan

Liam Gallagher: Beady Eye will be 'bigger than Oasis,' Noel will 'come crawling back'

Who's Obscure: 11 Unjustly Neglected Tracks by The Who

Subscribe to J.M. Dobies, British Music Examiner HERE.

Bastards of Horror!

This week, I've been doing a series called "Bastards of Horror" for my Austin Classic Movies column, dedicated to the many sequels and knock-offs that followed in the wake of Universal Pictures' early '30s horror classics. These pieces were all adapted from scripts I wrote for my old TV show "Surreal Cinema," so there are a lot more jokes than in my usual reviews. Click on titles and/or images below to read the columns:

Bastards of Horror: Son of Frankenstein (1939) vs. Son of Dracula (1943)

Bastards of Horror II: House of Frankenstein (1944) vs. House of Dracula (1945)

Bastards of Horror III: Billy the Kid vs. Dracula, Jesse James Meets Frankenstein's Daughter (1966)

Bastards of Horror IV: The Ghost of Frankenstein (1942) vs. The Mummy's Ghost (1944)

More, More, More from J.M. Dobies, Austin Classic Movies Examiner

Alamo Cinema Club presents 'The Prowler' and 'Cry Danger' with Eddie Muller

Pseudo-Noir on Sunset: The Strip (1951)

Film Writer Kim Morgan talks 'Night Nurse,' Pre-Code Cinema, and Barbara Stanwyck

Swamp Things: Attack of the Giant Leeches (1959)

Dennis Hopper's Greatest Hits

Death Trip: Vanishing Point (1971)

The Greatest Horror Movies of the '60s

The Greatest Horror Movies of the '70s

Lady in a Rage: David Cronenberg's 'The Brood' (1979)

Get Wrecked!: Stingray (1978)

Paul Newman's Greatest Hits

My Interview with Kim Morgan

The image conjured up by the term "film writer" is generally that of a pale, bespectacled, balding, middle-aged guy in a rumpled suit. Kim Morgan is not your typical film writer: blonde, beautiful, funny and effervescent, with a ferocious intelligence, she is also an authority on Film Noir and "Pre-Code" cinema.

To paraphrase the late, great Lux Interior of the Cramps, "She got good taste."

In addition to writing movie columns for L.A. Weekly, The Huffington Post, the MSN Movies blog, and her own Sunset Gun, Morgan has been working the festival circuit, most recently presenting and moderating screenings of Barfly with director Barbet Schroeder and Synedoche, New York with writer/director Charlie Kauffman at Ebertfest in Chicago.

This Sunday May 2nd, Morgan will introduce the Alamo Cinema Club's presentation of 1931's Night Nurse, directed by William Wellman, and starring Barbara Stanwyck, Joan Blondell, and Clark Gable, and preside over the Q&A with the Alamo's Lars Nilsen.

Kim sat down with the Austin Classic Movies Examiner to discuss 'Night Nurse,' Pre-Code Cinema, and the great Barbara Stanwyck.

The period between the dawn of the talkies and the enforcement of the production code produced a lot of great films, many of which were much grittier, racier, and more realistic than the ones that followed. What do you find most compelling about pre-code cinema?

So much. There’s a fascinating mixture of gritty realism and beauty, thoughtful explication of society, particularly regarding the depression, and then, flat out exploitation (but good exploitation, and there is good exploitation). There’s unique faces, young actors revealing the charisma that will make them enormous movie stars in the near future. There’s cinematic invention -- the talkies produced so many challenges for filmmakers and some of them, Wellman included, created some staggeringly beautiful moments (look at those gorgeous faces in his silent film Wings, look at that innovative, moving opening shot of the hospital in Night Nurse). These movies are old, but they feel new to me. They move. They’re fast. They’re funny and smart and usually beautifully crafted. And they’re still relevant today

What makes Night Nurse such a great example of pre-code filmmaking?

Night Nurse is about breaking rules. Pre-code is, essentially, about breaking rules. There’s so much discussion of ethics vs. humanity in Night Nurse that is especially interesting and again, remains timeless. And then all of the “salacious” elements. From Stanwyck and Blondell constantly dressing and undressing, Gable slugging and drugging women, starving children for money, the bootlegger as hero. And that ending! The ending is one of the greatest pre-code endings – ever. I don’t want to give it away here.

CLICK HERE TO READ MORE

The Alamo Cinema Club presents Night Nurse, presented by film writer Kim Morgan, Sunday May 2nd at 7 p.m. at the Alamo Drafthouse Ritz, 320 East Sixth Street in downtown Austin.

Still More from JM Dobies, Austin Classic Movies Examiner

Stephanie Rothman: Grindhouse Feminist

Natalie Wood's Greatest Hits

Rock n' Roll Faust: Phantom of the Paradise (1974)

Marlon Brando's Greatest Hits

Made in Texas: Giant (1956)

Fatal Femmes: Girls on the Loose (1958)

Teenage Rampage: The Runaways (2010)

Subscribe to the Austin Classic Movies Examiner HERE.

Mal Thursday: The Texas Psych Interview

Last month, I sat down for an interview with Kiloh Smith of the Texas Psych blog. Now that SXSW is over, and I've recovered for the most part, I finally remembered to re-post it here.

How did you get involved in radio?
I started doing college radio at WMUA in Amherst, Mass., back in '87, after I got out of college. I was the lead singer in a local band, the Malarians, and got invited to do a guest DJ thing where I brought in a bunch of garage records, and said stupid things on the air. After that, they gave me my own show, which was the original incarnation of "The Mal Thursday Show." I would mix it up, playing new releases as well as the old buried shit that was my bread and butter, and segue from a Sinatra record to Iggy & the Stooges doing "Louie Louie." By the way, both of my old bands, the Malarians and Mal Thursday & the Cheetahs, are reuniting in June to do a tour of Massachusetts to support the CD reissues of our LP catalog. It's pretty much of tour of Route 9: Boston, Worcester, Northampton, and Amherst. We're doing Boston and Worcester with Lyres, who have done some great Texas covers in their day: "We Sell Soul," "Enough of What I Need," etc.

Where does your interest in sixties psych stem from?
I was a little kid in the '60s, but thanks to AM radio and my older sisters, I got early exposure to not only the Beatles and Paul Revere & the Raiders, but also the Doors, Hendrix, and Vanilla Fudge, as the decade wore on. Like I said in an interview with The Miami Herald last year, "As far as I'm concerned, music's been going downhill since 1966." As John Lennon said, referring to Chuck Berry and Jerry Lee Lewis, "That's my period and I'll never leave it."

Sixties psych doesn’t seem like a great career move. Why?
Neither is radio, for that matter. And when I was working in commercial radio, I found it pretty much impossible to divorce myself from what I was playing. If I couldn't get off on it, it seemed dishonest to pretend that I did for the benefit of the listening audience. With the podcasts on GaragePunk, I may be preaching to the choir, but I know the audience is digging it. One reason that '60s garage and psych isn't a great career move is that the records were made over 40 years ago, which is to the present day what the roaring '20s were to the '60s. While the baby boomers' death grip on pop culture, combined with the fact that there was more great rock 'n roll made between '64 and '69 than there has been in the four decades since, has kept the music alive, there's no getting around the fact that it's ancient history. Pretty soon it'll be like Doo-Wop, totally marginalized. But not yet, thankfully.

Why Texas Psych?
I don't know if there was something in the water here, or what, but there was more good music coming out of Texas in the '60s than almost every other state in the U.S. Sure, New York and California had the major record companies, and San Francisco got all the hype, but the Texas psychedelic bands not only had a certain purity, they also rocked. Hard. Listen to the 13th Floor Elevators 1966 show at the Avalon Ballroom - none of the San Francisco bands could come close to that intensity. Of course, Janis and Chet Helms gave that scene the Texan flavor that helped put it over the top.

How did the "Texas Tyme Machine" come about? Is the show going to enter into syndication?
When I moved down to Florida in the fall of 2001, I created the "Florida Rocks Again!" radio show. It was my way of giving back to the culture, to show Floridians that so much great music had come from there, that Florida was more than just a national joke about rednecks, retirees, and hanging chads. It also allowed me to play a bunch of great garage and psychedelic records along with the Skynyrd, Tom Petty, and Sam & Dave stuff. Although we had a couple of lengthy runs on commercial radio, there was resistance on the part of most programmers to the overall obscurity of the show. There's also the unavoidable fact that a large percentage of the population wasn't even there in the '60s and '70s. They were in New York or Cuba.


In Texas, it's a different story. People take pride in their culture here, especially in Austin. I wanted to do a Texas version of "Florida Rocks Again!" even though there are already a couple of all-Texas music shows on the local airwaves ("Lone Star State of Mind" on KGSR and "Texas Music Matters" on KUT), I figured there was room for a more rockin' variation on the formula. Again, I could play all those great local '60s records, and give airtime to people like George Kinney, Roky Erickson, and others. I came up with the title "Texas Time Machine," and I even had some investors and a host, Dickie Lee Erwin, who had the right persona. I encountered difficulty in the fact that corporate-controlled commercial radio is not at all receptive to new ideas or specialty programming, which they consider to be an "audience-killer." So if you manage to get your show on the air, you're stuck with a late-night time slot or Sunday mornings, which is not going to attract much in the way in the way of sponsorship. Then I found out that the University of Texas has the trademark on the name "Texas Time Machine," which is some kind of a geographical mapping project. What a waste of a great title! So I changed it to "Tyme" with a Y, like Kenny & the Kasuals' "Journey to Tyme," and rather than wasting a year of my life trying to get the show syndicated for chump change, I decided to make it a regular part of "The Mal Thursday Show," which already has a built-in worldwide audience. And unlike a radio show or streaming internet show, a podcast is available indefinitely, 24/7, and it's free on iTunes.

What has the feedback been like so far?
There have been two all-Texas episodes so far, and I've gotten great feedback not only from the listeners, but from bands and labels here in Texas. The promo CDs have been pouring in, which is great. Also, I'm reaching out to the guys in the '60s bands, and giving them an opportunity to tell their stories. On Volume 3, the surviving members of the Wig are going to tell their tale, accompanied by their 45s and live tapes from the Jade Room.


If no syndication, are any individual stations interested in broadcasting "Texas Tyme Machine." Has there been any interest from the University of Texas at Austin’s student radio station?
I'd like to take a shot at it, but what's more likely is that I'll do "The Mal Thursday Show" on KOOP, the local community FM station, which shares a frequency with the UT student radio station. The UT station is limited to enrolled students, and going to grad school isn't in the cards at the moment! Part of the problem is that I've got a family to support, including two little kids, Liam, 5, and Lola, who's almost 4. I've got to hustle every day just to pay the rent. And I got laid off from my hated Microsoft job last July, so it's not easy. I take whatever gigs I can get. For instance, I'm writing a Classic Movies column for the Austin Examiner, a Celebrity Headlines column for the Dallas edition, in addition to my blog, and I'm up for a featured extra role in the Coen Brothers' remake of True Grit. Luckily, I can ride a horse and I'm growing my hair out for the Malarians reunion tour, so I've got properly Wild West sideburns going on.

Are you going to focus on cities/regions per show? That could be cool.
Oh yeah. The current episode has a segment on the Dallas/Fort Worth area circa '65-'67, taken from Norton Records' great Fort Worth Teen Scene series. Of the new bands I'm playing on the "Texas Tyme Machine" shows, I'm showing a huge bias towards Austin and San Antonio bands, but those are the bands I've seen and heard, and more importantly, that I've gotten promos on. If any bands from the rest of Texas are reading this, send me your stuff. LPs, CDs, mp3s, whatever you've got.

Ten years ago hardly anybody, outside Texas, had heard about this genre on music. What do you attribute the (late) rise in popularity to?
Well, the first renaissance in the genre was in the '80s, when you had all those semi-legit garage and psych comps, and people like Doug Hanners, David Shutt, and Dave Baldwin doing those vinyl releases like Texas Flashbacks, Fire in My Bones and Houston Hallucinations. In the early 2000s, there was a revival of interest in the music when garage rock was declared the Next Big Thing, and Little Steven started doing his "Underground Garage" show, and later his Sirius channel. There have been some great documentaries, like You're Gonna Miss Me and Dirt Road to Psychedelia, and all the fine work of the Roky CD club. There's also the undeniable fact that good music is good music, and people will listen to it if they get the chance. And thanks to the internet, that's easier than it was back in the days of scouring the Goodwills in hopes of finding some obscure psych 45 or waiting around for Pebbles, Vol. 69.

Are you uncovering any new gems? If so, tell us about it.
While most of the records from that era that haven't been completely lost have already been documented, there's still a lot of stuff that remains unheard, that was unissued, or only exists on acetates collecting dust in someone's attic. Researching the show, I'm always hearing great stuff for the first time. Or stuff I haven't listened to in 25 years. And although I'm something of a dinosaur, I'm hearing a lot of new bands that are really incredible. Austin has the Ugly Beats, the Jungle Rockers, Love Collector, the Black Angels, and I'm trying to put a new band together to do some live shows. There's a great band from the UK, the Higher State, who do a killer version of the Golden Dawn's "My Time" on the new episode.

What’s the future of Texas Tyme Machine?
It's going to be more or less a quarterly feature on "The Mal Thursday Show," and if I can get it on the airwaves here in Texas, that will be a bonus. In the meantime, I just want it to be heard by as many as people as possible, especially fans of Texas music, like your readers.

Yet More from JM Dobies, Austin Classic Movies Examiner

Hudson Rocks 'Weird Wednesday': Pretty Maids All in a Row (1971)

Teenage Rampage: The Runaways (2010)

A History of Exploitation: American Grindhouse (2010)

SXSW Film Fest: Jonathan Furmanski, Tom Bowker Talk 'The Weird World of Blowfly'

Major Scoop: QT Fest is Coming Back to Austin

SXSW Film Fest: Director Elijah Drenner on 'American Grindhouse'

The Bowery Boys Are Back!

The Greatest Biker Movies Ever Made

Cassavetes on Wheels: Devil's Angels (1967)

Made in Texas: Roadie (1980)

Like, Crazy, Man: The Wild Party (1956)

Hollywood Hell: The Big Knife (1955)

James Bond's Greatest Hits, Vol. 1: The Sean Connery Era

Dennis Hopper's Greatest Hits

Crash-o-Rama: Jack Hill's Pit Stop (1969)

Subscribe to the Austin Classic Movies Examiner HERE.

A Highly Subjective Guide to the 2010 SXSW Film Festival, Pt. 1

Beginning this Friday, March 12th, through Saturday, March 20th, Austin plays host to the South by Southwest Film Festival, which The Onion A.V. Club has called "one of the least stuffy film festivals in the country, as evidenced in its unabashed taste for mainstream comedy and weird passion projects to go alongside the usual arthouse fare."

Among the buzz-worthy films that will be screened during SXSW are such titles as MacGruber, which promises to be the first "Saturday Night Live" spin-off since Wayne's World not to be terrible (although some consider The Ladies Man a guilty pleasure), and The Runaways, the story of the all-girl '70s hard rock band starring Dakota Fanning as Cherie Currie and Kristen Stewart as Joan Jett.

What follows is a highly subjective day-by-day list of some of most compelling movies being screened during SXSW 2010...

CLICK TO READ MORE

Still More from JM Dobies, Austin Classic Movies Examiner

Cannibalism, Savagery, and Unconditional Love: Jack Hill's Spider Baby (1968)

'Look, Ma, No Arms!': Tod Browning's The Unknown (1927)

This Week's Classic Movie Screenings in Austin (Feb. 26-March 4)

Spy vs. Spy: Casino Royale (1967) and Casino Royale (2006)

Martin Scorcese's Greatest Hits

It's 'Weird Wednesday' at the Alamo Drafthouse Ritz

Turner Classic Movies' '31 Days of Oscar' for February 23-March 3

Devil in disguise: Angel Face (1952)

Sexy Beast: The Curse of the Werewolf (1961)

The Decline of Western Civilization (1981)

Oliver Reed's Greatest Hits

The Wolf Man (1941) vs. The Wolfman (2010)

Seaside Seducers: The System a/k/a The Girl-Getters (1964)

Love and Life and Death: Harold and Maude (1971)

Second City Sci-fi: The Monitors (1969)

Even More from JM Dobies, Austin Classic Movies Examiner

Clint Eastwood's Greatest Westerns

Doom Noir: Blast of Silence (1961)

Turner Classic Movies' '31 Days of Oscar' for February 8-15

'Terror Tuesdays' at the Alamo Drafthouse Ritz

Faster, Pussycat! Kill! Kill! (1966) and Rock 'n' Roll High School (1979)

Subscribe to my Classic Movies column HERE.

I promise to come up with a new blog post soon...

More from JM Dobies, Austin Classic Movies Examiner

Ann-Margret's Greatest Hits

Decadenza Italiano: Antonioni's L'Avventura (1960)

Hassle at the Castle: Frankenstein Meets the Wolf Man (1943)

Blaxploitation classics at the Alamo: J.D.'s Revenge (1976) and Black Caesar (1973)

Amadeus (Director's Cut)

Double Feature Midnight Movies at the Spider House February 2010

"Garbo Laughs!": Ninotchka (1939)

Jack Nicholson's Greatest Hits

To Put Out or Not to Put Out: The Young Lovers (1964)

Magnum Fascist: Dirty Harry

Angry Young Bastard: Saturday Night and Sunday Morning

Tuesday Weld's Greatest Hits

Teenage Pygmalion: Lord Love a Duck

Racing for Nowhere: Monte Hellman's Two Lane Blacktop

JMDobies.com

I've updated my website, jmdobies.com, adding more podcasts, a PayPal link to purchase the complete recordings of Mal Thursday and the Cheetahs, new items at The Florida Rocks Again! Online Superstore, and just tightening things up a bit overall.

The site's nothing fancy, design-wise, as it uses an idiot-proof template rather than something more elaborate. But I can edit it any time I want, so what I lose in graphic complexity, I gain in functionality.

Check it out!

Angry Young Bastard: Saturday Night and Sunday Morning

After banging out a few items for my Celebrity Headlines column, I published a piece about something good, which is Karel Reisz's film of Alan Sillitoe's Angry Young Man drama Saturday Night and Sunday Morning, starring a young, charismatic Albert Finney. Here 'tis:

Angry Young Bastard: Saturday Night and Sunday Morning

Subscribe to the Austin Classic Movies Examiner HERE. Your comments, suggestions, and requests are welcome.

Recent articles by JM Dobies:

Tuesday Weld's Greatest Hits

The Action Pack presents the Pulp Fiction Quote-Along at Alamo Drafthouse

Teenage Pygmalion: Lord Love a Duck

Racing for Nowhere: Monte Hellman's Two Lane Blacktop

A Streetcar Named Desire

Alamo Weird Wednesday Presents Lord Love a Duck

The Austin Classic Movies Examiner (that'd be me) previews this week's Weird Wednesday selection at the Alamo Drafthouse Ritz, George Axelrod's 1966 satire Lord Love a Duck, starring Roddy McDowall and the luscious Tuesday Weld.

Click HERE to read it.

Click HERE to subscribe to the column.

Other recent articles by JM Dobies:

Tuesday Weld's Greatest Hits

The Action Pack presents the Pulp Fiction Quote-Along at Alamo Drafthouse

Racing for Nowhere: Monte Hellman's Two-Lane Blacktop

Alamo Iron Chef VI: A Streetcar Named Desire

JM Dobies, Austin Classic Movies Examiner

I am now the Austin Classic Movies Examiner, in addition to my role as Dallas Celebrity Headlines Examiner.

You can now read my stuff without being embarrassed, appalled, or nauseated by the subject matter. Read about great films and the icons of the silver screen rather than the latest misdeeds of drug-addled Z-list actors and sub-human reality TV scum. Or you can do both, and that'll be even better for me, because I get paid by the page view!

You can subscribe to my Classic Movie columns via email HERE.

First up, A Streetcar Named Desire, which is being presented as part of "Alamo Iron Chef VI: The Battle for Sixth Street" next Wednesday at the Alamo Drafthouse Ritz, 320 East Sixth Street in Austin. Click HERE to read all about it.

Then, it's an homage to my favorite existential road movie, Monte Hellman's Two-Lane Blacktop. Click HERE to read that one.

You can still subscribe to my sordid and tasteless Celebrity Headlines HERE.