Horror Roundtable - Week Thirty-Five

Name a performance in a horror movie which you believe should have been nominated for an Academy Award.
And the Oscar goes to…Bill Moseley as Otis in THE DEVIL’S REJECTS. Oh sure, Charlize Theron gets an award for MONSTER, but Moseley only gets a freaking Fangoria Chainsaw Award. He (not to discount Sid Haig, Sheri Moon Zombie or William Forsythe) delivered one of the most powerful, beliveable incarnations of pure evil since Anthony Hopkins won for THE SILENCE OF THE LAMBS. The character of Otis transformed from a cartoonish boogey-man (in HOUSE OF 1000 CORPSES) to the embodiment of all things the we fear, slicing our guts out while spouting homespun wisdom as we lie there bleeding to death. It’s a real shame that he didn’t get noticed outside of the horror circles.
Jack Nicholson in The Shining might be an example, although many people see his performance as hammy and over the top. But when the movie itself failed to even be nominated for any Oscars, and was just nominated for, without winning, the Academy of Science Fiction, Fantasy, and Horror Films “Best Horror Film” award that year, and Stanley Kubrick was nominated for a Worst Director Razzie for it, I guess you can’t get your hopes up.
Mia Farrow’s performance in Rosemary’s Baby is also excellent, and might well have deserved a Best Actress Oscar (she was nominated for, but didn’t win, a BAFTA and a Golden Globe).
But to top them all off, with a performance that doesn’t just impress with its acting skill, it also scares me out of my wits, there’s Michael Rooker in “Henry: Portrait of a Serial Killer”. There’s just not that much more to be said about it, it’s probably one of the scariest cases of pure acting ever seen.
ROY SCHEIDER in JAWS…
David Z. - Tomb It May Concern
I have a hard time figuring out what is “Academy Award” winning is myself. I can’t get my head around rich hollywood people giving each other awards or what the criteria is… I’ll go with Linnea Quigley, who was robbed for her lack of nomination as Trash in Return Of The Living Dead for rocking a tight body sleeve to maximum effect. That certainly got a standing ovation from my audience!
I don’t even know where to begin. It’s such a maligned genre in terms of awards recognition. So I’ll just state the most recent oversights: three of the actors in Pan’s Labyrinth - Ivana Baquero as little Ofelia, Sergi Lopez as the evil Captain, and Maribel Verdu as Mercedes - should’ve gotten recognized. All three took roles that are pretty solid archetypes and infused them with something special, be it Baquero’s haunting sadness, Verdu’s soulful defiance, or Lopez’s chilling sadism.
Quality over quantity this time around. I guess everyone else were busy picking an outfit to wear for the red carpet. That or it was a shit question. Thanks once again to everyone who contributed, my Mom for believing in me as a child, J. for encouraging my dreams even during the bad times, my hairdresser, Jose, for working his magic every single day on set, the guy down at the corner who sells Asian bootlegs, my dogwalker…

In one way I’m fairly conservative and set in my ways and that’s when it comes to special effects. I work in an industry where discussion of the latest computer generated special effects are almost mandatory and practical effects of the past are viewed with disdain. Yet there are a still few of us who talk lovingly about rubber suits, stop-motion and all manner of tactile effects. One place where these monsters of legend still reside is in 

The history of grindhouse cinema has rarely been explored, and when it has it’s usually only through ‘zines and books with unbelievably small print runs. Perhaps the problem lies in the term being used to describe a wide variety of films with little in common other than means of distribution and choice of venue. Regardless, anyone just getting acquainted with the grindhouse will find resources spotty at best.
In one of the most bizarre items to cross my desk in the past few weeks, 










