pre-order here. This is one of the most important releases I've ever had the great fortune to contribute to and I hope everyone reading will order. Thank you!
Friday, February 14, 2020
Friday, January 4, 2019
The premiere issue of my brand new arts journal, SOLEDAD, is now available on Amazon or at Nostalgia Kinky. I’ve been working, mostly in secret, on this since my first publications, ART DECADES, mission was unexpectedly terminated earlier this year. The cover is a shot of Terence Stamp and Jeanne Moreau from the devastating 1975 film HU-MAN, which I have written about for the issue. The quote from the cover is from Stamp.
I’m incredibly blessed to have a truly stellar lineup of contributors for the first issue and I’m grateful to all of them. The near 200 page first volume features interviews I conducted with Stoya, Rocket From the Tombs founder Craig Bell and electric eels leader John D. Morton (both of whom are now in X-X). The issue also features new fiction from Robert Monell and Les Bohem, new essays by Heather Drain and Tara Hanks, poetry by Emily Clare Bryant, a book excerpt from Marcelline Block and photography by Ian Preston Cinnamon, John Levy and myself. I’m incredibly indebted to all of these fine artists and am thrilled to feature their words and work.
Follow the publication at Instagram.
Tuesday, November 27, 2018
Christ, I don't know what to say about the passing of Bernardo Bertolucci. The man was one of my great artistic heroes and I simply cannot imagine what my life would have been like without his films. I've done so many of these rest in peace posts over the years (and some I couldn't do because they hurt too much like Burt Reynolds) but I just don't know what to say about this loss...no filmmaker reached Bertolucci's heights...none even came close.
Sunday, November 25, 2018
Out now from Pop Cinema, Film Media and Something Weird is Volume 3 of their series Racy Reels From The Something Weird Vault. This collection sees the HD debut of two Mac Ahlberg titles, I, a Woman part 2 and The Daughter: I, a Woman part 3. The official sequels to the Ahlberg's groundbreaking 1965 original, that Radley Metzger's Audubon films turned into a stateside smash in 1965, I, a Woman part 2 and The Daughter: I, a Woman part 3 are both presented in uncut English dubbed versions on these new DVD and Blu-ray sets. These newly mastered versions both look and sound quite splendid despite some minor print damage throughout. Ahlberg and Lars Karlsson's splendid colorful photography for Part 3, my personal favorite film from the series, looks especially vibrant here. For this release Pop Cinema have delivered some terrific extras including liner notes, and an audio commentary, by Tim Lucas as well as trailers and outtakes from part two. A trailer can be viewed here and more information can be found over at Alternative Cinema.
-Jeremy Richey, 2018-
Saturday, November 24, 2018
Friday, August 31, 2018
Last month I spent my final day, of one of the saddest years of my life, in a city I had grown to despise visiting two shooting locations of one of my favorite films...Jerry Schatzberg's magnificent 1973 work Scarecrow. I had been meaning to visit these two spots since I had arrived in Denver nearly two years ago but this particular morning, still reeling from the news that my marriage of eight years was unexpectedly ending, seemed fitting. "Guess what I'm a scarecrow" but the crows hadn't been laughing at me in Colorado only attacking...
What was once the Turk's Supper Club at 539 West 43rd is still standing...abandoned but I felt the ghosts of Hackman and Pacino as young men everywhere around me as I photographed the building.
The house where Max and Lion briefly stayed, at the second location at 4256 Elati Street, was long ago demolished. In its place sits a depressing and ugly industrial storage unit...reminding me only of Trump's terrifying and bullshit once United States. After snapping a few photographs I hopped in my car and left behind the life and future I thought I had forever.
I hope to never return to Denver again.
-Jeremy Richey, 2018-
Wednesday, August 15, 2018
An absolutely stunning release from Severin films, the new Blu-ray edition of Buddy Giovinazzo's grueling 1984 masterpiece Combat Shock is perhaps the great archival release of 2018 amidst very stiff competition. Limited to just 2000 signed copies, that are already out of stock at Severin, this new version of Combat Shock restores Giovinazzo's mesmerizing vision to his original American Nightmares director's cut in a package filled with hours of essential extras that put recent releases by the likes of Criterion to shame.
The release history of Combat Shock should be fairly well-known to most fans of American independent cinema but a quick overview goes like this. Buddy Giovinazzo was a student filmmaker from Staten Island when he began shooting his self-funded feature film debut, under his preferred title American Nightmares, in 1984 with family, fellow-students and friends. After some early screenings, the film was picked up by Troma and retitled the more commonly known Combat Shock. While Troma should be applauded for picking up such an uncompromising DIY feature, they did cut many of Giovinazzo's most extreme moments and added in stock Vietnam footage in an attempt to capitalize on the namsploitation movement of the mid-eighties. The cuts and new footage neutered the film but Giovinazzo's haunting story of a shell-shocked veteran collapsing under the weight of the 'American dream', on the streets of New York, still managed to resonate. Audience members tricked by Troma's poster promising a Missing In Action/Rambo style picture were shocked into submission by the most harrowing vision of the horrors of post war trauma seen since the The Deer Hunter. Combat Shock was dismissed by most 'respectable' critics while being championed by the likes of the great Stephen Bissette and other underground writers who recognized its importance. Despite Giovinazzo never being granted his proper place as one of modern cinema's most important and visionary filmmakers, Combat Shock refused to die and by the mid-nineties the uncut American Nightmares became one of the most essential and sought after bootlegs on the grey market VHS circuit.
It was in this grey market area that I first encountered American Nightmares in the nineties via the mail order company Midnight Video. Like many others I was completely shocked by the film and absolutely floored in every way. While the film's scenes of horrific violence were what originally stuck with me, as I have aged and matured it is the film's heartbreaking heart and humanity that keep me returning to it. As played by Buddy's brother Rick Giovinazzo (who also composed the film's remarkable soundtrack included as a bonus CD), the lead character Frankie remains one of the most moving creations in all of modern American cinema. Much like Alan Vega's devastating title character in Suicide's 1977 jaw-dropping track off their legendary first album, Giovinazzo's character is a good man buried by a system designed to destroy the helpless and poor. It's every sad headline of a man pushed to the brink of madness and murder brought to life. Sadly American Nightmares plays better than ever now in this brutal era of Trump. This film isn't just a prophetic time capsule. It is instead a nightmarish depiction of NOW and I must admit that viewing Severin's recent collection reduced me to tears. I saw Frankie every day during my recent sad stint in Denver where the streets are crowded with homeless veterans desperately in need of help they aren't receiving. Giovinazzo knew ignoring our veterans in need was a criminal act by the American government in 1984 and it remains one today.
Of course American Nightmares doesn't just survive as a political and sociological statement as it stands as a glorious reminder to the power of film in the hands of a truly visionary artist who refused to back down no matter the financial and personal hardships. The essential book that comes along with Severin's package, featuring Giovinazzo's shooting diaries from the time, should be REQUIRED reading for all young students of cinema. It's a triumphant portrait of an artist not enslaved by the dollar and corporate sponsorship....our tragic current sell-out culture should take note...this is how it should be fucking done.
Severin's release is the kind of true deluxe edition that great films deserve but rarely get anymore. Powered by a 4k scan of the fully uncut American Nightmares, an essential commentary by the Giovinazzo brothers (along with make up effects artist Ed Varuolo), hours of interviews with the makers of film and the critics who championed it, short films and Troma's original terrific extras it is an absolute triumph for Severin and Giovinazzo.
Although it came out just over a month ago Severin's release is already becoming near impossible to find so the curious and established fans are advised to seek it out now. Earlier this year I thought Criterion's way past due Dietrich and Von Sternberg collection would be the release of the year but that frustrating dropped ball pales in comparison to Severin's Combat Shock. I keep hearing physical media is dead but you sure as hell wouldn't know it watching Severin's grand slam new releases.
-Jeremy Ross Richey, 2018-
Wednesday, June 6, 2018
The extraordinary filmmaker Brandon Colvin has just recently launched a Kickstarter campaign to help fiance his upcoming film, A Dim Valley, and I would greatly appreciate if everyone would share the campaign's link and pledge if you can.
Wednesday, November 8, 2017
Jill C. Nelson's long awaited memoir, Tapes From California: Teenage Road Tripping, 1976, is now available to order in hardcover and soft cover editions from Bear Manor Media and Amazon. Nelson, whose previous works include John Holmes: A Life Measured In Inches and Golden Goddesses, has been working on Tapes From California for years and I am thrilled that it is now out for us to all enjoy. Copies can be obtained from the links above and my own interviews with Nelson, where she discusses this book and her others, can be found here and here.