The Quintessential Halloween Mixtape

It’s that time of year again! I love Halloween. And with Halloween, comes Halloween parties.

So if you are having a Halloween party, you need to have the right music.

This is a list of the perfect songs for your Halloween mixtape.

If you disagree, you suck at music. I love music and I love Halloween, so these tracks are in constant rotation at any spooky shindig I attend. Or I beat up the DJ and take over for the night.

So here we go, the perfect Halloween mixtape. And yes, make a tape. Cassettes are coming back, don’t you know?

And fuck the “Monster Mash”.

1. Anything in The Cramps discography
2. Anything in The Misfits discography
3. “Everyday Is Halloween” by Ministry
4. “This Is Halloween” from A Nightmare Before Christmas
5. “A Nightmare On My Street” by DJ Jazzy Jeff & The Fresh Prince
6. “Pet Sematary” by The Ramones
7. “Bela Lugosi’s Dead” by Bauhaus
8. “Vampires” by DJ Touche
9. “Wolf Like Me” by TV On The Radio
10. “Ghost Town” by The Specials
11. “Are You Ready For Freddy?” – The Fat Boys
12. “Somebody’s Watching Me” – Rockwell
13. “Thriller” by Michael Jackson
14. “Fresh Blood” by Eels
15. “Spirit” by Doug E. Fresh
16. “No One Lives Forever” by Oingo Boingo
17. “I Put A Spell On You” by Nina Simone
18. “Scary Monsters and Super Creeps” by David Bowie
19. “Halloween” by the Dead Kennedys
20. “Ghostbusters” by Ray Parker, Jr.
21. “Psycho Killer” by the Talking Heads
22. “Halloween” by Siouxsie & The Banshees
23. “Bark At the Moon” by Ozzy Osbourne
24. “Confusion (Pump Panel Reconstruction Mix)” by New Order
25. “The Orange Theme” by Cygnus X

Film Review: Dick Tracy (1990)

Release Date: June 15th, 1990
Directed by: Warren Beatty
Written by: Jim Cash, Jack Epps Jr.
Based on: Dick Tracy created by Chester Gould
Music by: Danny Elfman
Cast: Warren Beatty, Al Pacino, Madonna, Glenne Headly, Charlie Korsmo, James Keane, Seymour Cassel, Michael J. Pollard, Charles Durning, Dick Van Dyke, Frank Campanella, Kathy Bates, Dustin Hoffman, William Forsythe, Ed O’Ross, James Tolkan, Mandy Patinkin, R. G. Armstrong, Henry Silva, Paul Sorvino, James Caan, Catherine O’Hara, Estelle Parsons

Touchstone Pictures, Silver Screen Partners IV, Mulholland Productions, Walt Disney, Buena Vista Pictures, 105 Minutes

Review:

“You get behind me, we all profit; you challenge me, we all go down! There was one Napoleon, one Washington, one me!” – Big Boy Caprice

I guess, from a critical standpoint, this film didn’t get the sort of respect that it should have. I’m not really sure why or how it didn’t resonate with some critics but Roger Ebert adored it, as do I.

In fact, Dick Tracy is almost a perfect film for what it is and I’m not sure what else anyone would want from this near masterpiece. Warren Beatty directed and starred in this and he gave us something magical and marvelous. It fit the classic comic strip to a t and truly breathed live action life into it. As great as the comic strip was, I feel like this film is an improvement on the story, the characters and the ideas of Chester Gould’s beloved creation.

Unfortunately, this great launching pad for what should have been a franchise, never got to have a sequel due to copyright disputes between Warren Beatty and Tribune Media Services. The courts eventually settled in favor of Beatty but that wasn’t until 2011. He has since talked of a sequel but there hasn’t been much movement and so much time has passed. Also, Disney had hoped that this would achieve 1989 Batman numbers but it didn’t hit that mark, even though it was financially successful.

And at least this film has its fans and, at the time of its release, the public supported the picture. Some of this could be due to the film’s immense star power, boasting a cast of superstars, or because of the awesome marketing campaign this film had – one of the best of all-time, in my opinion. Especially, the tie-in stuff they did with McDonald’s. Plus, there was that great Batman picture the previous year, which finally proved that comic book movies could be something that can be taken seriously.

The film has held up tremendously well and may actually be more visually alluring today. The use of vibrant giallo-like colors and tremendous matte paintings gave the film a real pulp comic feel that felt lived in and lively. Today, the picture truly feels like a work of art and has a visual uniqueness that stands on its own.

The picture was also enhanced by the incredible score by Danny Elfman. This is one of the greatest scores of Elfman’s long career and is very reminiscent of his work on Batman, the previous year, and 1990’s short lived The Flash television show. The score is powerful and blends well with the old timey tunes and the performances by Madonna.

Being a poppy 1930s style gangster story, Beatty tapped the Bonnie and Clyde well and cast Estelle Parsons and Michael J. Pollard in small roles. The film was only missing Faye Dunaway and Gene Hackman in reuniting the gang from that classic 1967 film.

Beatty was a fantastic lead and perfect Dick Tracy. Additionally, the rest of the cast was magnificent. Al Pacino got to be a hammy mob boss and foil to Tracy. Pacino’s Big Boy Caprice is also one of my favorite Pacino characters ever put to celluloid. Both Madonna and Glenne Headly are stellar as the leading ladies and this is just one of many roles where I became a huge fan of Headly.

The cast is rounded out by so many other great actors in smaller roles. Dick Van Dyke plays a crooked mayoral candidate, Dustin Hoffman plays the gangster Mumbles and R. G. Armstrong is the sinister mob boss Pruneface. You’ve also got cameos by James Caan, Catherine O’Hara, Kathy Bates and Paul Sorvino. William Forsythe and Ed O’Ross play Big Boy’s top henchmen Flattop and Itchy. You also have the always great Seymour Cassel as one of Tracy’s cop buddies. Plus, Charlie Korsmo was cool as The Kid.

Dick Tracy is action packed and stylish but it doesn’t put that style over its substance. The narrative works, the plot moves swiftly and there is never a dull moment. Plus, who the hell doesn’t love Tommy gun shootouts in the street?

It is also worth mentioning that the character of The Blank is one of the coolest film characters to come out of this era, even if used sparingly and in the dark. Had this gone on to be a film series, it would’ve been cool seeing someone else take up that mantle or The Blank living on in some way. The character also added an interesting twist to a film that, on its surface, looks like just a straight up cops and gangsters, good versus evil, cookie cutter type scenario. The Blank added a third, unpredictable element and a noir vibe.

Dick Tracy is one of the greatest summer blockbusters ever made and it deserves more recognition today than it receives. It took some creative risks that paid off and it brought together a literal who’s who of great bad ass actors.

My initial viewing of this motion picture on the big screen is one of my fondest childhood memories. It stands alongside Batman, 1990’s Teenage Mutant Ninja Turtles, the original animated Transformers movie and Star Trek IV: The Voyage Home as one of my favorite theatrical experiences of my early life.

Film Review: Streets of Fire (1984)

Release Date: June 1st, 1984
Directed by: Walter Hill
Written by: Walter Hill, Larry Gross
Music by: Ry Cooder
Cast: Michael Paré, Diane Lane, Rick Moranis, Amy Madigan, Willem Dafoe, Deborah Van Valkenburgh, E.G. Daily, Richard Lawson, Bill Paxton, Lee Ving, Stoney Jackson, Robert Townsend, Grand Bush, Mykelti Williamson, Ed Begley Jr., John Dennis Johnston, Lynne Thigpen

Universal Pictures, 93 Minutes

Review:

“Well, it looks like I finally found someone who likes to play as rough as I do.” – Raven Shaddock

I have always looked at 1984’s Streets of Fire as a sort of spiritual successor to 1979’s The Warriors. They share the same director, some of the same themes, some of the same acting talent and take place in a vivid and surreal fantasy version of urban America.

While music often times drove the narrative and the action of The Warriors it takes over Streets of Fire and propels this picture forward as a perfect balance between the action and musical genres. Granted, this isn’t a traditional musical, it is mostly a string of live performances setting the tone, as the action flows around it. It is a movie full of energy and it is incredibly kinetic.

The film also has a neo-noir look, which was becoming popular in the 80s thanks to films like Blade Runner and slew of independent movies employing the visual style. While made in the 80s, the picture mostly looks like an homage to the 1950s and the rockabilly scene of that decade. The movie is a hybrid of 1950s and 1980s culture but the 50s were on a comeback in the 80s and this film really embraces that.

Streets of Fire also crosses over into the biker gang genre of film and Willem Dafoe’s Raven Shaddock seems to channel his character Vance from his debut film The Loveless, a biker gang picture that was also Kathryn Bigelow’s directorial debut.

The film also stars Michael Paré, Diane Lane, Rick Moranis and Amy Madigan.

Paré was a good hero and it is unfortunate that he didn’t do a whole lot after this movie. His acting was a bit better than average, at this point in his career, but he had a presence and just epitomized cool. Diane Lane was beautiful and did great with the musical numbers, even if it wasn’t her voice. Rick Moranis was incredibly unlikable but even then, who doesn’t like Moranis? This film was Amy Madigan’s coolest role and second only to her part in Field of Dreams. I wish she would have got more roles like her character McCoy.

There are a lot of cameos by up and coming actors, as well as Walter Hill regulars. We get to see a young Bill Paxton, as well as Ed Begley Jr., Deborah Van Valkenburgh, Lynne Thigpen, Lee Ving of the punk band Fear, as well as small roles played by Stoney Jackson and Robert Townsend, who were members of the band The Sorels.

For the most part, the acting is not exceptional and the script is often times cheesy and bare bones but for this picture, it works. This is exactly what it markets itself as, “A rock & roll fable.”

The film is exciting and fast paced and never has much downtime. Sure, the plot might not be as developed as many would like but this isn’t that sort of movie. It is a roller coaster ride of bad ass tunes and bad ass characters where two manly men duel in a fairly original fashion. Plus, Dafoe’s presence adds so much to the picture, despite his lack of experience when this was made.

Streets of Fire was a true throwback when it came out and it still fits that mold, over thirty years after its release. It doesn’t need to be set in a defined space and time. It is imaginative and well executed and it has gone on to become a cult favorite among film aficionados.

Film Review: Detroit Rock City (1999)

Release Date: August 13th, 1999
Directed by: Adam Rifkin
Written by: Carl V. Dupre
Music by: J. Peter Robinson
Cast: Edward Furlong, Giuseppe Andrews, James DeBello, Sam Huntington, Gene Simmons, Paul Stanley, Ace Frehley, Peter Criss, Natasha Lyonne, Lin Shaye, Melanie Lynskey, Shannon Tweed, Joe Flaherty, Ron Jeremy

Base-12 Productions, Takoma Entertainment Group, New Line Cinema, 94 Minutes

Review:

“God forbid one day you have a son like you, Jeremiah. A boy who lies through his teeth, buys demonic records, and smokes the dope!” – Mrs. Bruce

A lot of people a generation older than me usually get miffed when I tell them that I don’t like KISS. They have a song or two I can tolerate but I’ve just never been a fan of the Coca-Cola of rock and roll and I really just don’t get it. But I was born after KISS and can’t really understand what it was like to be there, in the moment, when they took over the airwaves in the early 1970s and had their likeness all over every product imaginable like Chewbacca and E.T. That being said, I don’t hate KISS and some of them are pretty amusing guys when I see them in interviews. Plus, Gene Simmons was a marketing genius: the Don Draper of rock and roll.

I did enjoy this film though, regardless of how I personally feel about KISS’ music and cartoon nature.

I’ve always liked Edward Furlong, even if he’s been a thorn in Hollywood’s side due to his issues when he was younger. However, just watch American History X or Animal Factory if you don’t think the kid can act, he can. This is one picture where Furlong just seems to be having a lot of fun and enjoying the material. He’s also the glue that holds this thing together.

You also have Giuseppe Andrews, an actor that I have always felt should be working more than he does. He’s a fantastic talent and has had a wide range of characters. But like Furlong, he got to sink his teeth into something fun and straightforward with this movie and he does a good job with it.

Sam Huntington and James DeBello round out the group of friends and both carry their own, as well. You also have a lot of great actors in minor roles: Natasha Lyonne, Lin Shaye, Melanie Lynskey, Shannon Tweed, Joe Flaherty and Ron Jeremy. And of course KISS is in the movie.

The story follows four friends and band mates, as they travel to Detroit to see KISS. However, they don’t have tickets and each friend goes on their own adventure in an effort to secure tickets with less than two hours to spare. The film essentially breaks out into four separate adventures that weave back together by the end. I actually really liked the narrative structure and it was well handled, well edited and flowed nicely.

Detroit Rock City is not a teen sex comedy classic but it is as good as some of the films that many consider to be classics of the genre. Had it starred someone like James Van Der Beek or Freddie Prinze Jr. it would have probably gotten more recognition, at the time. However, it stars the kid John Connor from the Terminator franchise before he fell off the map, two guys from Cabin Fever and Superman Returns‘ Jimmy Olsen. That’s not a knock against any of these guys but three out of the four hadn’t quite gotten bigger opportunities before this.

This is definitely a movie worth checking out if you like mostly mindless fun, especially from the teen sex comedy drama. Plus, it is less derivative than most of the films in the genre.

Film Review: Destino (2003)

Release Date: June 2nd, 2003 (Annecy Animation Film Festival), originally began production in 1945
Directed by: Dominique Monféry
Written by: Salvador Dali, John Hench, Donald W. Ernst
Music by: Armando Dominiguez, Michael Starobin, Dora Luz

Walt Disney, 7 Minutes

Review:

In 1945, Spanish surrealist painter Salvador Dali and American animator Walt Disney started work on this collaborative effort. While it didn’t actually come out until 2003, 58 years since the project began, it is a perfect marriage of the two artists’ styles. Taking the surrealist style of Dali and bringing it to life via Disney animation.

From 1945 and into 1946, Dali and Disney studio artist John Hench worked together on storyboarding the project. Due to financial woes during the World War II era, Disney had to halt production. Hench put together a seventeen second animation test in an attempt to keep the company happy and on board with the project but it was put on hiatus for decades.

Roy E. Disney, Walt’s nephew, rediscovered the project in 1999 while he was working on Disney’s Fantasia 2000. He decided to resurrect the amazing collaboration and Walt Disney Studios worked on it until it was finally completed.

Twenty-five Disney animators fleshed out the project based off of Dali and Hench’s storyboards and notes. They also got help from Hench himself and delved into the journals of Dali’s wife, Gala Dali.

The final production uses the original Hench animation while the newly animated parts are a combination of traditional hand drawn animation and some computer animation. It all comes together beautifully, however, and is consistent with the originally conceived style.

The short film follows the story of the god Chronos and his love of a mortal woman. The woman dances through surreal imagery in the style of Dali’s paintings. All of this is brought further to life by the musical score of Mexican composer Armando Dominiguez and the vocals of Dora Luz.

If you are a fan of Dali and classic Disney animation, there is nothing not to like here. It blends the two styles together magnificently along with the fabulous score.

The public and critical consensus was very positive for the film and it even received an Academy Award nomination in 2004 for Best Animated Short Film.

 

Film Review: Baby Driver (2017)

Release Date: March 11th, 2017 (SXSW)
Directed by: Edgar Wright
Written by: Edgar Wright
Music by: Steven Price
Cast: Ansel Elgort, Kevin Spacey, Lily James, Jon Bernthal, Eiza González, Jon Hamm, Jamie Foxx, Flea

Big Talk Productions, Working Title Films, Media Rights Capital, TriStar Pictures, 113 Minutes

Review:

“Fuck your baby.” – Bats

Edgar Wright has been one of my favorite directors of the last decade and a half. Granted, he hasn’t directed as much as I’ve liked and his last effort before this, The World’s End, was pretty lackluster and also came out four friggin’ years ago. He was involved in Marvel’s Ant-Man but left the project after putting in a lot of time, so that excuses the four year hiatus, I guess.

After the long wait, Baby Driver is not a disappointment. To be completely honest and frank, this is my favorite Edgar Wright film, which is pretty unbelievable with Hot FuzzShaun of the Dead and Scott Pilgrim vs. the World in his oeuvre.

Now this is a film that is getting a lot of hype between the critics and other reviewers and bloggers online. This is one of those rare cases where you can believe the hype.

With fast car movies being a dime a dozen these days, Baby Driver is completely its own entity. It is better than all the films you could compare it to. The Fast & Furious movies have become cartoons and have never been able to tell a story this great. Drive, while a mesmerizing marvel to look at, doesn’t come close to having the heart of Baby Driver nor does it match its personality and characters.

Additionally, the action in Baby Driver is pretty realistic and it all seems plausible. The Fast & Furious films are ridiculous and while Drive felt authentic, it didn’t have the amount of getaways and fast action that Baby Driver does. The film shifts from car chases, foot chases and machine gun shootouts quickly and seamlessly.

All of the action, and really all of the film, revolves around music. This is not a musical, by any means, but the narrative is driven by the tunes hand-selected by Edgar Wright for this picture. The soundtrack is magnificent and I’m picking up the vinyl when the record store is open (they were closed when I swung by after seeing this at its first showing).

Not only does the music enhance the experience but so does the cast. I didn’t know much about Ansel Elgort or Lily James before seeing this but they were superb as Baby and Debora. I’ll definitely check out their future films and maybe look back at some of their earlier work.

The rest of the cast was like an all-star team of great bad asses. You had Jon Hamm (in my favorite role after Don Draper), Jon Bernthal (the Punisher, himself), Kevin Spacey, Jamie Foxx and Flea. All of these men were criminals and each was unique and interesting. Well, Flea and Bernthal could’ve used some more meat to chew on but that may have had a negative effect on the film’s flow.

Baby Driver is the most adrenaline heavy movie I have seen since Mad Max: Fury Road and it may even be a better film than that. They are two very different action flicks but Baby Driver is a perfect marriage of all its elements. I can’t think of a single thing that could have been better.

The film exceeded the expectations I did have and this is one of the best movies I have seen over the last decade. It is the best summer film this year and nothing else really compares to it. And the thing is, this isn’t even trying to be a tent pole film but it blows them all away. Better action, better acting and just a better movie, hands down.

Film Review: House Party (1990)

Release Date: March 9th, 1990
Directed by: Reginald Hudlin
Written by: Reginald Hudlin
Music by: Lenny White, Marcus Miller
Cast: Kid ‘n Play (Christopher “Kid” Reid, Christopher “Play” Martin), Full Force (“Paul Anthony” George, Lucien “Bowlegged Lou” George Jr., Brian “B-Fine” George), Robin Harris, Martin Lawrence, Tisha Campbell, A.J. Johnson, Groove B. Chill (Gene “Groove” Allen, Daryl “Chill” Mitchell), Kelly Jo Minter, John Witherspoon, Clifton Powell, George Clinton

New Line Cinema, 100 Minutes

Review:

“I don’t know why they named that boy that African name. Knowing he from Cleveland!” – Pop

I loved this film the moment I saw it for the first time when it debuted on premium cable, a year after it hit theaters. I had already been a Kid ‘n Play fan at that point but this immortalized them as cool, as far as I was concerned at twelve years-old.

House Party benefits from having an all-star cast before these actors were really all-star players.

Robin Harris is probably the biggest name and he was well-known for his stand-up comedy but he really had some great moments in this that brought him to a higher level. Unfortunately, he passed away shortly after this film came out and didn’t get to reap whatever benefits would have came from the success this film had.

House Party also features Martin Lawrence, just on the cusp of his superstardom, as well as John Witherspoon, Tisha Campbell, Clifton Powell, Kelly Jo Minter and musicians George Clinton, Full Force and Groove B. Chill.

The picture was originally intended to be a vehicle for DJ Jazzy Jeff & The Fresh Prince (Jeff Townes and Will Smith) but Kid ‘n Play got the project. This could have been due to Smith’s big sitcom The Fresh Prince of Bel-Air creating a conflict.

With high school teen sex comedies being all the rage in the 1980s, House Party follows suit but gives us a film from the African-American perspective. Ultimately, there isn’t much of a difference other than the added hip-hop flair, which by 1990 was a welcome change following a decade of high school comedies scored to new wave pop music.

The film was critically acclaimed. Roger Ebert loved the film stating, “House Party is a light, entertaining teen comedy with an infectious energy.”

House Party is a great movie for its type. It gives something fresh to its genre and helped pave the way for a lot of up and coming talent. Additionally, it opened doors for black filmmakers, who would really make an impact on cinema throughout the 1990s. House Party was an African-American comedy that really went mainstream and helped in creating a shift in American entertainment, at the time.