Last March, local Albuquerque filmmaker/actor Billy Garberina (director and star of Necroville and featured actor in indie films like The Stink of Flesh, Feeding the Masses, Gimme Skelter, Wet Heat, Psycho Holocaust, Ski Wolf and Deathbone) was named Scary Stud of the Month by Pretty-Scary.net (the website “for women in horror, by women in horror”). The site summed up Garberina’s elusive appeal thusly: “If Eric Stolz and Kevin Bacon were gay and had a genetically engineered child using both of their DNA with which to share their love, but that child ended up straight and his name was Billy Garberina, then Billy Garberina would be a lot like that kid except probably way less rich.” Who can argue? Now Garberina is locked in a fierce battle for Pretty Scary’s 2009 Scary Stud of the Year. He’s got some stiff competition, going up against guys like Mike J. Nelson (“Mystery Science Theater 3000”), Robert Patrick (Terminator 2: Judgment Day), Eli Roth (Inglourious Basterds) and Corin Nemec (Mansquito). He’s stayed near the top of the list, but he needs a little more help to guarantee a victory. Show your love for the local boy by logging on to Pretty-Scary.net and voting for him. You have until Jan. 31!
At age 10, wide-eyed Salt Lake City actor Michael Stephenson got what he thought was his big break. He landed the lead role in a major horror film. Unfortunately, things didn’t turn out quite the way he planned. Little did Stephenson know he was signing on to star in what would eventually be dubbed “the best worst movie ever made.” Years later, sitting in his Hollywood office and looking back on the bizarre phenomenon that is Troll 2, Stephenson can’t help but laugh. How could you not?
Like Crash or Babel, Swedish filmmaker Lukas Moodysson’s Mammoth employs a polyglot cast, a wide-ranging backdrop and assorted convergent storylines to ruminate on the sad state of interpersonal politics—in this case, modern parenthood and the worldwide socioeconomic factors that affect it both positively and negatively. I know. That sounds painfully weighty. But it’s not. Well, not entirely. For starters, Mammoth is stocked with roughly 175 percent less sledgehammer morality than Paul Haggis and Alejandro González Iñárritu’s heavy-handed (and undeservedly Oscar-winning) parables.
In last week’s column, I casually mentioned that “The Jay Leno Show” would kill network television. Fortunately, NBC plunged a stake into its heart before it could do any more damage. Now what? Will the post-prime-time airwaves become a desolate hellscape in which men battle one another in a winner-take-all competition for pop cultural supremacy? Likelihood: probable.