Clinton Street Resistance Series
Tonight's nonprofit recipient is Liberation Literacy, whose mission is to build social justice literacy in prisons in order to reimagine and rearticulate the relationship between incarceration, our community, and ourselves.
After moving to an idyllic home in the countryside, life seems perfect for the Creed family...but not for long. Louis and Rachel Creed and their two young children settle in to a house that sits next door to a pet cemetery - built on an ancient Indian burial ground. Their mysterious new neighbor, Jud Crandall (Fred Gwynne), hides the cemetery's darkest secret...until a family tragedy brings the secret to life. Now, an unthinkable evil is about to be resurrected. From STEPHEN KING, the Master of the Macabre, comes a journey that leads to hell and back. Though not everyone survives the trip. For the Creeds, home is where the horror is.
The zombie-movie genre already has some wink-wink funny entries, but this U.K. smash hit, written by Pegg and Wright, takes the prize. It's a bloody hoot. -- Devin Gordon, Newsweek
Tonight's nonprofit recipient is Friendly House.
Friendly House, a 21st century settlement house, engages people to create a compassionate, equitable and inclusive society. Friendly House creates a thriving community by connecting people of all ages and backgrounds through quality educational, recreational and other life-sustaining services.
It's often said that the true character of a man is only revealed in times of dire crisis, and for likable, lovelorn loser Shaun (Simon Pegg), that moment of reckoning came when the dead rose from their slumber to feast on the flesh of the living. A hapless electronics store employee who spends most of his spare time downing pints at the local pub with his roommate, Ed (Nick Frost), Shaun's life seems to fall apart when he is dumped by his girlfriend, Liz (Kate Ashfield), and his obnoxious stepfather, Philip (Bill Nighy), shows up to berate him for not being more attentive to his caring mother Barbara (Penelope Wilton) -- especially since he forgot to send flowers for her birthday. Things take a turn for the worse when the dead return to stake their claim on the Earth, and though the chaos that follows threatens to swallow up all of England, it's up to Shaun to keep his cool and prove himself once and for all by successfully rescuing Liz and his mother. With his trusty roommate by his side, nothing -- not even the living dead -- can stand between Shaun and the two most important women in his life. ~ Jason Buchanan, Rovi
Tonight's nonprofit recipient, Oregon Music Hall of Fame, recognizes all former artist inductees and, once a year, elects new inductees into the Oregon Music Hall of Fame based their contributions to music in Oregon as well as their impact on music around the world.
While honoring Oregon’s musical heritage, OMHOF helps develop Oregon’s talent of today and tomorrow by hosting periodic Emerging Artist Showcases and introducing Oregon audiences to the State’s hottest new bands and solo acts.
OMHOF also takes an active part in promoting musical education in Oregon schools--first through scholarship money for selected Oregon high school seniors who are continuing their musical studies in college. Secondly, as music programs are being cut from Oregon grade and middle schools, OMHOF, helps raise funds to keep the music flowing.
NIGHT OF THE LIVING DEAD
By Vincent Canby
Published: December 5, 1968
Night of the Living Dead is a grainy little movie acted by what appear to be nonprofessional actors, who are besieged in a farm house by some other nonprofessional actors who stagger around, stiff-legged, pretending to be flesh-eating ghouls.
The dialogue and background music sound hollow, as if they had been recorded in an empty swimming pool, and the wobbly camera seems to have a fetishist's interest in hands, clutched, wrung, scratched, severed, and finally—in the ultimate assumption—eaten like pizza.
The movie, which was made by some people in Pittsburgh, opened yesterday at the New Amsterdam Theater on 42d Street and at other theaters around town.
NIGHT OF THE LIVING DEAD (MOVIE)
With: Judith O'Dea (Barbara), Russell Streiner (Johnny), Duane Jones (Ben), Karl Hardman (Harry Cooper), Keith Wayne (Tom), Judith Ridley (Judy), and Marilyn Eastman (Helen Cooper).
Tonight's nonprofit recipient is Oregon NOW (National Organization of Women).
The National Organization for Women (NOW) is the largest organization of feminist activists in the United States. NOW has 500,000 contributing members and 550 chapters in all 50 states and the District of Columbia. Since its founding in 1966, NOW's goal has been to take action to bring about equality for all women. NOW works to eliminate discrimination and harassment in the workplace, schools, the justice system, and all other sectors of society; secure abortion, birth control, and reproductive rights for all women; and end all forms of violence against women; eradicate racism, sexism, and homophobia; and promote equality and justice in our society.
After killing her mother in childbirth, growing up in San Francisco with her father and stepmother, attempting suicide, and moving to Los Angeles, Sarah (Robin Tunney) makes a brief stab at popularity at her new Catholic high school. Ostracized due to the untrue kiss-and-tell tales of football player Chris (Skeet Ulrich), Sarah reluctantly befriends a trio of self-styled outsiders: the horribly scarred Bonnie (Neve Campbell), the trailer-trash Nancy (Fairuza Balk), and Rochelle (Rachel True), a frequent victim of anti-black prejudice at the hands of Laura Lizzie (former Marcia Brady and future Mrs. Ben Stiller, Christine Taylor). After exhibiting latent telekenitic powers in front of Bonnie, Sarah learns that her three new friends have chosen her as their "fourth corner," the final member of their supernatural coven. Using tools stolen from a local incense-and-candle-filled boutique for practitioners of magic, the quartet summons the power of Manon, a primitive deity, to exact revenge on their tormentors and transform their lives. Drunk with power, they watch their spells get out of control, and the new coven soon realizes that with magic, "whatever you give comes back three-fold." This mid-'90s horror flick scored first place at the box office its opening weekend despite its then-unknown cast and modest budget. TV star Neve Campbell, who didn't even receive top billing, would go on to become the '90s answer to '70s horror queen Jamie Lee Curtis in the Scream franchise.
Tonight's nonprofit recipient is Portland Homeless Family Solutions, a housing first program that empowers homeless families with children to get back into housing - and stay there.
A mysterious stranger, his face swathed in bandages and his eyes obscured by dark spectacles, has taken a room at a cozy inn in the British village of Ipping. Never leaving his quarters, the stranger demands that the staff leave him completely alone. Working unmolested with his test tubes, the stranger does not notice when the landlady inadvertently walks into his room one morning. But she notices that her guest seemingly has no head!
The stranger, one Jack Griffin, is a scientist, who'd left Ipping several months earlier while conducting a series of tests with a strange new drug called monocane. He returns to the laboratory of his mentor, Dr. Cranley (Henry Travers), where he reveals his secret to onetime partner Dr. Kemp (William Harrigan) and former fiancee Flora Cranley (Gloria Stuart). Monocane is a formula for invisibility, and has rendered Griffin's entire body undetectable to the human eye. Alas, monocane has also had the side effect of driving Griffin insane. With megalomanic glee, Griffin takes Kemp into his confidence, explaining how he plans to prove his superiority over other humans by wreaking as much havoc as possible.
At first, his pranks are harmless; then, without batting an eyelash, he turns to murder, beginning with the strangling of a comic-relief constable. When Kemp tries to turn Griffin over to the police, he himself is marked for death. Despite elaborate measures taken by the police, Griffin is able to murder Kemp, considerately taking the time to describe his homicidal methods to his helpless victim.
After a reign of terror costing hundreds of lives, Griffin is cornered in a barn, his movements betrayed by his footsteps in the snow. Mortally wounded by police bullets, Griffin is taken to a hospital, where he regretfully tells Flora that he's paying the price for meddling into Things Men Should Not Know. As Griffin dies, his face becomes slowly visible: first the skull, then the nerve endings, then layer upon layer of raw flesh, until he is revealed to be Claude Rains, making his first American film appearance. So forceful was Rains' verbal performance as "The Invisible One" that he became an overnight movie star (after nearly twenty years on stage).
Wittily scripted by R.C. Sherriff and an uncredited Philip Wylie, and brilliantly directed by James Whale, The Invisible Man is a near-untoppable combination of horror and humor. Also deserving of unqualified praise are the thorouhgly convincing special effects by John P. Fulton and John Mescall. With the exception of The Invisible Man Returns, none of the sequels came anywhere close to the quality of the 1933 original.
Trivia alert: watch for Dwight "Renfield" Frye as a bespectacled reporter, Walter Brennan as the man whose bicycle was stolen, and John Carradine as the fellow in the phone booth who's "gawt a plan to ketch the h'invisible man." ~ Hal Erickson, Rovi
Tonight's nonprofit recipient is Call to Safety (formerly the Portland Women's Crisis Line).
Working to fulfill its mission of ending domestic and sexual violence by providing confidential support services and education to empower our community, Call to Safety provides a comprehensive 24/7 crisis line, follow-up advocacy for survivors, support groups, community outreach and education, and sexual assault medical advocacy.
A young boy kills his sister on Halloween of 1963, and is sent to a mental hospital. Fifteen years later, Michael Myers escapes and returns to the small town of Haddonfield to kill again.
Tonight's nonprofit recipient is Youth for the Voiceless, an exciting new youth-based animal advocacy effort.
When a couple air-headed rock-star wannabes are faced with the break-up of their band as a result of poor grades, help comes along in the form of an "Emissary from the Future" who takes them to the past to meet the people they have been studying about.
... this is a spirited doofus comedy sustained by the sweet, slack-jawed performances of Reeves and Winter as dumbfounded idiots who stumble through time to cram for their history final ... -- Sean Axmaker, Stream on Demand
Tonight's nonprofit recipient is Ride Connection, a private, non-profit organization based in Portland, Oregon, dedicated to coordinating and providing transportation services to people with limited options in Clackamas, Multnomah and Washington counties. Ride Connection has been linking transportation to people in our communities for over 25 years.
Transportation is a basic human right. Access to transportation means mobility, and being mobile allows a person to connect with his or her community and other essential life destinations.
Frustrated punk rocker Otto quits his supermarket job after slugging a co-worker, and is later dumped by his girlfriend at a party. Wandering the streets in frustration, he is recruited in the repossession of a car by a repo agent. After discovering his parents have donated his college fund to a televangelist, he joins the repossession agency (Helping Hand Acceptance Corporation) as an apprentice "repo man". During his training, he is introduced into the mercenary and paranoid world of the drivers, befriended by a UFO conspiracy theorist, confronted by rival repo agents, discovers some of his one-time friends have turned to a life of crime, is lectured to near cosmic unconsciousness by the repo agency grounds worker, and finds himself entangled in a web of intrigue concerning a huge repossession bounty on a 1964 Chevy Malibu driven by a lunatic government scientist, with Top Secret cargo in the trunk.
Written by Baroque
Martin Scorsese's documentary of the 1976 final performance of the legendary Sixties rock group The Band is at once a show featuring some of the greatest rock performers of their generation and a bittersweet look back at an era that was just beginning to fade. As Scorsese guides the group through interview segments discussing their 15 years together, these relatively young men sound like battle-weary survivors. But The Band were in splendid form for this show, and their multiple guest stars pulled out all the stops, especially Muddy Waters, whose "Mannish Boy" is so powerful it nearly burns a hole in the screen; Van Morrison, with a rousing performance of "Caravan;" and Bob Dylan, whose "Baby Let Me Follow You Down" displays the brilliant cockiness of his barnstorming days with this band.
The all-star camera crew and superb stereo sound mix create what is considered to be of the best-looking and sounding rock films ever (as the opening credit says, play this movie loud!), and two studio-shot sequences with Emmylou Harris and The Staple Singers stand on their own. ~ Mark Deming, Rovi