Todd Alcott
@toddalcott.bsky.social
1.9K followers 46 following 1.5K posts
Graphic artist, erstwhile screenwriter, dude with cats
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toddalcott.bsky.social
The "young Republicans" of the "I love Hitler" group chat were, I guarantee, teenagers on 4chan the day Trump came down the escalator. These are the apples that have fallen not far from the tree.
toddalcott.bsky.social
Molloy has gone on record as saying, “The Tower is bad news. It represents sudden, dramatic, catastrophic change.” The film, ironically, was very much a representation of catastrophic change for Molloy, who had never directed a feature before, and never would again. 5/5 toddalcottgraphics.etsy.com
toddalcott.bsky.social
The story was conceived as a satire on Yuppie culture: a young couple think they’ve found the perfect investment property in an ancient tower in a remote corner of Scotland but end up living in a nightmare. 4/5
toddalcott.bsky.social
They finally released a 90-minute version that left audiences baffled by its dangling plot threads and bizarre narrative leaps. 3/5
toddalcott.bsky.social
...and was plagued with delays and cost overruns brought on by expensive location shooting.

Molloy’s initial “director’s cut” was over four hours long and featured a dozen different subplots. The studio deemed it unreleasable and took over post-production. 2/5
toddalcott.bsky.social
THE TOWER (1986): The Tower never really had a chance to succeed. Written and directed by the young Terence Molloy, who had shown great promise with his visually dynamic music videos, The Tower went into production without a completed script...1/5
toddalcott.bsky.social
It took me over 40 years, but I finally realized that Big Trouble in Little China is Carpenter doing a pulp "Yellow Peril" story like Spielberg did his pulp "occult Nazis" story, somehow overlooking how those stories are all really racist.
toddalcott.bsky.social
As Spielberg said of Raiders of the Lost Ark, "We wanted to make a movie that was all 'good parts.'" Every Drew Struzan poster promised a movie that was "all good parts." 4/4
toddalcott.bsky.social
I don't think any man my age sees a Drew Struzan poster without having his pulse quicken with memories of hiding inside the mall theaters of the 1980s, lost in the movies of the "film school generation" of directors, getting my 1940s movies filtered through 1970s sensibilities. 3/4
toddalcott.bsky.social
I was watching Big Trouble in Little China just the other day, and finally realized that Struzan' work, and John Carpenter's, and Steven Spielberg's, and so many others from the era, is taken from the pulp artwork of the 1940s. 2/4
toddalcott.bsky.social
It's indicative of Drew Struzan's effect on film history that so many movies of his era strived to look like one of his posters: the saturated colors, deep shadows, sharp white sidelight. 1/4
toddalcott.bsky.social
Winters put it this way: “Justice is not here to mess around. Justice has had enough and has arrived to take her due. She may be blind, but she is not unarmed.” toddalcottgraphics.etsy.com 4/4
toddalcottgraphics.etsy.com
toddalcott.bsky.social
When her family is killed and eaten by mutant cannibal hillbillies, Justice, despite her disability, hunts them down and makes them pay for their crimes. 3/4
toddalcott.bsky.social
Justice was Horror Tarot Studio’s contribution to the genre, directed by Anna Briscoe and starring Evelyn Winters as the aptly-named title character, blind lawyer Justine Justice. 2/4
toddalcott.bsky.social
JUSTICE (1978): There was a vogue in the 1970s for revenge thrillers like low-budget successes They Took My Daughter and Nun with a Gun. 1/4
toddalcott.bsky.social
The Hermit, Major Arcana No 9, The Horror Tarot:
toddalcottgraphics.etsy.com
toddalcott.bsky.social
INTERVIEWER: Do you feel good?
JAMES BROWN: I do, yes.
INTERVIEWER: Did you know that you would?
JAMES BROWN: Funny you should mention that.
toddalcott.bsky.social
Roofman will have been worth it if only one person is moved to ask "Wait, who's John Zorn?"
toddalcott.bsky.social
I might go see Tron: Ares again just to close my eyes and listen to the soundtrack in Dolby
toddalcott.bsky.social
And of course all the lovable losers in these movies are played by incredibly wealthy stars who can do anything they want.
toddalcott.bsky.social
The Empress, Major Arcana No. 3, The Horror Tarot: toddalcottgraphics.etsy.com
toddalcott.bsky.social
Anyway, at least Hollywood is dealing with the fact of the descent of White Dudes Winning Everything, the fact that audiences aren't showing up tells more about us than the studios. 4/4
toddalcott.bsky.social
It's notable that most of these movies were huge bombs (One Battle seems to be doing well), while the summer's one runaway hit, F1, stars Brad Pitt as a racecar driver who deals with loss by cheating, fucking everyone over, and being a smug, arrogant asshole until he wins again. 3/4
toddalcott.bsky.social
in One Battle After Another, then Dwayne Johnson dealt with the possibility of losing a fight in The Smashing Machine, and, this weekend, Channing Tatum is dealing with the loss of both his family and freedom in The Roofman. 2/4