This stuff has gotten so ridiculous that I'm more amused than antagonized. Fans are practically having aneurysms over it all, especially the latest Romero/Argento news. And I think it's going to get worse. I wish that producers would try to do more original films, but look at our society. Cool little family restaurants close down while generic fast food houses of death thrive. People numbly stumble into their local Starbucks like extras from a recent Romero flick. WalMarts are identical clones of one another. It comforts people. America does not want different. The few do, of course, but the money speaks from the masses. Always has. Always will.

Surreptitiously checking out various horror forums and blogs, I see that people are upset as hell about the current state of affairs. Remakes, 3D, sequels of remakes. Recent news about Argento and Romero have gotten a lot of derisive comments. If you haven't heard, Dario Argento is slated to make Dracula 3D, and even more outrageous, George Romero is in talks to remake Argento's classic Deep Red. Yes, in 3D.

Now, I'm a huge fan of the work of both of these talented individuals. Yet I'm not blind to the inferior films they have been recently making.

Look at Dario's work of late. Many point toward The Stendhal Syndrome as the starting point of his downfall, but I love that movie. And, to be honest, I've found things to enjoy in most of his films. The exceptions are Phantom of the Opera and Mother of Tears, both of which I thought were worthless. Still, even though I liked movies like Do You Like Hitchcock and Sleepless, only a fool would say that they can compare with masterpieces like Susperia, Deep Red, Tenebre, or even Phenomena. Has Dario lost his reserves of talent?

Maybe. Almost certainly it's partially true. But when Argento made his landmark movies, the Italian film industry seemed healthy and was thriving. Dario doesn't seem to have gotten the budgets or the caliber of crews that he has deserved. It can easily be argued that no money could improve Phantom of the Opera or Mother of Tears, but his films often defied logic or cohesiveness. Dario Argento's strength was always the triumphant visual style he brought to his projects.

What of Romero? Here's a guy whose greatest strength was his independence from the major studios. What's the story there?

Probably the well has at least partially run dry. But unlike others, I haven't hated the last couple of Dead films I've seen. So far I haven't watched Survival of the Dead. The only Romero film to date I've completely loathed has been Bruiser.

I wonder how much influence Romero's former partner, Richard Rubinstein, had on the great films? He worked with George from Martin to Day of the Dead. These were some of his greatest movies: Dawn of the Dead, Creepshow, and my personal favorite, Knightriders. It's easy to point to where things starting going south for George Romero.

But the question remains: Should these revered directors cheapen themselves by making Dracula 3D and Deep Red 3D? Many say NO.

I say, I guess it's up to them. Working directors WORK. It's their job and while both Dario Argento and George Romero may be financially comfortable, I sort of doubt that they are filthy with money. I bet that both of them would rather be doing something other than these projects, regardless of what they might say in interviews. 3D remakes are hot right now. Neither George nor Dario have been behind a moneymaker in a long time. If they want to work, they probably have no choice but to take jobs like these.

Todd Rundgren is one of my all-time favorite musicians. A few years ago he took a job as a Ric Ocasec surrogate for The New Cars. Fans were outraged. SELL OUT!, they roared from their desk-or-laptop thrones. Many of whom undoubtedly work dead end, soul killing, menial jobs. Todd replied publicly, saying that almost everyone out there had jobs and he was sure that they had to evolve to survive in the marketplace. Just as he had to do. Plus Todd had crewmembers, many of whom had families, that needed to stay employed and by joining The New Cars he could do so for a year or two until his own new projects came together.

I never knock anyone for doing what they have to do to make a living. As long as it's not illegal or hurting anyone. If these controversial projects get made, I hope that all fans at least pay the directors the respect of seeing them for themselves. Judge them then, certainly. For now let's try to keep our hopes high.

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