Shocker (also known as Wes Craven's Shocker) is a 1989 horror film written and directed by Wes Craven. The relatively low-budget film has since become a cult classic. It starred Peter Berg, Michael Murphy, and Mitch Pileggi as the antagonist Horace Pinker.
Both Wes Craven and Universal had hoped for the film to launch a franchise (Craven had particularly wanted to create a new series since he felt he had not been given due profits from New Line Cinema resulting from the Nightmare on Elm Street series). However, due to the middling commercial performance and poor reception of the film, no sequel was made.
A serial killer is on the loose in a Los Angeles suburb, and a television repairman with a pronounced limp named Horace Pinker (Mitch Pileggi) becomes the prime suspect. When the investigating detective, Lt. Don Parker (Michael Murphy), gets too close, Pinker murders Parker's wife, daughter, and his biological son. However, his adopted son Jonathan (Peter Berg) develops a strange connection to Pinker through his dreams and leads Parker to Pinker's rundown shop. In a shootout in which several officers are killed, Pinker manages to escape. He targets Jonathan's girlfriend Allison (Camille Cooper) in retribution.
Shocker may refer to:
A film, also called a movie or motion picture, is a series of still or moving images. It is produced by recording photographic images with cameras, or by creating images using animation techniques or visual effects. The process of filmmaking has developed into an art form and industry.
Films are cultural artifacts created by specific cultures, which reflect those cultures, and, in turn, affect them. Film is considered to be an important art form, a source of popular entertainment and a powerful method for educating – or indoctrinating – citizens. The visual elements of cinema give motion pictures a universal power of communication. Some films have become popular worldwide attractions by using dubbing or subtitles that translate the dialogue into the language of the viewer.
Films are made up of a series of individual images called frames. When these images are shown rapidly in succession, a viewer has the illusion that motion is occurring. The viewer cannot see the flickering between frames due to an effect known as persistence of vision, whereby the eye retains a visual image for a fraction of a second after the source has been removed. Viewers perceive motion due to a psychological effect called beta movement.
Wesley Earl "Wes" Craven (born August 2, 1939) is an American film director, writer, producer, actor, perhaps best known as the director of many horror films, particularly slasher films, including the famed A Nightmare on Elm Street, Wes Craven's New Nightmare, and he also co-wrote A Nightmare on Elm Street 3: Dream Warriors with Bruce Wagner, featuring the iconic Freddy Krueger character and has directed the entire Scream series, featuring Ghostface. Some of his other films include, The Hills Have Eyes, The Last House on the Left, The Serpent and the Rainbow, The People Under the Stairs, Vampire in Brooklyn, Red Eye, and My Soul to Take.
Craven was born in Cleveland, Ohio, the son of Caroline (née Miller) and Paul Craven. He had a strict Baptist upbringing. Craven earned an undergraduate degree in English and Psychology from Wheaton College in Illinois, and a masters degree in Philosophy and Writing from Johns Hopkins University. Prior to landing his first job in the film industry as a sound editor for a post-production company in New York City, Craven briefly taught English at Westminster College and was a humanities professor at Clarkson College of Technology (now Clarkson University) in Potsdam, New York. He left the academic world for the more lucrative role of pornographic film director. In the documentary Inside Deep Throat, Craven says on camera he made "many X-rated films" under pseudonyms, learning his directing craft. While his role in Deep Throat is undisclosed, most of his early known work involved writing, film editing or both. In 1972 Wes Craven directed his first feature film The Last House on the Left.
Jordan Houston, better known by his stage name Juicy J (born April 5, 1977) is an Academy Award-winning American rapper and record producer from Memphis, Tennessee and is the co-founder and a member of the duo Three 6 Mafia (formerly known as Triple Six Mafia). He is also the younger brother of fellow member, Project Pat. His second solo album, Hustle Till I Die, was released June 16, 2009. He won an Academy Award for Best Original Song for "It's Hard out Here for a Pimp". In December 2011 Juicy J confirmed rumors that he was the newest member of Wiz Khalifa's "Taylor Gang." He is featured with other members of Taylor Gang on the cover of Source Magazine's May 2012 issue.
Juicy J is most notable for his crunk style of rapping, highlighted by his patented "heavy-breathing" and "stomping" background sound effects. Juicy J's production style is characterized by fast-rolling high hats, sharp snares, and deep cinematic bass. He also incorporates samples from classic soul artists such as Willie Hutch, David Ruffin, and Isaac Hayes.
You swing your hips and then you wave me over
Your eyes are so blue
I stroke your lips, you call me casanova
Oh honey you
Star in this film every single night and every single matinee
You should be here to bring it all to life
Oh I'm just a phone call away
We lie and listen to the raindrops falling
That's all we do
But the phone rings, and you laugh because it's your husband calling
Oh darling you
Star in this film every single night and every single matinee
You should be here to bring it all to life
Oh I'm just a phone call away
And then you could be who you want to be
As long as you are near
What are you waiting for?
Everything you need is here
Just come and sleep with me
You must know what I mean
You've seen this film before
This is the final scene
Star in this film every single night and every single matinee
You should be here to bring it all to life
You gonna keep this up
Keep on falling, keep on falling
I can't explain, but I'm willing
Caught up in fame what a feeling
All of the lights, we in the building
Them cameras beaned up, babe keep on film me
Stop position, opposition ain't no competition
Stop position, opposition ain't no competition
Stop position, opposition ain't no competition
Stop pretending propositions full of contradictions
Ain't no love for you haters from the other side
Call the blind when you see in you're easing up my time
For the way that I do it, all wise no, no mind blowing
Your mind taking a stool
Fine showing that God loaded
You to a highway to new force
Dumb nigger why hate? Cause you say no to learning something
Loaded locks I can't, what you say no to learning something
Loaded locks I can't, what you say no to learning something
Putting you to the back I put a point yellow all through this back
You the killer baby know my case
No feeling put the money in the seif
Came a man honest when we posing
Bitch can't tell my I-Ge
Bullshit on the map like you won't eat
Whatever you do nigger keep rowing
I can't explain, but I'm willing
Caught up in fame what a feeling
All of the lights, we in the building
Them cameras beaned up, babe keep on film me
I can't explain, but I'm willing
Caught up in fame what a feeling
All of the lights, we in the building
Them cameras beaned up, babe keep on film me
Whatever you do you know you gotta keep on film me
Keep on film me, keep on film me
Them cameras beaned up, babe keep on film me
What and listen how I'm living in my compositions
Honest missions of beloved straight above the mission
In fact you give it to the bricks that needs a touch
Wait let me get it, put you with my man Lux
Shit they prolly saying in the musty faces
Say shoot that hoe don't trust
And the club hatin we love makin with the shit you prolly won
Fuck nigger why hate? Cause you ain't known to getting money
Caught up in the gang feeling like I joined a gang and did it all for the name
Loyalty's a game but the industry's full of niggers and they all got game
Only for the cameras, only for the cameras
I can't explain, but I'm willing
Caught up in fame what a feeling
All of the lights, we in the building
Them cameras beaned up, babe keep on film me
I can't explain, but I'm willing
Caught up in fame what a feeling
All of the lights, we in the building
Them cameras beaned up, babe keep on film me
Whatever you do you know you gotta keep on film me
Keep on film me, keep on film me
Them cameras beaned up, babe keep on film me
Money talk when I walk in
Broke niggers be crying
I don't drink but yeah 100 pink of that ride
Rose is for cry I'm just swinging low with my sway
Hooligans they flexing
Bad ones on my girls bad and my instagram
No taxi, and yea I'm single like a dollar bill
Curved it all and I'm trying to chill
Count a mill, hide the bill and got time to'
Niggers film me cause your girl is real
Bitches film me say your girl is thrill
Cause I'm bout that, I bounce that
This be money that mouse trap
Yeah we in there, riding round in that gatti
No murder ink when I'm killing shit
And I'm finna capture that body
So back back if I bang the boy
Cause I'm in straight for yo Benjamin
This came up with some new money
That shit ain't no coincidence
I can't explain, but I'm willing
Caught up in fame what a feeling
All of the lights, we in the building
Them cameras beaned up, babe keep on film me
I can't explain, but I'm willing
Caught up in fame what a feeling
All of the lights, we in the building
Them cameras beaned up, babe keep on film me
Whatever you do you know you gotta keep on film me
Keep on film me, keep on film me
Them cameras beaned up, babe keep on film me
You know how I show you respect? By showing you nothin
Get ready, count these millions