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Though it’s packed with unnerving moments from start to finish, viewers of The Shining may remember the ghost of Delbert Grady telling Jack Torrance that he must “correct” his wife and child as a particularly creepy scene, and next year fans of the film can see Delbert’s suggestion mixed with dancing and humor onstage in a musical theater parody of Stanley Kubrick’s 1980 horror classic.
If you enjoyed Stephen King’s 1977 novel, The Shining, have watched Stanley Kubrick’s 1980 film adaptation of the same name multiple times, or enjoyed watching horror and humor melded in a live show like Evil Dead The Musical, then you may want to check out the upcoming Redrum: The Unauthorized Musical Parody of The Shining. Set to hit the stage sometime next fall, the musical parody made an onstage sneak peek performance on Wednesday night.
To get a taste of what’s to come, »
- Derek Anderson
The color red is striking and loaded with sometimes paradoxical meanings, like anger and joy, hate and love, pain, danger, heat, fire, sex, passion and courage. All of this is to say that the decision to use the color red is not one taken lightly, and no one understood that more than Stanley Kubrick. This week, Rishi Kaneria (via Live For Films) uploaded “Red: A Kubrick Supercut,” a look at the director’s frequent use of red in all his color films, including the unfairly over-looked Kirk Douglas film “Spartacus.” Cut together beautifully to Beethoven’s Symphony No. 9, Kaneria’s supercut runs nearly 90 seconds and makes explicit just how much the auteur’s auteur was in control of the frames he used to communicate with the audience. It's yet another layer to the filmmaker's work to discuss and explore. Watch “Red: A Kubrick Supercut” below. »
- Cain Rodriguez
The Stephen King horror novel, turned Stanley Kubrick film classic, turned musical parody, showcased Tony Award winner Alice Ripley (Next to Normal) as Wendy and Tony Award-nominated actor, Douglas Sills (The Scarlet Pimpernel), as Jack at a sneak peek last night at Pearl Studios in New York City.
The post Ready for ‘The Shining’ the Unauthorized Musical? appeared first on Shock Till You Drop. »
- Ryan Turek
Few directors' oeuvres are as meme-able as the films of Stanley Kubrick, whose obsession with using the color red to dramatic effect is shown in this nifty supercut below (via Vimeo user Rishi Kaneria). The wall-to-wall blood reds of "The Shining" are, of course, unforgettable, as is the foreboding set design in the wild orgy sequence of "Eyes Wide Shut." But we also get to see how crimson colors work in "A Clockwork Orange," "Spartacus," "2001" and "Full Metal Jacket": never without purpose or visual beauty. Los Angeles moviegoers can catch "2001" on the big screen at the Egyptian Theatre later this month. »
- Ryan Lattanzio
15 years after his death at the age of 70, director Stanley Kubrick remains more than ever a figure of admiration, fascination, and curiosity – and the pleasure his work provides seems, at this point, to be as infinite as the universe depicted in the final act of his 1968 masterpiece 2001: A Space Odyssey. A secretive and private director during his lifetime (though nowhere near the recluse he was largely reputed to be by the international film press), in death Kubrick’s process has steadily become more and more transparent, with a growing number of books, articles, and documentaries devoted […] »
- Jim Hemphill
Earlier this month, as part of the Stanley Kubrick exhibit and retrospective at the Tiff Bell Lightbox, visual effects wizard Douglas Trumbull was in town to demo his proof-of-concept film for his next generation high-frame-rate presentation format, Magi. Sort of a digital, 3-D, Hfr replacement for Trumbull's venerated (but never adopted) Showscan 70mm 60Fps film process from the 1980s, Magi presents glisteningly real illusions of depth and clarity with no motion blur or 3-D jags. Starting with a short documentary explaining why the process works better than standard formats (or even the 48Fps or 60Fps formats in which Peter Jackson and James Cameron are now working on The Hobbit trilogy and the Avatar sequels, respectively), Trumbull went on to screen Ufotog, a ten-minute visual effects...
[Read the whole post on twitchfilm.com...]
“Even the issue of saving people is repeatedly equated by Cooper and the others to saving their own families and children”
If technology has had one effect on cinema it is to make the logic of technological fiction completely inaccessible to the spectator. This is not confined to the Si-Fi film alone but appears true of virtually any kind of cinema where computer technology plays a role. As instances, I have not – despite repeated viewings – still figured out how Daniel Ocean and his comrades manage to rob the casino in Ocean’s Eleven (2001) or how the group in The Italian Job (2003) manipulates traffic signals at will to outwit the villain. If common thieves – with no more access to special technology than has the average computer geek – could do such things, would the system be safe at all? The reason directors get away with such apparent fallacies is that they take »
- MK Raghavendra
If there was any doubt that the Oscar-season engine is roaring, events, Q&As, screenings and all that jazz is at a fever pitch — and it isn’t even Thanksgiving yet. Today’s big moment belonged to reigning Best Actor winner Matthew McConaughey, who got his star on Hollywood’s Walk of Fame followed by a lavish lunch at Spago in Beverly Hills hosted by Paramount Chairman Brad Grey and attended by his Interstellar co-stars Anne Hathaway, Jessica Chastain (who was excited to sit next to Martin Landau and hear his Actors Studio stories) and Mackenzie Foy, along with director Christopher Nolan and producer/wife Emma Thomas and brother Jonathan, with whom he co-wrote the screenplay. Oh, and did I forget to mention Paramount also invited scores of Academy members to celebrate with Matthew? His family including kids and wife Camila Alves were at the ceremony, and Alves also came »
- Pete Hammond
Last week, we took a look at the career of master filmmaker Stanley Kubrick, one of the most critically acclaimed directors in cinema history. This week’s subject was active at roughly the same time as Kubrick (albeit in front of the camera) and never really got his critical due, even though he remains a beloved figured to many... Sir Roger Moore Good ol’ Rog. At eighty-seven years old Roger Moore is still active, with his latest autobiographical »
- Chris Bumbray
Justin Simien’s Sundance-awarded campus comedy “Dear White People” has made a real buzz at Stockholm, with screening sold out and additional screenings added during festival’s last weekend. Since its U.S. release last month through Roadside Attractions, the film has earned more than $3 million. Pic is also about to be sold to Scandinavian territory.
Variety’s Jon Asp chatted with the director during the fest in the Swedish capital.
Variety: How has a year with the film been like, from Sundance till now?
Simien: It’s been enlightening and profound to say the least watching this film with so many different audiences. I’m so happy and grateful the response has been both
enthusiastic and thoughtful on the whole.
Variety: Could you foresee all this attention?
Simien: Since American filmmakers, particular ones dealing with racial subject matter, are oftentimes told by industry “experts” their films won’t travel »
- Jon Asp
Welcome to The Last Horror Blog, a biweekly column on all things horror. Author Stephen King has had a long and illustrious career spinning tales of terror that keep readers awake long into the night. The man is arguably the biggest name in the world of publishing, and many of his books have been translated to big and small screen. How successful those translations have been is often open to debate, because for every film like Stanley Kubrick’s take on The Shining, there’s something like The Mangler sitting right alongside it. That being said, King has had some really good films made based on his work – and to celebrate the Blu-ray release of The Dark Half this week, I’ve compiled my top 10 Stephen King horror-movies list. Before we get started...
- Mike Bracken
If Christopher Nolan is not the most popular, talented, influential or even interesting director working today, then he is certainly the most important.
The release of a Christopher Nolan movie, even one that “underperforms” at the box office like this week’s Interstellar, is by far the most fervently talked about work of art for several news cycles. Even in the face of constant barrages of Taylor Swift headlines, Nolan’s work is intensely debated and scrutinized in a way no other filmmaker receives for even one film, let alone all of them.
In fact, the wild, ranting, nitpick-y plot hole posts that were previously confined to IMDb message boards have this week migrated to real entertainment news sites. This one found 21 things that didn’t make sense about Interstellar, this one made objections to the science and plot on the whole, and this one found only 13. For whatever reason, »
- Brian Welk
This story first appeared in the Nov. 21 issue of The Hollywood Reporter magazine. The first reviews landed with a thud: Warning readers that the ambitious new sci-fi epic was nearly three hours long, The New York Times complained, "The movie is so completely absorbed in its problems, its use of color and space, its fanatical devotion to science-fiction detail, that it is somewhere between hypnotic and immensely boring." No, we're not talking about Interstellar, Christopher Nolan's ambitious new sci-fi epic. That actually was one of the reviews knocking Stanley Kubrick's 2001: A Space Odyssey, which Nolan acknowledges
- Gregg Kilday
Directed by Anthony Mann
Written by Reginald Rose
Man of the West was director Anthony Mann’s final Western of the 1950s. As such, it stands as something of a cumulative expression of his generic preoccupations and stylistic preferences, preoccupations and preferences that were consistently integrated in a decade’s worth of some of the finest Westerns ever made. What Mann accomplished in this particular genre during a 10-year period is one of the most impressive chapters in American film history, but Man of the West is more than just a summation of the period; it is as good, if not better in many ways, as the extraordinary pictures that came before it.
Taking over the reigns from James Stewart, who had previously starred in five earlier landmark Mann Westerns, is Gary Cooper, another perennial aw shucks leading man. Like with Stewart, Mann upsets this archetypal Cooper screen persona. »
- Jeremy Carr
Starting in Coronation Street in the 1960s, Clarke also worked with the likes of Stanley Kubrick, David Morrissey and Richard E Grant in a career spanning five decades. He is due to star as Charles Poldark in Poldark , a new eight-part adaptation of Winston Graham's novels.
Following the sad news of his death today at the age of 67, Digital Spy rounds up just some of the images from Clarke's diverse TV and film career. »
Warren Clarke, the U.K. actor best remembered on cinema screens for his turn in Stanley Kubrick’s A Clockwork Orange, has died. He was 67. His death was announced by his representatives at the Independent Talent Group, who issued a statement published in The Guardian newspaper that read: "The actor Warren Clarke died peacefully in his sleep on 12 November 2014, after a short illness." Known for his heavy build, Clarke played thuggish droog Dim led by Malcolm McDowell’s ringleader in the controversial 1971 adaptation. Roles in films including Anthony and Cleopatra (1972), S.O.S. Titanic (1979), Top
- Alex Ritman
The Dalziel and Pascoe, Clockwork Orange and Red Riding actor has died age 67. Here, we remember his finest on-screen moments
Warren Clarkes road to fame was long and hard-fought. Throughout the late 1960s and 70s, he eked out a living with a bit-part in a Playhouse here, or three separate walk-on Coronation Street characters there. In time, hed reach the level of recognition he deserved, but not before suffering through a glut of turgid period dramas like Our Mutual Friend, The Onedin Line and Jennie: Lady Randolph Churchill.
Clarkes first real brush with exposure came when he worked for Stanley Kubrick, playing the role of Alexs droog Dim in A Clockwork Orange. The role didnt ask a lot of him, relying as many subsequently would on his bulldog grunt of a face, but he nevertheless made his mark. The scene that always comes to mind first when I think of »
- Stuart Heritage
Not many directors these days have the lofty ambitions Christopher Nolan possesses. He goes against the grain of Hollywood more so than any other modern filmmaker. Even his Dark Knight Trilogy wasn’t as conventional as many would think a super hero movie would be. His latest endeavor, Interstellar, pushes Nolan even further into the realm of exceptional and atypical storytelling.
In the near future, Earth is plagued by a blight that is quickly wiping out all the natural resources left on the planet. Cooper (Matthew McConaughey) is a former Nasa test-pilot and Engineer who took up farming when the world gave up on space exploration. After stumbling on to a secret base, he discovers that the supposedly dismantled space administration has been secretly looking for ways to re-establish humanity on another planet and save it from extinction. Cooper finds himself leading a crew of explorers on a perilous exploration »
- email@example.com (Eric Shirey)
Warren Clarke has died aged 67. The British actor best known for his portrayal of Detective Superintendent Andy Dalziel in long running BBC One drama 'Dalziel and Pascoe' has passed away, his agent has confirmed to BBC News. He starred alongside Colin Buchanan as Detective Inspector Peter Pascoe in the series for eleven years between the years 1996 and 2007. The late actor also played the role of Dim in Stanley Kubrick's controversial 1971 film 'A Clockwork Orange' alongside 'Halloween' star Malcolm McDowell and 70s sitcom 'It Ain't Half Hot Mum' actor Michael Bates. He later appeared alongside McDowell again in 1972 »
Warren Clarke has died at the age of 67.
Clarke's agent confirmed news of the actor's passing today (November 12), after a "short illness".
"He will be greatly missed by his family and loved ones. At this time we ask that you respect their privacy in their time of grief," a statement read.
Born in Oldham in 1947, Clarke had roles in Coronation Street in the 1960s.
Clarke also appeared alongside MacDowell in O Lucky Man! in 1972 and Gulag in 1985.
He appeared in several TV and film productions in the decades that followed, before being cast in one of the title roles of Dalziel and Pascoe in 1996.
In more recent years, »
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