1-20 of 39 items from 2014 « Prev | Next »
Top 100 horror movies of all time: Chicago Film Critics' choices (photo: Sigourney Weaver and Alien creature show us that life is less horrific if you don't hold grudges) See previous post: A look at the Chicago Film Critics Association's Scariest Movies Ever Made. Below is the list of the Chicago Film Critics's Top 100 Horror Movies of All Time, including their directors and key cast members. Note: this list was first published in October 2006. (See also: Fay Wray, Lee Patrick, and Mary Philbin among the "Top Ten Scream Queens.") 1. Psycho (1960) Alfred Hitchcock; with Anthony Perkins, Janet Leigh, Vera Miles, John Gavin, Martin Balsam. 2. The Exorcist (1973) William Friedkin; with Ellen Burstyn, Linda Blair, Jason Miller, Max von Sydow (and the voice of Mercedes McCambridge). 3. Halloween (1978) John Carpenter; with Jamie Lee Curtis, Donald Pleasence, Tony Moran. 4. Alien (1979) Ridley Scott; with Sigourney Weaver, Tom Skerritt, John Hurt. 5. Night of the Living Dead (1968) George A. Romero; with Marilyn Eastman, »
- Andre Soares
At a loss for what to watch this week? From new DVDs and Blu-rays, to what's streaming on Netflix, we've got you covered.
New on DVD and Blu-ray
If you're a fan of "American Horror Story: Freak Show," you'll want to get to know sideshow stars Daisy and Violet Hilton. Leslie Zemeckis writes and directs this doc about the world-famous conjoined twins.
This is the first time that Clive Barker's original cut has been released, with 40 minutes of fresh footage. The limited edition release comes with the theatrical cut, as well as a third disc of extras, but it's already sold out. Still, the regular release has the long-awaited director's cut, Barker audio commentary, and some other goodies that make it a worthwhile investment for fans.
The Complete Jacques Tati
This seven-disc Criterion set comes with Tati's six features, plus »
- Jenni Miller
While the first of two weekends of the Austin City Limits Festival will create an influx of out-of-towners and even more traffic than usual, local theaters offer more choices than ever for those of you not braving Zilker Park. There are no less than 10 new releases opening, but first I want to focus on this week's specialty screenings.
The Austin Film Society is kicking off their "Art Horror" series for October with Andrzej Zulawski's Possession. Released in 1981, the film stars Sam Neill and Isabelle Adjani and plays out like a paranoid fever dream. Beautifully shot with an incredible score, it's screening in 35mm at the Marchesa tonight, Sunday afternoon and again on Tuesday evening so there's no excuse for missing this one! On Wednesday, Doc Nights will feature Las Marthas with director Cristina Ibarra in attendance for a Q&A and Essential Cinema's "The Films Of Satyajit Ray" series »
- Matt Shiverdecker
Written by Bruce Wagner
Directed by David Cronenberg
Hollywood could easily be the perfect fantasy world of Cronenberg’s obsessions. The themes associated with body horror, from the fascination with decay to the battle between body and mind, are staples of the torrid extremes of Tinsel Town. In 2012, David Cronenberg’s son, Brandon, tackled these ideas with his feature debut Antiviral. That film explores a dystopian future in which the obsession with celebrity is taken to extremes of consumption. In Antiviral, the masses purchase meat grown from their favourite celebrity’s cells and head to a special clinic in order to be infected with the same venereal strain as their Hollywood Idol. The film externalizes the growing cultural obsession with fame, and concentrates that obsession through corporeality and sex.
Maps to the Stars vaguely taps into the idea of Hollywood as the »
- Justine Smith
Arguably the most prolific title in director Patrice Chereau’s three decades of filmmaking, Cohen Media Group releases a beautiful remastering of Queen Margot for its twentieth anniversary. Chereau, who died at the age of 68 in late 2013, participated in the restoration, which is the definitive director’s cut that includes an additional twenty minutes that had been cut out of the film’s 1994 theatrical release. Smack dab in the middle of his filmography, it’s his most lavish and ambitious production, recreating the savage beauty of 16th century France, based on Alexandre Dumas’ novel, concerning a passionate romance torn asunder by a people consumed with religious minded self-righteousness. The 2013 remastering played in Cannes Classics that year, while the film originally won the Jury Prize at Cannes in 1994, the Clint Eastwood presiding jury also awarding Virna Lisi the Best Actress prize.
In 1572 France, a break in the bloody war between Catholics »
- Nicholas Bell
Welcome back to This Week In Discs! If you see something you like, click on the title to buy it from Amazon. The Legend of Hell House The Belasco House had seen its fair share of tragedy and carnality even before the man who had it built disappeared, but the years since have seen a continuation of death and terror. It’s known as Hell House, the Mt. Everest of haunted houses, and now a team consisting of a scientist, his wife and two mediums is going in to prove once and for all whether or not ghosts and the afterlife exist. Two of them are going to find out first hand before the week is out. Richard Matheson’s novel (Hell House) was adapted to the screen way back in ’73, but it remains one of the best haunted house flicks out there. There are legitimate chills throughout, some PG-rated sexiness and a wonderfully intense performance from »
- Rob Hunter
Eva Green never let her role as a Bond Girl typecast her, and, today, the actress is working more than ever.
After getting her start in an erotic Bertolucci film and breaking out in 2005's "Casino Royale," Green has played one captivating role after another. She was a standout in Tim Burton's poorly received "Dark Shadows" (2012) opposite Johnny Depp and is currently earning rave reviews for her mysterious and supernaturally-charged Vanessa in Showtime's "Penny Dreadful." This summer, she can be found as the sexy and manipulative Ava in Frank Miller's "Sin City: A Dame to Kill For."
2. Her last name is pronounced "grain" and is derived from the Swedish word "gren, »
- Jonny Black
By Fred Blosser
I approached the 2013 Blu-Ray edition of André Téchiné’s “The Bronte Sisters” (1979) with mild interest, which was mostly piqued by the powerhouse casting of the three leading young actresses of 1970s French cinema -- Isabelle Adjani, Isabelle Huppert, and Marie-France Pisier -- as Emily, Anne, and Charlotte Bronte. Imagine a 2014 U.S. film teaming Scarlett Johanssen, Jennifer Lawrence and Shailene Woodley. With vague memories of “Devotion,” Hollywood’s melodramatic 1946 Bronte biopic, I was doubtful that the film itself would be particularly compelling. But I was pleasantly surprised. Relating the formative events in the lives of the three sisters and their brother Branwell (Pascal Greggory) in straightforward, episodic form, Téchiné’s interpretation is first-rate: excellently acted, emotionally moving, and visually striking with starkly beautiful cinematography by Bruno Nuytten on the Yorkshire moors where the Bronte siblings lived their sadly short lives.
In a new documentary about the making of the film, »
- firstname.lastname@example.org (Cinema Retro)
Richard Ayoade is the UK's most cinephilic filmmaker. While he clearly possesses a raw talent for the craft as well, his playful early efforts in film make him something altogether more volatile and exciting. His second feature, The Double, sometimes loses itself in a world of references to other filmmakers, but it amounts to something gripping and unique enough to already have me eagerly anticipating the director's next film.
The Double is based on Fyodor Dostoyesky's novel of the same name. A lonely office worker Simon (Jesse Eisenberg), marooned in the same job in the same company for the past seven years, becomes infatuated with a pretty, equally lonely office worker, Hannah (Mia Wasikowska), but is so socially inept that he's helpless to communicate with her, as he is with anyone else. »
Here we are at what is a surprisingly modern list. At the beginning of this, I didn’t expect to see so much cultural impact coming from films so recently made, but that’s the way it goes. The films that define the horror genre aren’t necessarily the scariest or the most expensive or even the best. The films that define the genre point to a movement – movies that changed the game and influenced all the films after it. Movies that transcend the horror genre. Movies that broke the mold and changed the way horror can be created.
10. El laberinto del fauno (2006)
English Language Title: Pan’s Labyrinth
Directed by: Gullermo del Toro
It’s more a dark fantasy film than a horror film, but it would be tough to make a list of 50 of those. Plus, it has enough graphic, nightmarish images to push it over the threshold. »
- Joshua Gaul
The Driver, 1978.
Written and Directed by Walter Hill.
This was my first time watching The Driver and even though it’s over 35 years old, this Walter Hill directed classic easily stands the test of time. It’s impressive not just because it holds, but because you can clearly feel its influence on pretty every car chase movie since. The obvious example being the Nicholas Winding Refn thriller Drive due to its lead characters being almost identical, as well as the opening scenes sharing a distinct familiarity.
- Gary Collinson
(This review pertains to the BFI UK Blu-ray release on Region 2 format)
By Paul Risker
When François Truffaut ordained Werner Herzog, “The most important filmmaker alive” wisdom would have suggested that there was not one film within his body of work to stand out as his most important. Only a body of work threaded together with consistency; a combination of great filmic works would warrant such a claim.
Following the infliction of National Socialism on the German artistic tradition and consciousness, Nosferatu the Vampyre is Werner Herzog reaching into the past to reconnect with his true cinematic roots. The film that he looked to was not only a masterpiece of German Expressionism, but more broadly of cinema – F.W. Murnau’s Nosferatu. If Truffaut ordained Werner Herzog to be “The most important filmmaker alive” then Nosferatu the Vampyre is the arguably the filmmaker’s most important for this single reason.
- email@example.com (Cinema Retro)
Today on Trailers from Hell, film editor Mark Helfrich talks French director Jean Becker's 1983 thriller "One Deadly Summer," starring Isabelle Adjani as a woman on the verge. Several years after her remarkable performance as the star-crossed Adele Hugo in Truffaut's "The Story of Adele H.," Isabelle Adjani essayed yet another young woman gripped by obsession in 1983's "One Deadly Summer." The story, about an unstable femme fatale's revenge against her mother's attackers has a definite exploitation bent but the presence of Adjani and the score by Georges Delerue elevate the proceedings. Adjani won a Cesar for her trouble and the film was France's second highest grossing film of the year. Nsfw. »
- Trailers From Hell
Several years after her remarkable performance as the star-crossed Adele Hugo in Truffaut's The Story of Adele H., Isabelle Adjani essayed yet another young woman gripped by obsession in 1983's One Deadly Summer. The story, about an unstable femme fatale's revenge against her mother's attackers has a definite exploitation bent but the presence of Adjani and the score by Georges Delerue elevate the proceedings. Adjani won a César for her trouble and the film was France's 2nd highest grossing film of the year. Nsfw.
The post One Deadly Summer appeared first on Trailers From Hell.
- TFH Team
Written and directed by Werner Herzog
Before he filmed his eccentric version of what makes a bad lieutenant, and before he fictionalized his documentary about Dieter needing to fly, Werner Herzog in 1979 wrote and directed a full-fledged remake of a silent film classic. His Nosferatu the Vampyre, an exceptionally faithful take on F.W. Murnau’s Nosferatu from 1922, recalls the original in story, tenor, and potency. Not matter the subject, Herzog frequently manages to endow the mundane and banal with qualities of inherent peculiarity; here, working specifically within the horror genre, his capacity for the uncanny is as intoxicating as ever.
In a contemporary documentary about the making of the film, included as part of the newly released Blu-ray, Herzog declares Murnau’s picture to be “the most important film ever made in Germany.” That’s quite a statement, certainly a debatable one, but it is nevertheless »
- Jeremy Carr
With Nosferatu the Vampyre (aka Nosferatu: Phantom der Nacht), Werner Herzog's allegiance to F.W. Murnau's 1922 silent feature Nosferatu, eine Symphonie des Grauens makes it even more intriguing than it would be were it wholly original. Murnau's film is striking for its imagery to the point it owns what may be the most iconic horror villain of all-time, even for those that have never seen the movie, as Max Schreck's spindly figure rises from the shadows as Graf Orlok (a variation on Bram Stoker's "Dracula"). Murnau's Nosferatu, however, can be a bit of a challenge to get through, even at 94 minutes, while Herzog's adaptation brings new life to the story, with frequent nods to the original and more than enough to make it all his own. Herzog, of course, was able to make his film without worry over the rights to Stoker's novel as it had entered »
- Brad Brevet
In 1979, prolific German filmmaker Werner Herzog gave us his own re-imagining of F.W. Murnau’s Nosferatu, which may arguably be one of his finest cinematic works. An evocative exercise in alienation and existential dread, Herzog masterfully tackles one of the greatest gothic stories ever with Nosferatu the Vampyre with the unforgettable (as always) Klaus Kinski as the titular blood-sucker.
While Herzog’s efforts draw a lot of inspiration from the original Nosferatu, he also smartly uses Bram Stoker’s original novel for his retelling in addition to his own wonderfully atmospheric storytelling sensibilities. Nosferatu the Vampyre starts off with the standard story set-up of Jonathan Harker (Bruno Ganz) being sent to the castle of Count Dracula (Kinski) in order to have him sign off on a land purchase in person. Harker hesitantly agrees to the dangerous trip, fueled by his desire to purchase a home for his beloved wife Lucy »
- Heather Wixson
Towards the end of Werner Herzog’s remake/reimagining of Nosferatu, pseudo-Mina-stand-in Lucy** (Isabelle Adjani) wanders outside through a crowd of revelers, basking in dance and each other’s company. The rub here is that in the background of all this merriment – half-discarded coffins and lost crud-stained pigs roam unnoticed. Lucy finally comes to a stop, noting an upper-class family enjoying a lavish dinner outside. The family gobbles platters of grub while delicately sipping their goblets of wine; however underneath the elegantly carved wooden table the family dines at, hundreds of rats scurry along nibbling at their bare feet. The imagery here clearly gets at the bleak nihilistic heart of Herzog’s picture: life just a series of distractions from the cold inevitability of death. All the joy and cheer of existence – a simple means for laymen to wish away and ignore their own impending insignificance. Hit the jump, to continue reading. »
- Tommy Cook
Exclusive: Benoit Jacquot’s upcoming drama 3 Heartshas been finding plenty love with buyers on the back of first images.
Paris-based sales company Elle Driver has sold 3 Hearts into several territories including the UK (Metrodome), Canada (Métropole), Portugal (Leopardo Filmes), Cis and Baltics (Russian Report), Latin America (HBO Olé), Brazil (Mares Filmes), Spain (Golem), Switzerland (Agora Films), Australia (Madman) and Italy (Bim)
The picture stars Benoit Poelvoorde as a man who unwittingly falls in love with two sisters, played by Chiara Mastroianni and Charlotte Gainsbourg. Catherine Deneuve also features in the cast as their mother.
Elle Driver has also done good business on Audrey Dana’s French Women - starring an ensemble cast featuring Isabelle Adjani, Laetitia Casta, Vanessa Paradis and Sylvie Testud - which it is world premiering in the market at Cannes.
Territories to have picked up the film include Brazil (Mares Filmes), Cis (Premium Films), Switzerland (Filmcoopi), Spain (Vertigo Films) and Germany/Austria (Wild Bunch Germany »
For many reasons, Werner Herzog’s 1972 vampire tale “Nosferatu the Vampyre” is a classic effort in the prolific filmmaker’s body of work, not least of which because it features Klaus Kinski, Herzog’s legendary muse and tempestuous collaborator, at his most tranquil and genuinely creepy. “It was clear there would never be a vampire of his caliber ever again,” Herzog said of Kinski at L.A.’s Cinefamily last night, where the little-seen German language version of the film begins a weeklong 35mm run today. “I do not need to see the vampire films of the future. I still know Kinski will be the best, at least for four or five centuries.” Co-starring Bruno Ganz, Isabelle Adjani, and Roland Topor, Herzog’s re-interpretation of F.W. Murnau’s 1922 silent classic is rife with the director’s trademarks: surreal landscapes and environments scored to Popol Vuh, an uneasy relationship with nature, »
- Charlie Schmidlin
1-20 of 39 items from 2014 « Prev | Next »
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners