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Scream Factory™ Presents Brian Depalma’S Raising Cain [Collector’S Edition] On Blu-ray September 13 When Jenny cheated on her husband, he didn’t just leave… he split. Scream Factory has announced the release of the thriller Raising Cain [Collector’s Edition] on Blu-ray on September 13. Called “creepy and effective” by Moviehole, Raising Cain [Collector’s Edition] offers impressive …
NEWSPortoThe late summer film festival lineups are starting to be unveiled. Toronto, partially announced, already looks massive (highlights include new films directed by Kiyoshi Kurosawa, Jonathan Demme, and, yes, Nick Cannon), San Sebastien has announced the 14 films in its New Directors competition, including Notebook contributor Gabe Klinger's sophomore film Porto, and the Venice Days unofficial sidebar of the Venice Film Festival has its full lineup online.Speaking of lists, Filmmaker Magazine has picked its "twenty five new faces of independent film."A petition has been posted online to save the historic Rko studio globe in Hollywood.Recommended READINGThe Criterion Collection has posted King Hu's notes made for the Cannes Film Festival screening of his prize-winning wuxia classic, A Touch of Zen:But when I started working on the scenario, I discovered that translating the concept of Zen into cinematic terms posed a great many difficulties. Not long afterward, I »
Some intriguing new Blu-ray specs were revealed for the Collector’s Edition of Brian De Palma’s spine-tingling Raising Cain, which debuts on Blu-ray on September 13th. A special director’s cut, interviews with John Lithgow (Dexter, Third Rock from the Sun), Steven Bauer, Gregg Henry, Tom Bower, Mel Harris, and the film’s editor, Paul Hirsch, are just a few of the special bonus features included in this edition.
Press Release: When Jenny cheated on her husband, he didn’t just leave… he split.
Scream Factory has announced the release of the thriller Raising Cain [Collector’s Edition] on Blu-ray on September 13th. Called “creepy and effective” by Moviehole, Raising Cain [Collector’s Edition] offers impressive bonus features including new interviews with actors John Lithgow, Steven Bauer, Gregg Henry, Tom Bower, Mel Harris and editor Paul Hirsch, a new featurette titled Changing Cain: Brian De Palma’s Cult Classic Restored, a new video essay by »
- Tamika Jones
Last week, we took a look at the career of master director Brian De Palma. This week, we go back in front of the camera to examine the work of one of our most prolific leading men/ character actors... Ethan Hawke It’s hard to believe that Ethan Hawke - the poster boy for Gen-x angst - is forty-five. In fact, as I watched him cut a dark, Clint Eastwood-sque figure in the Fantasia Film Festival... Read More »
- Chris Bumbray
Is this Brian De Palma’s only dull film? Very possibly yes. Released in 1986, this post-SNL Joe Piscopo vehicle (you read that correctly) feels incredibly standard. The plot concerns two low-level gangsters, Moe and Harry (Piscopo and Danny DeVito, respectively), who lose their mob boss’ money at the race track. Said mob boss (Dan Hedaya) orders the two schlubs to kill each other. Hijinks ensue.
In spats, it plays like De Palma trying out slapstick. Select moments — a close-up shot that pulls out to reveal Harry being drowned inside of a fish tank or Moe testing out a bulletproof suit jacket for his boss — highlight the fascinating hybrid of De Palma’s visual style with broad, studio comedy. If only it worked a bit more frequently throughout the film’s bloated 100-minute runtime. One can only ponder what additional mileage the director may have achieved from DeVito’s deliciously terrible hairpiece, »
- The Film Stage
It is either my gift or my curse — maybe both; how you end up feeling about this piece will do a lot to decide — that I have been tasked with assessing one of the Brian De Palma films towards which few feel any need to express a strong, set opinion. (The director offered this ringing assessment in Noah Baumbach and Jake Paltrow’s documentary: “You know, it wouldn’t necessarily be your first choice.”) “Be your own man!” you might say, which is just the thing: for as much as I enjoy his 1978 telekinesis-espionage actioner The Fury, and no matter the fact that I consider a handful of its sequences some of the very best in his oeuvre, the thing can take a bit of time to get there. But there exists a chance — a fine chance, in fact — that we may extract from its stop-start, hot-cold rhythm a further »
- Nick Newman
Last week, we took a look at the career of actor Alec Baldwin who, somehow, has never gotten around to making a movie with this week’s subject... Brian De Palma Of all the directors I’ve featured in this column, I must admit that I have a particular - or perhaps peculiar - soft spot for Brian De Palma. Having attended Tiff since 2009, one of the neatest things about attending... Read More »
- Chris Bumbray
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit the interwebs. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon Instant Video, and more (note: U.S. only). Check out our rundown for this week’s selections below.
Belladonna of Sadness (Eiichi Yamamoto)
It all begins with Once Upon a Time. Such a simple introduction for Belladonna of Sadness, a 1973 Japanese animated feature whose newfound legacy includes a decades-long disappearance, a dramatic re-emergence, and a growing reputation as a frenzied, pornographic freakout. The final entry in anime elder statesman Osamu Tezuka‘s erotic Animerama trilogy has remained largely unknown to even the most die-hard cult cinephiles, »
- The Film Stage
NEWSThe lineup for the 69th Locarno Film Festival has been announced, with new movies by Yousry Nasrallah, Matías Piñeiro, João Pedro Rodrigues (O Ornitólogo, above) and Axelle Ropert in the International Competition, short films by Thom Andersen and Jia Zhangke, and more.Recommended VIEWINGThe trailer for Jeff Nichols' new film Loving, which premiered at the Cannes Film Festival in May.A new exhibition at the Museum of Modern Art, "It's All True," is devoted to American avant-garde director Bruce Conner. The Museum has generously put online the 1996 version of Conner's film Looking for Mushrooms.Recommended Reading"American Horror Story": Ezekiel Kweku's brief, moving and must-read analysis of trying to analyze the proliferating videos of deaths at the hands of the American police:The postmortem, the part we’re going through now, is also tiring. The videos of the death go viral, everyone talks about how shocking it is, which »
In a career fixated on the machinations of filmmaking presented through both a carnal and political eye, Brian De Palma’s fascinations converged idyllically with Blow Out. In his ode to the conceit of Blow Up — Michelangelo Antonioni’s deeply influential English-language debut, released 15 years prior — as well as the aural intrigue of Francis Ford Coppola’s The Conversation, De Palma constructs a conspiracy thriller as euphorically entertaining as it is devastatingly bleak.
In a fake-out opening — shot by Steadicam inventor Garrett Brown — that combines the voyeurism, nudity, and threat of murder that are De Palma’s calling cards, we see Coed Frenzy, the fifth movie in two years that sound technician Jack Terry (John Travolta) has done for the shlock director employing him. By showing the artifice of the B-movie, this film-in-a-film positions Blow Out as a more mature offering from the filmmaker, explicitly foreshadowed during the split-screen opening »
- Jordan Raup
The camera tracks towards a gate leading to a Victorian mansion, the shot coming to center on the home’s front door. It’s the evening and lights are on in the house, tinting the window in the door a translucent yellow. This block of color is interrupted by an alternation of total blackness and person-shaped silhouettes, evoking the action of a shutter masking a frame of a film strip as it passes by the aperture of a projector. This shadow play veils the activity occurring inside the house: a slideshow of photographs. Thus begins the post-opening-credits scene of Brian De Palma’s Obsession. In this reading, it functions as a metonym of the film’s concern with dissimulation, an abiding theme in De Palma’s body of work. Perhaps, in bringing to mind the operation of the film apparatus, this image is also the director’s ontology of cinema. »
- The Film Stage
“A murderer would never parade his crime in front of an open window”.
Rear Window plays this weekend (July 15th and 16th) at The Tivoli at midnight as part of their Reel Late at the Tivoli midnight series.
As with so many of Alfred’s Hitchcock’s films, Rear Window (1954) is a wonderful example of how to take an almost absurdly simple idea and spin out the maximum tension, character, humor and drama from it. It should be boring (a movie set in one room with a guy who can’t move) and ludicrous (a killer who murders his wife and chops her up in front of his neighbors) but it’s quite the opposite – riveting and eerily plausible. If ever there was a film about voyeurism and its relationship to cinema, this is it; Hitchcock tells engrossing little silent movies of the tenants (the newlyweds, the sculptress, Miss Torso, »
- Tom Stockman
“I don’t really like scary movies, except when I want to be scared.” That logical conundrum was shared with me across the table as I had lunch with my sons the other day. I wrote about Toshi’s experience with the film Halloween and how it seemed like an important developmental step for him as a person, not just as a film fan, and I took some heat for it from some of the readers. I get it. Horror films aren’t for everyone, and for some people, they are never enjoyable. They simply don’t like the experience. But for those of us who love horror films, there’s usually a moment that we remember as a flashpoint for that love, and it normally involves being so scared that we go into a sort of shock sitting there in the dark. I miss that feeling, honestly, and there are times where, »
- Drew McWeeny
We live in a world where there are trailers for trailers. While it’s still essential to a film’s marketing, trailers are no longer mere primers for upcoming movies; they’ve become standalone events.
Sometimes, however, they’re better than the real thing. When a big movie is boiled down to its essence, trailers can provide the thrill of a blockbuster without the bloat. Slices of advertising can promise a moviegoing experience that can’t compete with the reality.
Below, we’ve charted a brief history of the American trailer over the past two decades. (A quick note: we’ve limited ourselves to one per director, so if you don’t see undisputed gems like “The Social Network” or “Eternal Sunshine of the Spotless Mind,” know that we haven’t forgotten them.)
Simple shadows. Telling words. Awed expressions. These practical effects, concise verbiage, and stock shots were »
- Steve Greene, Liz Shannon Miller, Kyle Kizu, Ben Travers, Kate Halliwell, Chris O'Falt, Zack Sharf, Russell Goldman and Kate Erbland
Brian De Palma‘s Carrie begins in the soft-haze of a high-school girls’ locker room. The camera lingers of the naked bodies of Carrie’s (Sissy Spacek) abusers and clearly sets them apart from the frail girl who showers by herself. As the others frolic and laugh among themselves, Carrie rests inside of her own body. In close-up, Carrie washes her face, breasts, and abdomen until she reaches her inner thigh. She drops her bar of soap and the lilting score from composer Pino Donaggio changes key into something more sinister when it is revealed that Carrie has begun her first period and menstrual blood slides down the side of her leg. She screams at the arrival of the punishment of Eve, and blood will be a harbinger of everything to come for one Carrie White.
Carrie is De Palma’s most empathetic picture in large part because of Spacek »
- The Film Stage
This summer, we’ve invited you to join along as we analyze every single film from Brian De Palma in conjunction with various retrospectives and the documentary De Palma. However, if you are looking for a brief wrap-up of the trademark techniques that has made him one of the greatest directors, look no further than Romain Desbiens‘ excellent 6-minute video.
Featuring his opening titles, chase sequences, point-of-view perspective, bodies in motion, split-screen, split diopter, psychological distress, and more, it’s a beautifully edited piece that will have you wanting to rewatch just about all of them. Check out the video below, along with a video from Tiff on his films, clips from De Palma, as well as interviews for Bonfire of the Vanities and Scarface.
Continue reading our career-spanning retrospective, The Summer of De Palma, below.
- Jordan Raup
Last week, we took a look at the career of every-man actor, Bill Pullman. This week we step back behind the camera to examine the work of a director who struggled to live down a certain degree of infamy... Michael Cimino Director Michael Cimino, who died this weekend at age seventy-seven, deserves to be a household name along with his seventies contemporaries, like Brian De Palma, Martin Scorsese, and... Read More »
- Chris Bumbray
Carrie The 40th Anniversary Of The Iconic Film To Be Celebrated With A 2-disc Collector’S Edition Blu-ray™ Set Arriving October 11, 2016 Los Angeles, CA – In 1976, Carrie, the “absolutely spellbinding horror movie” (Roger Ebert) directed by Brian DePalma (Scarface, The Untouchables, Dressed to Kill) and based on the best-selling Stephen King novel, …
The post Carrie – 4th Anniversay Collectors Bluray Coming from Scream Factory first appeared on Hnn | Horrornews.net - Official News Site »
According to Entertainment Weekly, the set will be available on October 11 and includes a 4K scan of the film’s original negative and nearly three hours of bonus features. It will also have a featurette which will take a look at the film’s original locations and interviews with writer Lawrence D. Cohen, editor Paul Hirsch, actors Piper Laurie, P.J. Soles, Nancy Allen, Betty Buckley, William Katt, Edie McClurg, casting director Harriet B. Helberg, and director of photography Mario Tosi.
Read More: The 25 Best Horror Films Of The 21st Century So Far
Based on the Stephen King novel of the same name, the thriller was a box office success, earning over $33.8 million. It also received two Academy Award nominations for Best Actress and Best Supporting Actress. »
- Liz Calvario
1978 cast a long shadow in the world of horror. From Dawn of the Dead to Halloween, the landscape was abundant with everything from the socially relevant to the singularly terrifying, from superior remakes (Invasion of the Body Snatchers) to quirky haunted houses (The Evil). And then there’s the red headed stepchild that no one talks about: Brian DePalma’s The Fury. Frenetic, action packed, and gruesome, The Fury never gets the love from even most DePalma fanatics. What a shame – it’s never less than entertaining, and at its best showcases the director’s mesmerizing visual touch.
Released in March by Twentieth Century Fox, The Fury made $24 million against its $5.5 million budget. That’s good green, folks, and DePalma received favorable reviews, still basking in a critical glow left over from his previous effort, Carrie (’76). So why is it so easily dismissed, ranked along the lines of efforts like Wise Guys, »
- Scott Drebit
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