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Review by Mark Longden
The Boys In The Band screens Wednesday, Mar. 29 at 9:00pm at the .Zack (3224 Locust St., St. Louis, Mo 63103) as part of this year’s QFest St. Louis. Ticket information can be found Here
As well as new movies, St Louis’ wonderful Qfest (now in its tenth year) also shows classics of queer cinema that blazed a trail and inspire all sorts of different reactions today. “The Boys In The Band”, an off-Broadway play that was transplanted with the entirety of its cast to the screen, is one such. A review from a revival in 1999 said that, even at the time of its release, it had “the stain of Uncle Tomism”, and it’s been called a minstrel show. But it’s much more than that.
- Movie Geeks
A workplace turns into a war zone this weekend with the release of Bh Tilt and Orion Pictures' The Belko Experiment. Accompanying the carnage on screen is composer Tyler Bates' ominous, epic score, and to give your earbuds an idea of what to expect, Daily Dead has been provided the special treat of premiering the "Molotov Cocktails" track from the official score for The Belko Experiment.
The soundtrack for The Belko Experiment will be released on CD and digital platforms by Lakeshore Records on March 17th. For more information, we have the official press release and exclusive soundtrack excerpt below, and to learn more about Tyler Bates, visit:
Twitter: https://twitter.com/tyler_bates Facebook: https://www.facebook.com/TylerBatesOfficial Instagram: https://www.instagram.com/tylerbatesofficial
- Derek Anderson
It’s almost time to get your Q on, St. Louis!!
The 10h Annual QFest St. Louis, presented by Cinema St. Louis, runs March 29th – April 2nd at the .Zack (3224 Locust St., St. Louis, Mo 63103)
The St. Louis-based Lgbtq film festival, QFest will present an eclectic slate of films from filmmakers that represent a wide variety of voices in contemporary queer world cinema. The mission of the film festival is to use the art of contemporary gay cinema to illustrate the diversity of the Lgbtq community and to explore the complexities of living an alternative lifestyle.
All screenings at the .Zack (3224 Locust St., St. Louis, Mo 63103). Individual tickets are $13 for general admission, $10 for students and Cinema St. Louis members with valid and current photo IDs.
Advance tickets may be purchased at the Hi-Pointe Backlot box office or website. For more info, visit the Cinema St. Louis site Here
- Tom Stockman
“Before I said I was going to do Finian’s Rainbow I should have read the book.”Finian’s Rainbow (1968)
Commentator: Francis Ford Coppola (director)
1. Regarding the film’s opening frame featuring the word “overture” onscreen, he says it’s because this was what was referred to as a roadshow production. “They were like a night at the theater. You were given a program, it was an event, and as you came to your seat there was an overture playing.” It’s a long absent format, but Quentin Tarantino recently revived it for some screenings of The Hateful Eight.
2. He says a benefit of 70mm productions was that “the soundtrack would be in six-track magnetic stereophonic sound and was very high quality.”
3. The Warner Bros/Seven Arts logo reminds him of his time spent at the latter company working as a staff writer when they bought WB. “It was quite a coincidence related to my directing this »
- Rob Hunter
A few weeks before five men were arrested for breaking and entering into Democratic National Committee headquarters in the Watergate complex on June 17, 1972. the film version of Tom Tryon's popular novel The Other was released in U.S. theaters. Soon enough, the country would be embroiled in a political controversy that led to the resignation of President Richard M. Nixon, but in the film world, all was (relatively) quiet. The month before, William Friedkin's The French Connection was presented with five Academy Awards, including Best Picture; "Theme from Shaft" took home the Oscar for Best Song. The year's early releases included Cabaret, Silent Running, What's Up, Doc?, Slaughterhouse-Five, Pink Flamingos, Fritz the Cat, and The Godfather; the latter dominated the box office when it...
[Read the whole post on screenanarchy.com...] »
With the dust settling from an Academy Awards unlike any other, we can turn our attention a bit to the results, as opposed to how the results were delivered/handled. This is something that’s probably best to take more time to think about, but I’m always fascinated by instant rankings. As such, I wanted not just to do the piece I always do on where the newest Best Picture winner stacks up all time, but also how the other main Oscar winners do. There will be expanded articles in the next month or so going over them in more detail, but for now, this is just a quick glance at where the new class ranks, all time. Before I get to Best Picture, which is clearly the big one, quickly I’d like to run down some of the other categories and how they stack up. That way, »
- Joey Magidson
With a budget of $1.5 million, 2017 Best Picture winner “Moonlight” cost less than a 30-second ad during the Oscars (reported price: $2.2 million). And, among the category’s 89 winners, it stands as the lowest-budgeted film in the Academy Awards’ history.
To determine the 10 least expensive Best Picture winners, we looked back at each year, researched reported budgets, and then calculated them at 2017 dollar values. Although independent films have dominated the Oscars for the last decade, the only indie to make the cut from that period was “Crash.” Nor did Woody Allen’s “Annie Hall,” or some black-and-white studio classics like “Casablanca” or “The Lost Weekend.”
The 10 straddle almost every decade of the Oscars and come from either independent producers or smaller distributors (four of the 10 were released by United Artists).
For comparison, the most expensive film to win remains “Titanic;” its adjusted budget was $300 million more than “Moonlight.” That total dwarfs the »
- Tom Brueggemann
20 February 2017 1:06 AM, PST | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »
Tuscany’s Lucca Film Festival is expecting an international red carpet come April. Oliver Stone will receive the festival’s main lifetime achievement award, which in previous years has honored directors including David Lynch and William Friedkin.
The festival will dedicate a complete retrospective of the works of three-time Oscar winner Stone, from Seizure (1974) to Snowden (2016). He’ll be feted with the festival’s spotlight prize and will be on hand to host a master class open to the public.
- Ariston Anderson
Back in the early 1970s, while George Lucas was immortalizing the “cruising” culture of teens and their cars in “American Graffiti,” his future frequent collaborator Steven Spielberg was exploring a different kind. Nearly a decade before director William Friedkin created a scandal with the Al Pacino-starring “Cruising” (released 37 years ago today), the wunderkind filmmaker—who has won over generations of audiences by evoking a childlike sense of wonder—almost made his leap from TV to features with the most adult-themed project imaginable.
It all started with producer Philip D’Antoni, who had won an Oscar for the 1971 drug-bust saga “The French Connection” and was looking for a filmmaker to helm another New York City-set crime project. He had just bought the rights to the novel “Cruising,” written by The New York Times feature writer Gerald Walker, in which an undercover cop descends into the leather bars of Greenwich Village as he tracks a homosexual murderer. »
- Michael Gingold
If your skin crawls and your mind turns to thoughts of demonic possession when you hear Mike Oldfield’s Tubular Bells, then you’ve likely never forgotten the soundtrack to The Exorcist after your first essential viewing of William Friedkin’s 1973 film, and that darkly magical music is coming out on a new vinyl release from Waxwork Records that they teased today.
Announced on Waxwork Records’ official Facebook page, The Exorcist Deluxe Original Motion Picture Soundtrack does not yet have a release date, but the release is teased with the unveiling of Phantom City Creative’s Justin Erickson’s Pazuzu artwork, which you can view below.
Stay tuned to Daily Dead for more updates on this anticipated release, and check out the official announcement:
From Waxwork Records: “Coming soon. The Exorcist Deluxe Original Motion Picture Soundtrack. Enjoy a sneak peek of the album artwork by @justinericksonart.”
The post Waxwork Records »
- Derek Anderson
Simon Brew Feb 3, 2017
When a movie hits big out of the blue, it’s unwritten Hollywood law that the imitators aren’t too far behind. That’s why, after American Pie brought Porky’s-esque sex-tinged (late) teen comedies back to prominence in 1999, the box office was flooded with similar fare for years after. The Blair Witch Project, meanwhile, hit out of nowhere, and found footage horror is only now dying away. The late Wes Craven, meanwhile, wryly noted just how quickly Hollywood had cashed in on the success of 1996’s Scream, when spoof Scary Movie popped out the year after.
Going back to 1992, though, and it was the turn of the erotic thriller to enjoy its resurgence. »
In the months leading up to the 2016 presidential election, there was a sharp national focus on modern masculinity and how it’s supposedly threatened by rising forces in identity politics. Travis Mathews explores that idea in his new film ‘Discreet,” about an eccentric drifter who returns home after years in hiding to discover that his childhood abuser is still alive. Soon he plots his revenge while he navigates an uncomfortable landscape. Check out an exclusive poster for the film below.
Read More: Berlinale 2017 Will Premiere ‘Logan,’ ‘Trainspotting: T2,’ and Hong Sangsoo’s Latest
“‘Discreet’ began as a moody cautionary tale,” says Mathews, “a nightmare warning to what discretion — in its many forms — might bring. Over [the summer of 2015], then into 2016, crystallizing with the Us presidential election, it became increasingly clear that the monster built from years of fear mongering was no longer under anyone’s control. Unhinged, it would answer to no one, »
- Vikram Murthi
Director William Friedkin followed up his box office smash The Exorcist with this comparatively little-seen remake of Clouzot’s great The Wages of Fear. A pity because this star-crossed production (including hellish shooting conditions in the Dominican Republic) has much to offer featuring a suitably world-weary performance by Roy Scheider, rain-drenched photography by John Stephens and Dick Bush and a memorably sinister score from Tangerine Dream.
- TFH Team
Every week, IndieWire asks a select handful of film and TV critics two questions and publishes the results on Monday. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)
This week’s question: In dubious honor of “Sleepless,” a new Jamie Foxx vehicle that’s been adapted from Frederic Jardin’s “Sleepless Night,” what is the best American remake of a foreign-language film?
Joshua Rothkopf (@joshrothkopf), Time Out New York
Long before I knew and appreciated Jean Renoir, I was in love with “Down and Out in Beverly Hills,” a 1986 comedy based on “Boudu Saved from Drowning” that peppered the flow with some truly eye-opening ideas for Hollywood: class warfare, unequal police treatment, a neurotic dog with its own therapist. The movie holds up beautifully — it’s one of Nick Nolte’s quietest performances, and one »
- David Ehrlich
William Peter Blatty, best known for writing The Exorcist and then adapting it for the big screen, has passed away. He was 89. Filmmaker William Friedkin, who worked closely with Blatty on The Exorcist, shared the news on social media. William Peter Blatty, dear friend and brother who created The Exorcist passed away yesterday — William Friedkin (@WilliamFriedkin) January 13, 2017 While working in public relations in the 1950s, Blatty began writing on the side, publishing his first book in 1960. One year later, he won enough money on a television quiz show to quit his publicity job and devote himself to writing full-time. His early comic novels received critical praise, though they were not popular successes. He turned to writing comic screenplays, such as...
- Peter Martin
By Lee Pfeiffer
William Peter Blatty, the novelist and screenwriter whose book "The Exorcist" became a literary phenomenon and a movie sensation, died Thursday at age 89. Blatty's success prior to the publication of the book in 1971 was largely based on comedic novels and screenplays. His greatest claim to fame in his early career was as screenwriter of the Pink Panther comedy "A Shot in the Dark". Blatty was studying at Georgetown University when he heard about a 1949 incident in which the Catholic church issued a rare approval for the exorcism of a young boy who was allegedly possessed by a demon. The story so intrigued Blatty that many years later it formed the basis of "The Exorcist", though he changed the victim to a young girl. The book was an overnight success and director William Friedkin's 1973 film version became one of the highest grossing films of all time. Blatty »
- firstname.lastname@example.org (Cinema Retro)
William Peter Blatty, author of The Exorcist, widely considered to be one of the greatest contemporary horror novels, has died. William Friedkin, who directed the also well-regarded 1973 film based on Blatty’s book, broke the news on Twitter, saying, “William Peter Blatty, dear friend and brother who created The Exorcist passed away yesterday.” His wife then told the Associated Press that Blatty had died of multiple myeloma, a form of blood cancer. He was 89.
Blatty was born in 1928 in New York City, the son of Lebanese immigrants. He was raised by his deeply Catholic single mother, and attended a Jesuit high school and then Georgetown University in Washington, D.C., the city that would serve as the backdrop for his Exorcist novels. After graduating from Georgetown in 1950, he served in the U.S. Air Force’s propaganda wing, the Psychological Warfare Division—an experience that would ...
- Katie Rife
As the entertainment community comes off a year where seemingly countless legends passed away, 2017 isn't getting off to a great start on this front either. The Exorcist author William Peter Blatty has passed away at the age of 89. The news broke on Twitter this morning by The Exorcist director William Friedkin, although no cause of death has been given at this time. The director only shared that Blatty died yesterday, calling the writer a "dear friend and brother."
After news of his death broke, a number of entertainment and horror luminaries took to Twitter to pay tribute to the late author. Earlier this morning, tributes started pouring in from Stephen King, directors Edgar Wright and Joe Lynch, and Jeremy Slater, who created the The Exorcist TV series that debuted last fall on Fox. The late author celebrated his 89th birthday less than a week ago.
William Peter Blatty was born January 7, 1928 in New York City, »
Before authoring what's considered one of the greatest horror novels of all time and adapting the work into an Oscar-nominated blockbuster, Blatty specialized in comedy, »
Writer and filmmaker William Peter Blatty, author of the famed 1971 novel The Exorcist that he helped turn into one of the most iconic supernatural horror films of all time, died Thursday at age 89. William Friedkin, who directed The Exorcist movie based on Blatty’s Oscar-winning screenplay, tweeted this morning: William Peter Blatty, dear friend and brother who created The Exorcist passed away yesterday — William Friedkin (@WilliamFriedkin) January 13, 2017 A… »
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