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The biopic deals with the intersection of thinking that occurred between Sigmund Freud, Carl Jung and Sabina Spielrein in the early years of the twentieth century. Their shared ideas created the thought and practice of psychoanalysis and shaped the way we think and talk about ourselves to this day, and much has been written about their intellectual (and in Jung and Spielrein’s case, physically consummated) ménage a trois.
Knightly as the troubled Sabina Spielrein in 'A Dangerous Method'
Although its central theme is sex, both the theory and the practice, the movie is, to all intents and purposes, a mannered costume drama, scripted by Christopher Hampton (Dangerous Liaisons, Carrington, Atonement, Chéri) and starring actorly heavyweights Michael Fassbender and Viggo Mortensen. »
- Karina Wilson
Bright Lights Film Journal editor Gary Morris introduces #74: "This issue opens with Jd Markel's enchanting exegesis of Mike Leigh's Happy-Go-Lucky, but as in Jd's previous contribution, expands into a much wider cultural critique…. In the Movies section, one of our new writers — come on down, Graham Daseler! — appears with two delightful entries, one on My Dinner with André, the other on the life and career of John Huston. Bl regular David Pike authoritatively analyzes Denis Villeneuve's disturbing feature Incendies, while Bl newbie Barry Stephenson offers a thoughtful study of ritual in Wes Anderson's The Darjeeling Limited. First-time contributors William Anselmi and Sheena Wilson shine light on the dark side of cinema technologies in a daring piece on Inception. And two recent returnees to these cyberpages, Mark Chapman and Alex Kirschenbaum, stylishly weigh in on, respectively, the 'aesthetic of disavowal' of Haneke's La Pianiste and Scorsese's The Color of Money »
Forget all the collapsing staircases, revolving rooms, daft CGI and haunted hair-dos. You barely need to show anything to make a truly petrifying ghost movie
I bet I'm not the only horror fan who is fed up with watching people tied to chairs and tortured, or couples terrorised by home invaders, or characters dying in grisly ways you can't see properly because their camcorder got dropped on its side. Horror films, which don't require stars or lavish spectacle, remain one of the cheapest and easiest routes for first-timers to break into movie-making, but I wish more of them would realise there are creatures even cheaper and easier than zombies. Ghosts!
Perhaps it's wishful thinking on my part, but there seem to have been a few more things going bump in the night lately. For a while, it was Hispanic film-makers carrying the torch with films such as The Others, The Devil's Backbone and The Orphanage. »
- Anne Billson
Hammer was as much a brand name as it was a studio, its output distinguished by a uniform attention to style, atmosphere, and high drama influenced by the more 'serious' melodramas of the day. Though its mark would truly be made with its color horror movies like Horror of Dracula and Curse of the Werewolf, The Quatermass Experiment displays everything that the studio would become known for, so it's kind of curious that the studio is releasing it as a stand-alone film, rather than as part of a set the way Val Lewton's classics were. It certainly deserves more fanfare than this.
- Anders Nelson
For the horror buff, Fall is the best time of the year. The air is crisp, the leaves are falling and a feeling of death hangs on the air. Here at Sound on Sight we have some of the biggest horror fans you can find. We are continually showcasing the best of genre cinema, so we’ve decided to put our horror knowledge and passion to the test in a horror watching contest. Each week in October, Ricky D, James Merolla and Justine Smith will post a list of the horror films they have watched. By the end of the month, the person who has seen the most films wins. Prize Tbd.
Ricky D (5 viewings) Total of 76 viewings
First thing to notice is the three directors: Federico Fellini, »
There are roughly a gazillion scary movie marathons happening on TV for Halloween 2011. Zap2it's got you covered for all your spooky programming. Be sure to check your local listings for times and channel.
All times Eastern.
Friday, Oct. 28
AMC: Halloween movie marathon, 9 a.m. to midnight ("Buffy the Vampire Slayer," "House of Wax," "Scream 3," "From Dusk Till Dawn," "Flight of the Living Dead: Outbreak on a Plane," "Survival of the Dead," "The Walking Dead"
Chiller: Halloween programming, 6 a.m. to midnight ("Twilight Zone" episodes, "The Daisy Chain," "Fingerprints," "Stevie," "Devil's Mercy," "Children of the Corn"), "Chiller 13" (The Decade's Scariest Movie Moments, »
Of all the available outlets for classic movies, TCM leads the (admittedly small) pack in variety, invention and print quality.
Still not nearly as widely available as it should be (try finding it on hotel televisions), the brand has nevertheless firmly carved an essential niche in the cable/satellite movie landscape, allowing owner Time Warner to maximize its vast library of vintage movies culled from numerous studio sources. In fact, Time Warner owns more titles than any other entity, and lately has been forthcoming with clever marketing ideas like the Warner Archive on-demand dvd service, which has been thankfully adopted by MGM, Sony, Fox and Universal. There are more titles available to the general public than ever before, often in pristine condition.
But to love a film you have to see it, and to see it you have to know it exists. »
Here's a fun little short film that is part early Universal horror (or Rko -- in particular, the Val Lewton films) and part Tim Burton. It is about a minute and half of what looks like stop-motion and puppetry, but is likely actually CGI. Either way that's fine, as the short is a cute piece of graveyard fun. The Gawper is the sort of thing that might have appeared between other shorts on MTV's Liquid Television, or would have been right at home between installments of an October movie marathon on some dusty regional TV station decades back. Check it out below. The same company responsible for this short, the brilliantly-named A Large Evil Corporation , also did this cool little animation that acts as opening credits / an animated poster for a film that doesn't exist, Unforgettable Evil From Mars. And the desktop wrestling short Blu-Tac wrestlers feels unfinished, but still »
- Russ Fischer
Monsters in horror movies more often represent an internal than an external threat. Henry Frankenstein’s Creature is, depending on how you read it, symbolic of the repressed; when he sees the monster in Bride of Frankenstein his shock isn’t a response to its features, but to what the Creature means to him. He’s a respectable, well-to-do, loving husband who lights up with a manic obsession when confronted with the possibility of playing God, and the Creature is irrefutable proof of that obsessive streak.
In the 1940s Universal’s hold on the genre started to wane, and less effort and artistry was put into the resulting films. After The Wolf Man in 1941 it switched from A to B pictures, and focussed on increasingly silly sequels to the big franchises: Frankenstein, The Wolf Man, Dracula and The Mummy. With films like Frankenstein Meets the Wolf Man and House of Frankenstein »
- Adam Whyte
by Jason Lees, MoreHorror.com
I’m a big fan of Dave Parker. I have been for a few years now. When I first saw The Dead Hate The Living it connected with me the way you do with fun movies that seem to be made just for you. (Sure, it has its share of haters, but so do I. I was, after all, married for a while there.) I dug it and all its flaws, which to me made it all the more fun.
A few years later I noticed the name kept popping up during the credits on the special features I was watching. Was it the same ‘Dave Parker’? A quick IMDb check showed it to be true and it got me curious. How does someone go from helming his own movie to making Epk’s? I did a little research and had my eyes opened a »
"Standing outside his small-town Ohio home, his wife and child busy preparing breakfast inside, Curtis Laforche (Michael Shannon) looks up at the ominous slate-gray sky in the first scene of Take Shelter," begins Melissa Anderson in the Voice. "The clouds open, raining down oily piss-colored droplets. It's end-of-days weather, a phenomenon that only Curtis seems to witness, and the first of many private, impressively CGI'd apocalyptic visions to come. Like Carol White, the central, unglued character of Todd Haynes's Safe (1995) who is 'allergic to the 20th century,' blue-collar worker Curtis is haunted by one of the looming terrors of the 21st: financial ruin. This unarticulated fear triggers Curtis's mental illness, and despite a few missteps, Take Shelter powerfully lays bare our national anxiety disorder — a pervasive dread that Curtis can define only as 'something that's not right.'"
"Convinced the end is coming," writes James Rocchi at the Playlist, »
Pyshka, 1934, directed by Mikhail Romm. Romm was an intermittently successful Soviet filmmaker who toed the line, making two biopics of Lenin. The fact that Pyshka was sonorized in 1955, with a voice-over, score and sound effects added, suggests that he was still well-regarded then. Romm had a fantastic eye for composition, light, and character. I don't know too much or have too much to say about him, but I think these images speak for themselves, and it's probable that his own Wwi experience informs the shots of dead soldiers that begin the story, by far the movie's most vivid sequence.
Pyshka is adapted from Guy de Maupassant's story Boule de Suif, which has an interesting cinematic history. One of Maupassant's semi-propagandist works dealing with the Franco-Prussian war, it's been bent to the purposes of a number of different filmmakers, nations, and era.
Basically, the story tells of a party »
Acknowledging Apache Drums (1951) as the forgotten Val Lewton movie, we must also acknowledge that it's not quite as special as Cat People or Isle of the Dead or any of the others in the chiller cycle, but it does bear comparison with the lesser-known Mademoiselle Fifi and it certainly beats the pants off of Youth Runs Wild.
If the conservative nature of the western format reins in some of Lewton's more sophisticated tendencies, it also allows others to stand out in bold relief, and if director Hugo Fregonese is no Jacques Tourneur, nor even a Mark Robson, he's a perfectly amicable journeyman.
Admitting a certain B-movie banality, what's striking is how Lewton is able to continue his preoccupations into what might seem an alien genre, so that Apache Drums resembles, at numerous times, a supernatural/psychological horror movie, in which the horror is dually located in the American Indian "other, »
There are horror titles that are universally considered part of the canon of the genre, pun fully intended. The Whale films, Chaney and Lugosi and Karloff, the Hammer films, Val Lewton's work, and many more. It's a lengthy canon, running from the early nightmarish fever-dream imagery of "The Cabinet Of Dr. Caligari" to the freaky body-fearing obsessions of David Cronenberg, and every era is represented on the list in some way. The '80s had their high points, and I'd immediately name films like "An American Werewolf In London" and "The Thing" and "The Fly" and "Evil Dead 2" as classics from »
We can always depend on Turner Classic Movies to give us a reason to stay up late on Halloween, but this year is going to be special. TCM has commissioned a documentary called A Night at the Movies: The Horrors of Stephen King from filmmaker Laurent Bouzereau, and it sounds like quite a (trick or) treat.
Bouzereau's new film will feature King talking about the horror flicks that have most influenced him and his writing. TCM promises the best-selling master of horror will take us on "a journey through many aspects of the horror genre, including vampires, zombies, demons and ghosts."
Among the movies that King will cover are acknowledged classics including Cat People, The Texas Chain Saw Massacre, Night of the Living Dead and Halloween — and, yes, he'll be discussing the original versions. (It's sad that I had to make that distinction, isn't it?)
Premiering on October 3, A Night at the Movies »
and A Night at the Movies: Merry Christmas!
Documentaries are Latest Entries in TCM.s A Night at the Movies Series
of One-Hour Genre Specials
Turner Classic Movies (TCM) will celebrate Halloween and Christmas this year with two all-new specials produced by DreamWorks Television and award-winning filmmaker and author Laurent Bouzereau and presented as part of TCM.s ongoing A Night at the Movies documentary series. In October, TCM will premiere A Night at the Movies: The Horrors of Stephen King, with the master storyteller himself discussing the classic horror films that influenced him the most. And in December, A Night at the Movies: Merry Christmas! will take viewers on a magical journey through some of the greatest holiday films ever made.
- Michelle McCue
Did you already see The Old Donkey (Lao lutou, 2010; Li Riujun)?, folks asked us day in, day out all through Rotterdam, and for most of the festival, the answer was a grumpy, No., thinking, Can't be as good as 13 kleine Esel und der Sonnenhof (1958, d.:Hans Deppe)—production title: 13 alte Esel—and that's already not really good. It wasn't, as we finally found out: Whenever the quietly cheerful donkey was out of the picture and we were forced to deal with the film as such, boredom ruled—another one of dem PRChinese Indies straight from the arthouse-for-Do-Gooders assembly line.
A donkey was also the unannounced star of Huangjiang nüxia (The Swordswoman of Huangjiang, 1930; Chen Kengran), although we're not too supportive about the way he's treated: The eponymous heroine uses it as her means of transport. Harrumph. Yet, in this case we're willing to make an exception, as the swordswoman »
John Carpenter has a well-earned reputation as the Master of Horror, even if the legendary director’s still-growing body of work has encompassed everything from TV biopics (Elvis) to sci-fi thrillers (The Thing, Escape from New York) and the occasional action-comedy (Big Trouble in Little China). Early on, he just seemed to have his finger on the pulse of something, well, evil. If you came of age in the late ’70s, before cable and home entertainment systems made R-rated movies easily accessible to viewers of any age, the dread-inducing, nightmarish trailers on network television for films like Halloween and The Fog (still viewable on YouTube) afforded brief but chilling glimpses into the nihilistic world of “John Carpenter,” a name more or less synonymous in my mind with the bogeyman. Something of a miracle worker with low budgets (his highly influential street-gang thriller Assault on Precinct 13 cost around $150,000), Carpenter has »
- Damon Smith
So, what if, like, hot older women who like to score with younger dudes (you know - cougars) actually turned into - like - cougars?
Ningen Manga is the production company that brought us Women's Studies, the horrific exploration of feminist extremism and female identity. Now Lonnie Martin and Cindy Marie Martin, the filmmaking partnership, are addressing another of society's stereotypes of women. And they're doing it with a really clever twist.
Cougars is about a girl named Sasha, a teenager at constant odds with her slutty Cougar/Milf mom, Bastet. When Sasha's young friend Stuart decides to walk her home from school, she becomes forced to confront the dark secret that makes her more like her mother than she'd care to admit.
What I can only hope ate actual "cougar transformations" (please please please) are created by Spaghetti Industries FX artists Christain Quarantillo & Scott Simpson (Laid to Rest 1 & 2, Deadlands »
“Time stands still, here in the Valley” - Mr Rhys the Innkeeper.
When we think of the legacy of Ealing Studios, film fans will always remember the classic comedies Passport to Pimlico (1949), The Lavender Hill Mob (1951) and The Man in the White Suit (1951). Long considered the Studios' finest cinema achievements, the beauty of an Ealing comedy is its realist style. Whereas The Carry On films and the Boulting Brothers relied on caricature, Ealing always focused on the ordinary man, notably Stanley Holloway and Alec Guinness, being placed in an extraordinary situation.
Such was their comedy success it’s easy to forget that Ealing dabbled in more serious, and at times, much darker stuff. Horror was never a genre associated with the studio, although the black humour of the excellent Kind Hearts and Coronets (1949) - with its imaginative murders - pre-dated the ghoulish Theatre of Blood (1973) by nearly 25 years; and yet »
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