9 items from 2013
The 21st Camerimage, the International Film Festival of the Art of Cinematography (Nov 16-23), has revealed the competition jurors who will judge entries at this year’s event in Bydgoszcz, Poland.
Jury members of the main competition jury are:
Tom Stern, cinematographer (Million Dollar Baby, Gran Torino, The Hunger Games);Ed Lachman, cinematographer (Erin Brockovich, The Virgin Suicides, I’m Not There);Todd McCarthy, journalist and film critic;Denis Lenoir, cinematographer (Paris, je t’aime, Righteous Kill, 88 Minutes);Adam Holender, cinematographer (Midnight Cowboy, Smoke, Fresh);Timo Salminen, cinematographer (The Man Without a Past, La Havre, The Match Factory Girl);Franz Lustig, cinematographer (Don’t Come Knocking, Land of Plenty, Palermo Shooting);Jeffrey Kimball, cinematographer (Top Gun, Mission: Impossible II, The Expendables).Polish Films Competition
- firstname.lastname@example.org (Michael Rosser)
Every year, we here at Sound On Sight celebrate the month of October with 31 Days of Horror; and every year, I update the list of my favourite horror films ever made. Last year, I released a list that included 150 picks. This year, I’ll be upgrading the list, making minor alterations, changing the rankings, adding new entries, and possibly removing a few titles. I’ve also decided to publish each post backwards this time around for one simple reason: that is, the new additions appear lower on my list, whereas my top 50 haven’t changed much, except for maybe in ranking. Enjoy!
Directed by Luis Buñuel
The dream – or nightmare – has been a staple of horror cinema for decades. In 1929, Luis Bunuel joined forces with Salvador Dali to create Un chien andalou, an experimental and unforgettable 17-minute surrealist masterpiece. »
- Ricky da Conceição
Entertainment journalist Ramin Setoodeh has joined Variety as New York film editor, covering all aspects of the movie business and other media.
Setoodeh will also produce videos, webcasts and make regular television appearances on news shows to talk about the film industry. He reports to Claudia Eller, editor-in-chief, film.
Setoodeh joins Variety after spending nine years at Newsweek and two years at the Daily Beast , writing and editing stories about movies, television, books, theater and other sectors of media and entertainment. He covered Hollywood’s award season and co-hosted, along with film critic David Ansen, Newsweek’s annual Oscar nominees roundtable. Setoodeh also made frequent appearances as a guest on CNN, MSNBC and “Today.”
A fearless and industrious journalist, Setoodeh once went undercover and auditioned for “American Idol,” and launched several Web series — one featuring Channing Tatum and Chris Evans candidly discussing their early acting jobs. His 2010 theater review of »
- Variety Staff
Splashes of gore and evisceration combine with a nicely nasty psycho-killer turn from Luke Evans to enliven this grindy slasher from Midnight Meat Train director Ryuhei Kitamura. When stereotypical hoodlums turn over the wrong couple in a remote diner, twisty table-turning retribution ensues. Shooting on Super-16 (rather than digital), cinematographer Daniel Pearl achieves a neat balance between old-school grain and modern sheen, thankfully eschewing the tedious turd-brown-palette that has become de rigueur. David Cohen's table-turning script owes a debt to Jennifer Lynch's disreputable back-catalogue – his next project, Underground, is a "journey into the world of extreme cuisine" to which director Neil Marshall was reportedly attached. Waiter!
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- Mark Kermode
Dread Central has exclusively announced that Factory Entertainment is working on a film entitled Death House that is described as The Expendables of horror. The script comes from the original Leatherface, Gunnar Hansen.
While a cast hasn’t been revealed, a lot of big names are already attached, and they’re described as follows: “We are talking a Captain, a hellish demon, a cornbug, a nightmare man, and even a corpse-raising mad scientist’s main squeeze.”
Here’s the plot: “Death House tells the tale of five psychology majors on a class trip, who find themselves sealed inside a prison with vicious rioting Neo-Nazis and the nation’s most deadly serial killers, The Four Horsemen.”
- Andy Greene
Word has come across our desk of a new project that is funded and shaping up to be completely badass. Factory Entertainment is working on a film called Death House, which is being billed as The Expendables of horror. Interested? Read on!
The script for Death House was penned by none other than the original Leatherface himself, Gunnar Hansen, and from what we hear, a cast is being put into place that's gonna be pretty damned insane. We have a list of names already attached but would rather not print 'em until the ink is dry on the proverbial paper. However, we can tease you a bit. We are talking a Captain, a hellish demon, a cornbug, a nightmare man, and even a corpse-raising mad scientist's main squeeze. Do the math.
Death House tells the tale of five psychology majors on a class trip, who find themselves sealed inside a »
- Uncle Creepy
Watching a great film can have a profound impact on you. Sometimes the film can entertain you beyond your wildest dreams, make you open up your mind to new ideas and cultures or take you on an emotional ride that leaves you speechless. Some of the best films in cinema history can also leave us with an amazing parting shot, the last shot in the film before fading to black, that can bring those feelings deeper into our minds. A great final shot in a film can leave a mark on us, one that can sometimes sum up the entire film, leave us wanting more, satisfy the story and characters or haunt us forever.
Any great film wort its salt is going to have a masterfully composed and iconic parting shot. It is the final visual thesis from the director and cinematographer to summarize what they were intending to do »
- Kyle Hytonen
The Texas Chain Saw Massacre is a perfect horror film. From an aesthetic and narrative standpoint, it is one of the most emulated genre films of the last half century. It has its roots in the bloody chamber archetype, the Hansel and Gretel fairy tale and the literary notion of the Bluebeard. Put simply, it is the cinematic incarnation of the most primal fear mankind experiences, that of being captured and eaten by an animal more vicious than ourselves. Certainly the elemental terror of being trapped, tortured and consumed is grisly fodder enough to base a film around. But Tobe Hooper's 1974 masterpiece uses that as merely the foundation for a multi-layered treatise on the post-Watergate, post-Vietnam cultural schism America was then roiling in. The echoes of the Manson family's ruinous effect on the peace generation reverberate through every frame and the sordid, predatory impulse inherent in Western capitalism is »
- Matt Risnes
John Lussenhop's Texas Chainsaw 3D opens with what are undeniably its best moments: the film's title credits, juxtaposed over a highlight reel of Tobe Hooper's 1974 original, stunningly post-converted into phenomenal 3D. Nearly 40 years later, Daniel Pearl's gritty photography has never looked so gorgeous, and seeing Marilyn Burns pop off the big screen as a now three-dimensional Gunnar Hansen pursues her through the night is a genuine joy. The footage, even in snippet form, still packs a wallop that's primal, fierce, and unequaled. Aggressively marketing itself as a "direct sequel" to the original masterpiece (and apparently forgetting Hooper made his own "direct sequel" back in '86), Texas Chainsaw picks up minutes after the original wraps up, with a bummed-out Leatherface (newcomer Dan Yeager) returning...
[Read the whole post on twitchfilm.com...]
9 items from 2013
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