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Flipper Season One

Back in 1964 a lot of people still thought dolphins were fish, but by the time this TV show was finished, we all knew that our happy undersea friend was smarter than the average bear and lives in a world full of wonder. Ivan Tors’ grandly successful Florida-shot family show kept a lot of seagoing movie veterans in green seaweed, including both original ‘Creature’ Gill Men.

Flipper, Season One

Blu-ray

Olive Films

1964-65 / Color / 1:33 flat TV / 780 min. / Street Date August 29, 2017 / available through the Olive Films website / 39.95

Starring: Brian Kelly, Luke Halpin, Tommy Norden.

Cinematography: Clifford H. Poland Jr., Lamar Boren

Original Music: Henry Vars, song by

Written by: Jack Cowden, Ricou Browning, Peter L. Dixon, Laird Koenig, Stanley H. Silverman, Orville H. Hampton, Lee Erwin, Art Arthur, Jess Carneol, Key Lenard, Ivan Tors, Alan Caillou, Arthur Richards, Robert Sabaroff.

Produced by Ivan Tors, Ricou Browning, Leon Benson, Andrew Marton

Directed by: Ricou Browning,
See full article at Trailers from Hell »

TCM's Pride Month Series Continues with Movies Somehow Connected to Lgbt Talent

Turner Classic Movies continues with its Gay Hollywood presentations tonight and tomorrow morning, June 8–9. Seven movies will be shown about, featuring, directed, or produced by the following: Cole Porter, Lorenz Hart, Farley Granger, John Dall, Edmund Goulding, W. Somerset Maughan, Clifton Webb, Montgomery Clift, Raymond Burr, Charles Walters, DeWitt Bodeen, and Harriet Parsons. (One assumes that it's a mere coincidence that gay rumor subjects Cary Grant and Tyrone Power are also featured.) Night and Day (1946), which could also be considered part of TCM's homage to birthday girl Alexis Smith, who would have turned 96 today, is a Cole Porter biopic starring Cary Grant as a posh, heterosexualized version of Porter. As the warning goes, any similaries to real-life people and/or events found in Night and Day are a mere coincidence. The same goes for Words and Music (1948), a highly fictionalized version of the Richard Rodgers-Lorenz Hart musical partnership.
See full article at Alt Film Guide »

Erin Moran obituary

Actor who played Joanie Cunningham in the Us sitcom Happy Days

Erin Moran, who has died aged 56 after suffering from cancer, was already a seasoned child star when she was cast in the role that made her recognised worldwide – as Joanie Cunningham in the American sitcom Happy Days. Joanie is the feisty kid sister of the clean-cut teenager Richie Cunningham, around whom much of the show’s action revolves, and takes a great interest in his attempts to attract girls.

Moran was only seven when she joined the children’s TV drama Daktari in 1968 for its final two runs, as Jenny Jones, an orphan given a home by the vet and conservationist Dr Marsh Tracy (played by Marshall Thompson) at his Wameru Study Center for Animal Behavior in east Africa. The popular adventure series was based on the 1965 film Clarence, the Cross-Eyed Lion.

Continue reading...
See full article at The Guardian - TV News »

Drive-In Dust Offs: It! The Terror From Beyond Space (1958)

For many people, Alien (1979) is the yardstick by which all “creature on a spaceship” films are measured. However, the first few inches on that stick are occupied by It! The Terror from Beyond Space (1958), an effective low budget shocker that helped write the template still used in sci-fi and horror today. Climb aboard for a 69 minute rocket ride to Mars and back with an unwanted passenger. And no, I don’t mean (insert name or political affiliate you hate here).

Released in August stateside by United Artists, with a November drop in the U.K., It! was mostly dismissed by critics, with the exception of Variety who said, “It’s old stuff, with only a slight twist.” In the B world, that’s as close to a rave as one might get from the mainstream media, and that’s fine; audiences enjoyed the straightforward thrills and somewhat unique concept offered up,
See full article at DailyDead »

Battleground

Battleground

Blu-ray

Warner Archive Collection

1949 / B&W / 1:37 flat Academy / 118 min. / Street Date January 10, 2017 / available through the WBshop / 21.99

Starring: Van Johnson, John Hodiak, Ricardo Montalban, George Murphy, Marshall Thompson, Don Taylor, James Whitmore, Douglas Fowley, Leon Ames, Guy Anderson, Denise Darcel, Richard Jaeckel, James Arness

Cinematography: Paul Vogel

Art Direction: Cedric Gibbons, Hans Peters

Film Editor: John D. Dunning

Original Music: Lennie Hayton

Written by: Robert Pirosh

Produced by: Dore Schary

Directed by William A. Wellman

“The Guts, Gags and Glory of a Lot of Wonderful Guys!”

— say, what kind of movie is this, anyway?

Action movies about combat are now mostly about soldiers that fight like killing machines, or stories of battle with a strong political axe to grind. WW2 changed perceptions completely, when a mostly civilian army did the fighting. With the cessation of hostilities combat pictures tapered off quickly, and Hollywood gave the subject a break for several years.
See full article at Trailers from Hell »

Drive-In Dust Offs: Fiend Without A Face (1958)

In the 1950s, independent film was just as keen to stick its nose in the atomic blender as the Hollywood big boys. Of course, budget restrictions frequently left most of the monsters wanting, be they big or small. But sometimes a shot of quirk was enough to stand apart from the Tinseltown terrors. I give you Fiend Without a Face (1958), a low budget romp content with showing less until it has to show it all, with giddy results.

Produced by British company Amalgamated Productions and distributed by MGM (in the States), Fiend was sent out on a double bill with The Haunted Strangler, a Boris Karloff vehicle. With a combined budget of 130,000 pounds, the double feature brought in domestic and international receipts of over $ 650,000 dollars, filmic diplomacy at its finest.

Filmed in Britain but taking place in Winthrop (?), Manitoba, Canada (never heard of the town, and if I haven’t drank in it,
See full article at DailyDead »

They Were Expendable

John Ford's best war movie does a flip-flop on the propaganda norm. It's about men that must hold the line in defeat and retreat, that are ordered to lay down a sacrifice play while someone else gets to hit the home runs. Robert Montgomery, John Wayne and Donna Reed are excellent, as is the recreation of the Navy's daring sideshow tactic in the Pacific Theater, the 'speeding coffin' Patrol Torpedo boats. They Were Expendable Blu-ray Warner Archive Collection 1945 / B&W / 1:37 flat Academy / 135 min. / Street Date June 7, 2016 / available through the WBshop / 21.99 Starring Robert Montgomery, John Wayne, Donna Reed, Jack Holt, Ward Bond, Marshall Thompson, Cameron Mitchell, Paul Langton, Leon Ames, Donald Curtis, Murray Alper, Harry Tenbrook, Jack Pennick, Charles Trowbridge, Louis Jean Heydt, Russell Simpson, Blake Edwards, Tom Tyler. Cinematography Joseph H. August Production Designer Film Editor Douglass Biggs, Frank E. Hull Original Music Earl K. Brent, Herbert Stothart, Eric Zeisl Writing credits Frank Wead, Comdr. U.S.N. (Ret.), Based on the book by William L. White Produced and Directed by John Ford, Captain U.S.N.R.

Reviewed by Glenn Erickson

They Were Expendable has always been appreciated, but hasn't been given a high roost in John Ford's filmography. Yet it's one of his most personal movies, and for a story set in the military service, his most serious. We're given plenty of service humor and even more sentimentality -- with a sing-along scene like those that would figure in the director's later cavalry pictures, no less. Yet the tone is heavier, more resolutely downbeat. The war had not yet ended as this show went before the cameras, yet Ford's aim is to commemorate the sacrifices, not wave a victory flag. By 1945 Hollywood was already rushing its last 'We're at War!' morale boosters out the gate and gearing up for production in a postwar world. Practically a pet project of legendary director John Ford, They Were Expendable is his personal tribute to the Navy. Typical for Ford, he chose for his subject not some glorious victory or idealized combat, but instead a thankless and losing struggle against an invader whose strength seemed at the time to be almost un-opposable. They Were Expendable starts at Pearl Harbor and traces the true story of an experimental Patrol Torpedo Boat unit run by Lt. John Brickley (Robert Montgomery), his ambitious second in command Lt. Ryan (John Wayne) and their five boat crews. The ambience is pure Ford family casting: the ever-present Ward Bond and Jack Pennick are there, along with youthful MGM newcomers Marshall Thompson (It! The Terror from Beyond Space and Cameron Mitchell (Garden of Evil, Blood and Black Lace) being treated as new members of the Ford acting family. Along the way Ryan meets nurse Sandy Davyss (Donna Reed). Despite their battle successes, the Pt unit suffers casualties and loses boats as the Philippine campaign rapidly collapses around them. Indicative of the unusual level of realism is the Wayne/Reed romance, which falls victim to events in a very un-glamorous way. There's nothing second-rate about this Ford picture. It is by far his best war film and is as deeply felt as his strongest Westerns. His emotional attachment to American History is applied to events only four years past. The pace is fast but Expendable takes its time to linger on telling character details. The entertainer that responds to the war announcement by singing "My Country 'tis of Thee" is Asian, perhaps even Japanese; she's given an unusually sensitive close-up at a time when all Hollywood references to the Japanese were negative, or worse. MGM gives Ford's shoot excellent production values, with filming in Florida more than adequate to represent the Philippines. Even when filming in the studio, Ford's show is free of the MGM gloss that makes movies like its Bataan look so phony. We see six real Pt boats in action. The basic battle effect to show them speeding through exploding shells appears to be accomplished by pyrotechnic devices - fireworks -- launched from the boat deck. Excellent miniatures represent the large Japanese ships they attack. MGM's experts make the exploding models look spectacular. Ford's sentimentality for Navy tradition and the camaraderie of the service is as strong as ever. Although we see a couple of battles, the film is really a series of encounters and farewells, with boats not coming back and images of sailors that gaze out to sea while waxing nostalgic about the Arizona lost at Pearl Harbor. The image of civilian boat builder Russell Simpson awaiting invasion alone with only a rifle and a jug of moonshine purposely references Ford's earlier The Grapes of Wrath. Simpson played an Okie in that film and Ford stresses the association by playing "Red River Valley" on the soundtrack; it's as if the invading Japanese were bankers come to boot Simpson off his land. Equally moving is the face of Jack Holt's jut-jawed Army officer. He'd been playing basically the same crusty serviceman character for twenty years; because audiences had never seen Holt in a 'losing' role the actor makes the defeat seem all the more serious. The irony of this is that in real life, immediately after Pearl Harbor, Holt was so panicked by invasion fears that he sold his Malibu beach home at a fraction of its value. Who bought it? According to Joel Siegel in his book The Reality of Terror, it was Rko producer Val Lewton. John Wayne is particularly good in this film by virtue of not being its star. His character turn as an impatient but tough Lieutenant stuck in a career dead-end is one of his best. The real star of the film is Robert Montgomery, who before the war was known mostly for light comedies like the delightful Here Comes Mr. Jordan. Montgomery's Brickley is a man of dignity and dedication trying to do a decent job no matter how hopeless or frustrating his situation gets. Whereas Wayne was a Hollywood soldier, Montgomery actually fought in Pt boats in the Pacific. When he stands exhausted in tropic shorts, keeping up appearances when everything is going wrong, he looks like the genuine article. Third-billed Donna Reed turns what might have been 'the girl in the picture' into something special. An Army nurse who takes care of Wayne's Ryan in a deep-tunnel dispensary while bombs burst overhead, Reed's Lt. Davyss is one of Ford's adored women living in danger, like Anne Bancroft's China doctor in 7 Women. A little earlier in the war, the films So Proudly We Hail and Cry 'Havoc' saluted the 'Angels of Bataan' that stayed on the job, were captured and interned by the Japanese. Expendable has none of the sensational subtext of the earlier films, where the nurses worry about being raped, etc.. We instead see a perfect girl next door (George Bailey thought so) bravely soldiering on, saying a rushed goodbye to Wayne's Lt. Ryan over a field telephone. Exactly what happens to her is not known. Even more than Clarence Brown's The Human Comedy this film fully established Ms. Reed's acting credentials. The quality that separates They Were Expendable from all but a few war films made during the fighting, is its championing of a kind of glory that doesn't come from gaudy victories. Hopelessly outnumbered and outgunned, the Navy, Army and Air Corps units in the Northern Philippines that weren't wiped out in the first attacks, had to be abandoned. The key scene sees Lt. Brickley asking his commanding officer for positive orders to attack the enemy. He's instead 'given the score' in baseball terms. In a ball club, some players don't get to hit home runs. The manager instead tells them to sacrifice, to lay down a bunt. Brickley's Pt squadron will be supporting the retreat as best it can and for long as it can, without relief or rescue. Half a year later, the U.S. was able to field an Army and a Navy that could take the offensive. Brickley's unit is a quiet study of honorable men at war, doing their best in the face of disaster. According to John Ford, Expendable could have been better, and I agree. He reportedly didn't hang around to help with the final cut and the audio mix, and the MGM departments finished the film without him. Although Ford's many thoughtful close-ups and beautifully drawn-out dramatic moments are allowed to play out, a couple of the battle scenes go on too long, making the constant peppering of flak bursts over the Pt boats look far too artificial. Real shell bursts aren't just a flash and smoke; if they were that close the wooden boats would be shattered by shrapnel. The overused effect reminds me of the 'Pigpen' character in older Peanuts cartoons, if he walked around accompanied by explosions instead of a cloud of dust. The music score is also unsubtle, reaching for upbeat glory too often and too loudly. The main march theme says 'Hooray Navy' even in scenes playing for other moods. Would Ford have asked for it to be dialed back a bit, or perhaps removed from some scenes altogether? That's hard to say. The director liked his movie scores to reflect obvious sentiments. But a few of his more powerful moments play without music. We're told that one of the un-credited writers on the film was Norman Corwin, and that Robert Montgomery directed some scenes after John Ford broke his leg on the set. They Were Expendable is one of the finest of war films and a solid introduction to classic John Ford. The Warner Archive Collection Blu-ray of They Were Expendable looks as good as the excellent 35mm copies we saw back at UCLA. This movie has always looked fine, but the previous DVDs were unsteady in the first reel, perhaps because of film shrinkage. The Blu-ray corrects the problem entirely. The B&W cinematography has some of the most stylized visuals in a war film. Emphasizing gloom and expressing the lack of security, many scenes are played in silhouette or with very low-key illumination, especially a pair of party scenes. Donna Reed appears to wear almost no makeup but only seems more naturally beautiful in the un-glamorous but ennobling lighting schemes. These the disc captures perfectly. Just as on the old MGM and Warners DVDs, the trailer is the only extra. We're told that MGM shoved the film out the door because victory-happy moviegoers were sick of war movies and wanted to see bright musicals instead. The trailer reflects the lack of enthusiasm -- it's basically two actor name runs and a few action shots. The feature has a choice of subtitles, in English, French and Spanish. On a scale of Excellent, Good, Fair, and Poor, They Were Expendable Blu-ray rates: Movie: Excellent Video: Excellent Sound: Excellent Supplements: DTS-hd Master Audio Deaf and Hearing Impaired Friendly? Yes; Subtitles: English, French, Spanish Packaging: Keep case Reviewed: June 6, 2016 (5135expe)

Visit DVD Savant's Main Column Page Glenn Erickson answers most reader mail: dvdsavant@mindspring.com

Text © Copyright 2016 Glenn Erickson
See full article at Trailers from Hell »

Blu-ray Review – It! The Terror from Beyond Space (1958)

It! The Terror from Beyond Space, 1958.

Directed by Edward L. Cahn.

Starring, Marshall Thompson, Shirley Paterson, Kim Spalding, Ann Doran, Dabbs Greer, Paul Langton, Robert Bice, Richard Benedict, Richard Harvey, Thom Carney, Ray Corrigan.

Synopsis:

An alien only known as It terrorises the first manned expedition to Mars.

1973: Col. Edward Carruthers (Marshall Thompson) is the only surviving member of the expedition to Mars, and he is accused of murdering his crew. A rescuing ship arrives to escort Carruthers back to Earth to stand trial. Carruthers denies this allegation, but Commander Col. Van Heusen (Kim Spalding) does not believe him and insists a member of the crew is always watching him. In fact, nobody from Heusen’s crew believes Carruthers as they openly espouse suspicion of their prisoner. In this setup one can already detect the McCarthy context of the film. Allowing Carruthers to roam freely on the spacecraft may make minimal plot sense (honestly,
See full article at Flickeringmyth »

Academy Awards Film Series: Near-Record-Breaking Oscar Loser Far Superior to Wayne Original

'True Grit' 2010: Hailee Steinfeld and Jeff Bridges. 'True Grit' 2010 review: 'Far Superior' to 1969 John Wayne Western I've gotten to the point with the Coen brothers where I just expect something wonderful every time they make a movie. For me, that was the case even with an effort like True Grit. For others, however, it was different. When the Coens announced their plans to adapt Charles Portis' novel, heads turned and were scratched by many. After all, not only were the brothers going to adapt a book, something they had done only once before (twice if you count The Odyssey), but they were going to remake a movie made famous by John Wayne in 1969. To many, especially lovers of Westerns, touching True Grit was sacrilege. But the Coens weren't deterred, and thankfully so. Their adaptation of True Grit is not only far superior to Henry Hathaway's 1969 version, it
See full article at Alt Film Guide »

Betsy Drake, Actress and Former Wife of Cary Grant, Dies at 92

Betsy Drake, Actress and Former Wife of Cary Grant, Dies at 92
Betsy Drake, the former wife of Cary Grant who starred in films including “Will Success Spoil Rock Hunter?” (1957), “Room for One More” (1952) with Grant and the 1950 film noir “The Second Woman” with Robert Young, died in London on October 27. She was 92.

Grant married Drake in 1949 (his best man was Howard Hughes) after seeing her onstage in London, and they separated in 1958 and divorced in 1962. She made out extraordinarily well in the divorce settlement, receiving more than $1 million in cash in addition to a percentage of the earnings from the 13 films he made during their marriage.

Drake and Grant met while traveling on the Queen Mary, but Drake was also aboard the Andrea Doria when that ship famously sank in 1956; the actress lost jewelry valued at more than $200,000 as well as a book manuscript on which she was working.

In “Will Success Spoil Rock Hunter?,” adapted from the comic stage play,
See full article at Variety - Film News »

Wright and Goldwyn Have an Ugly Parting of the Ways; Brando (More or Less) Comes to the Rescue

Teresa Wright-Samuel Goldwyn association comes to a nasty end (See preceding post: "Teresa Wright in 'Shadow of a Doubt': Alfred Hitchcock Heroine in His Favorite Film.") Whether or not because she was aware that Enchantment wasn't going to be the hit she needed – or perhaps some other disagreement with Samuel Goldwyn or personal issue with husband Niven BuschTeresa Wright, claiming illness, refused to go to New York City to promote the film. (Top image: Teresa Wright in a publicity shot for The Men.) Goldwyn had previously announced that Wright, whose contract still had another four and half years to run, was to star in a film version of J.D. Salinger's 1948 short story "Uncle Wiggily in Connecticut." Instead, he unceremoniously – and quite publicly – fired her.[1] The Goldwyn organization issued a statement, explaining that besides refusing the assignment to travel to New York to help generate pre-opening publicity for Enchantment,
See full article at Alt Film Guide »

On TCM: Oscar Winner Colbert

Claudette Colbert movies on Turner Classic Movies: From ‘The Smiling Lieutenant’ to TCM premiere ‘Skylark’ (photo: Claudette Colbert and Maurice Chevalier in ‘The Smiling Lieutenant’) Claudette Colbert, the studio era’s perky, independent-minded — and French-born — "all-American" girlfriend (and later all-American wife and mother), is Turner Classic Movies’ star of the day today, August 18, 2014, as TCM continues with its "Summer Under the Stars" film series. Colbert, a surprise Best Actress Academy Award winner for Frank Capra’s 1934 comedy It Happened One Night, was one Paramount’s biggest box office draws for more than decade and Hollywood’s top-paid female star of 1938, with reported earnings of $426,944 — or about $7.21 million in 2014 dollars. (See also: TCM’s Claudette Colbert day in 2011.) Right now, TCM is showing Ernst Lubitsch’s light (but ultimately bittersweet) romantic comedy-musical The Smiling Lieutenant (1931), a Best Picture Academy Award nominee starring Maurice Chevalier as a French-accented Central European lieutenant in
See full article at Alt Film Guide »

Friday Noir: Violence begets violence in ‘Dial 1119′

Dial 1119

Directed by Gerald Mayer

Written by Hugh King and Don McGuire

U.S.A., 1950

If there is one thing about older films which can cause a surprise among modern audiences, it is the acting style of the period. A frequent complaint coming from those whose exposure to movies of the 30s, 40s and 60s is limited is that the variety of the acting is vastly different from what is typically experienced today. Back then, being a bit more on the theatrical, or melodramatic side, was a good thing, whereas in the early 21st century, subtlety is what people admire most. Imagine what a melodramatic performance serving a mentally challenged character would be like, a thought which could very well turn people away from watching Marshall Thomspon in Dial 1119, but those people will have missed perfectly calculated, chilling role.

Director Gerald Mayer, nephew of the legendary producer Louis B.
See full article at SoundOnSight »

DVD Review: "Clarence The Cross-eyed Lion" (1965) Starring Marshall Thompson

  • CinemaRetro
By Lee Pfeiffer

The Warner Archive has recently been releasing films made by Ivan Tors' production company during the 1960s. Tors specialized in underwater and animal-themed adventure movies and TV series and he had a number of major successes including Sea Hunt, Flipper and Gentle Ben. Tors also had a knack for turning feature films into TV series. Flipper began as a theatrical released and morphed into a TV show. Gentle Ben began as a TV show and later inspired the feature film Gentle Giant. The Warner Archive has released another of these cross-over productions, Clarence the Cross-Eyed Lion which would serve as the feature length pilot for the TV series Daktari. Marshall Thompson stars as Dr. Marsh Tracy, a veterinarian who works in the jungles of Africa to aid injured animals and help thwart poachers with the aid of local government authorities. The film's subject matter has something
See full article at CinemaRetro »

Friday Noir: ‘Mystery Street’ is a bit of good old school CSI

Mystery Street

Directed by John Sturges

Screenplay by Richard Brooks and Sydney Boehm

USA, 1950

If one comes across a review or snippet of commentary regarding John SturgesMystery Street, one aspect about the film which people argue stands out is how it works as a police procedural which makes it, in a fashion, a precursor to so many of today’s massively popular television dramas, such the various CSI series. Truth be told, the comparisons are not far off. Closer inspection should, however, unearth much more of the film’s character-driven rewards than its mere commonalities with today’s popular wave of shows.

Reportedly the first ever film to be set in Boston (it is mentioned by a critic in the brief featurette on the DVD), the story opens with very peculiar setup, demonstrating no real need to rush into the thick of things for a good ten minutes. For
See full article at SoundOnSight »

DVD Review: "Around The World Under The Sea" Starring Lloyd Bridges, David McCallum, Shirley Eaton And Brian Kelly

  • CinemaRetro
By Lee Pfeiffer

Released in 1966, producer Ivan Tors' Around the World Under the Sea seemed at first blush like an exercise in stunt casting: cobble together some contemporary TV favorites into a feature film and have MGM and Tors divvy up the profits. However, that perception would be entirely wrong. While the film did boast some popular TV stars in leading roles, the film itself is an intelligent adventure flick, well acted and very competently directed by old hand Andrew Marton. The film stars Lloyd Bridges (only a few years out of Sea Hunt), Brian Kelly (star of Flipper), Daktari lead Marshall Thompson and Man From U.N.C.L.E. David McCallum. Veteran supporting actors Keenan Wynn and Gary Merrill are also prominently featured and Shirley Eaton, riding her fame from Goldfinger, has the only female role in this macho male storyline.The film is yet another title
See full article at CinemaRetro »

Daktari: Win the Complete First Season on DVD

Debuting on Tuesday nights in January 1966, Daktari ran for four seasons and 89 episodes on CBS. The show follows the work of veterinarian Doctor Marsh Tracy (Marshall Thompson) at the Wameru Study Centre for Animal Behaviour in East Africa. "Daktari" is a native word for doctor.

Doctor Tracy is joined by his daughter Paula (Cheryl Miller), American Jack Dane (Yale Summers), and a native named Mike Makula (Hari Rhodes), as they protect animals from poachers and local officials. They have two memorable pets; a cross-eyed lion named Clarence and a chimpanzee named Judy.

The complete first season of Daktari has now been released on DVD. You can purchase the set or you can try to win a copy here. To enter, you need to merely post a comment below. You can enter once per day.

If you'd like an additional
See full article at TVSeriesFinale »

Daily Briefing. Jacques Rancière on Béla Tarr

  • MUBI
With The Turin Horse opening in France on November 30 and the Béla Tarr retrospective at the Centre Pompidou running from December 3 through January 2, Capricci will be releasing Jacques Rancière's Béla Tarr, le temps d'après on November 29.

David Lynch's new album, Crazy Clown Time (which, again, you can listen to in full at NPR for the time being), has the Guardian building an annex to its special section on Lynch, "David Lynch's Film&Music," wherein you'll find Xan Brooks's interview, Cath Clarke on the newly rediscovered 50 minutes of never-before-seen footage from Blue Velvet (they'll be "re-edited — supervised by Lynch — into an extra on a new DVD celebrating the film's 25th anniversary (available early next year in the UK)," Michael Hann listening in while Lynch and Zz Top's Billy Gibbons discuss "the beauty and power of industry" and more. Related listening: Lynch and 'Big' Dean Hurley's mixtape at Pitchfork.
See full article at MUBI »

Fred Fetes a Fiend Without a Face

Fred Fetes a Fiend Without a Face
By Fred Burdsall

Fiend Without a Face first started out as a story that appeared in Weird Tales (possibly the best fantasy/horror fiction magazine ever) back in 1930 as “The Thought Monster” by Amelia Reynolds Long. The film’s director, Arthur Crabtree, also gave us Horrors of the Black Museum in 1959.

A lone sentry on patrol hears a crunching, slurping sound in the woods and goes to investigate. A farmer out checking on his cows in the early morning is attacked and the sentry arrives seconds later to find a dead man and no sign of the killer. Official cause of death: Heart Failure. The Air Force wants to do an autopsy but his daughter, Barbara (Kim Parker), won’t allow it and hands the body over to the local authorities.

The Adams farm comes under attack and the old couple die as horribly as Farmer Griselle did. The Air
See full article at Famous Monsters of Filmland »

A Massive List of New Netflix Instant Streaming Horror Titles

If you have Netflix and are a horror fan in need of something to watch this Labor Day weekend, one look at this gargantuan list I compiled of the new terror titles Netflix has added for instant streaming in just the first three days of this month should keep you busy until Labor Day next year. You'll find something for everyone, from older titles to recent releases, famous to obscure, classic to not-so-classic, monsters to maniacs - you name it.

For the record, I considered compiling this list in alphabetical order or by year of the film's release, but then I realized I had already spent well over an hour just sorting through the massive catalogue of titles Netflix has now made available for instant streaming and realized Labor Day would be over by the time I finished arranging this list in any kind of order. Ready? Here you go.
See full article at Dread Central »
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