Night of the Demon (Rendez-vous avec la peur)

Night of the Demon (Rendez-vous avec la peur)
This French disc release of the Jacques Tourneur classic gets everything right — including both versions in picture perfect transfers. Devil debunker Dana Andrews locks horns with Niall MacGinnis, a necromancer “who has decoded the Old Book” and can summon a fire & brimstone monster from Hell, no election fraud necessary. Even fans that hate ghost stories love this one — it’s a truly creepy, intelligent highlight of the horror genre.

Night of the Demon

Region A + B Blu-ray + Pal DVD

Wild Side (Fr)

1957 / B&W / 1:66 widescreen / 95 & 82 min. / Street Date November 27, 2013 / Curse of the Demon, Rendez-vous avec la peur / Available from Amazon UK or Foreign Exchange Blu-ray

Starring: Dana Andrews, Peggy Cummins, Niall MacGinnis, Maurice Denham,

Athene Seyler

Cinematography: Ted Scaife

Production Designer: Ken Adam

Special Effects: George Blackwell, S.D. Onions, Wally Veevers

Film Editor Michael Gordon

Original Music: Clifton Parker

Written by Charles Bennett and Hal E. Chester

from the
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The disappearance of Michael Mann's The Keep

Padraig Cotter Jan 5, 2017

Michael Mann has all-but-disowned The Keep. But why? And how has the fanbase kept it going?

Every auteur has a black sheep in their filmography. Something which doesn’t gel with their established style, and was rejected by critics and fans upon release. On this front Spielberg has 1941, Oliver Stone has The Hand, Brian De Palma has Wiseguys and so on.

See related Kevin Feige on Black Panther, female superhero movie Avengers: Infinity War – the first set picture Thor: Ragnarok: the first official synopsis released

Michael Mann has the crown jewel of them all. He's a director best known for his precise, beautifully shot thrillers like Heat, Manhunter or The Insider. So how a director famed for his commitment to realism and methodical research ended up crafting a gothic horror movie set during World War II is anyone’s guess.

That’s what happened with 1983’s The Keep,
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50 More of the Greatest Matte Paintings of All Time

A few years ago the editors of Shadowlocked asked me to compile a list of what was initially to be, the ten greatest movie matte paintings of all time. A mere ten selections was too slim by a long shot, so my list stretched considerably to twenty, then thirty and finally a nice round fifty entries. Even with that number I found it wasn’t easy to narrow down a suitably wide ranging showcase of motion picture matte art that best represented the artform. So with that in mind, and due to the surprising popularity of that 2012 Shadowlocked list (which is well worth a visit, here Ed), I’ve assembled a further fifty wonderful examples of this vast, vital and more extensively utilised than you’d imagine – though now sadly ‘dead and buried’ – movie magic.

It would of course be so easy to simply concentrate on the well known, iconic,
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The 50 greatest matte paintings of all time

The art of the glass shot or matte painting is one which originated very much in the early ‘teens’ of the silent era. Pioneer film maker, director, cameraman and visual effects inventor Norman Dawn is generally acknowledged as the father of the painted matte composite, with other visionary film makers such as Ferdinand Pinney Earle, Walter Hall and Walter Percy Day being heralded as making vast contributions to the trick process in the early 1920’s.

Boiled down, the matte process is one whereby a limited film set may be extended to whatever, or wherever the director’s imagination dictates with the employment of a matte artist. In it’s most pure form, the artist would set up a large plate of clear glass in front of the motion picture camera upon which he would carefully paint in new scenery an ornate period ceiling, snow capped mountains, a Gothic castle or even an alien world.
See full article at Shadowlocked »

Stanley Kubrick’s Titles In Search of A Script

  • The Film Stage
The late, great Stanley Kubrick earned notoriety for many things over a nearly 50-year career, chief among them the sluggish pace at which he developed and, most importantly, completed projects. There are a few uncompleted efforts we all know of — Lunatic at Large, Napoleon, and Aryan Papers being the main three — but there are, in reality, any number of half-thought projects he threw around at one point or another. (Not a joke: I would kill your mother to see his Beatles-starring Lord of the Rings adaptation.)

But even us Kubrickphiles don’t have a full grip on just how many stray ideas were kept inside his giant brain. While merely a fun collection that would, in all likelihood, never lead to a feature film whose aspect ratio is debated to the point where you want to put a rattlesnake’s head in your mouth, a new, comprehensive volume on the
See full article at The Film Stage »

Stanley Kubrick's “Titles in Search of a Script” List

Here's an interesting and fun list that was recently brought to my attention. Apparently, director Stanley Kubrick kept a list of movie titles that he would have liked to one day turn into a script and possible film. The list he kept was called "Titles In Search Of A Script", and it was revealed by Kubrick’s personal assistant Tony Frewin. There is a bit of added commentary that explains where the titles came from.

Check out the list, and let us know which ones you would like to see get turned into a movie.

I Married An Armenian: Said matter-of-factly to us by a woman publicist. Stanley thought it a great title for a 1940s-style Warner Bros. musical. If Only The FÜHRER Knew!: This was a common saying in Germany in the 1930s whenever something went wrong or somebody did something wrong. Used mockingly with the eyes looking upwards.
See full article at GeekTyrant »

Rockets from Russia: great Eastern Bloc science-fiction films

We may think of Kubrick's 2001 as the great grown-up sci-fi film, but many beautiful, thoughtful cosmic adventures came out of the Eastern Bloc too

If we can begin with a sweeping generalisation, American science-fiction movies are usually distinguished by a fast pace that gets faster and ends with an enormous bang. Not all: George Lucas's Thx 1138 and Stanley Kubrick's 2001: A Space Odyssey are different. But these are exceptional even within those directors' work: Lucas's other sci-fi films being fast-moving toy-operas, while Kubrick's Doctor Strangelove and Clockwork Orange are relentless in their irony and forward movement.

Partially, I think, this is because Us sci-fi films were born of very low budgets in the 1950s, in the hands of independents such as Jack Arnold. They were often parables about the danger of nuclear testing, which caused men to shrink, or ants to grow giant, or prehistoric sea-beasts to carry off swimsuited girls.
See full article at The Guardian - Film News »

See also

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