1-20 of 36 items from 2011 « Prev | Next »
This week sees the release of Andrea Arnold’s latest film Wuthering Heights: an affecting and starkly beautiful film which contradicts the old adage that great novels don’t translate into great films.
However, the two principal reasons for the success of this disturbing, gritty and highly idiosyncratic adaptation are Arnold and screenwriter Olivia Hetreed’s willingness to liberate themselves from the letter of the text, and to achieve the same ends as Bronte’s brooding, melancholic yet hauntingly beautiful prose through filmic techniques, rather than linguistic ones. The tender naiveté of Heathcliff and Cathy’s doomed romance is portrayed through physicality and gesture, such as their heavily symbolic wrestling in the mud, and her sensual licking of the wounds on his back. »
Peter Wyngarde, Martin Stephens, The Innocents Max Schreck, Nosferatu: Top Five Scariest Living Dead Pt.2 When I first saw it as a kid, I loved Jack Clayton's spooky 1961 movie The Innocents, adapted by Truman Capote from Henry James' novel The Turn of the Screw. Admittedly, The Innocents is the kind of movie that could have turned this Catholic school student into a remorseless serial killer — what with incest (between young siblings Martin Stephens and Pamela Franklin), child sexuality (that's Stephens and Franklin again), repressed female libido (that's prim and proper Christian governess Deborah Kerr), un-prim, un-proper, and un-Christian sex fantasies (Kerr again), and a highly eroticized male ghost (Peter Wyngarde) who possesses the little boy, turning him into a sex animal. Luckily, The Innocents failed to lead me astray, for my vulnerable youthful psyche had already been debased by another 1960s repressed sex/unrepressed ghost tale, Robert Wise's The Haunting (1963). So, »
- Andre Soares
Max Schreck, Nosferatu (1922) The Movies’ Top Five Scariest Living Dead Many consider F. W. Murnau's 1927 romantic melodrama Sunrise to be his masterpiece. As far as I'm concerned, nothing Murnau did that I've seen beats Nosferatu, thanks in large part to Herr Schreck, the movies' most un-debonair vampire. Werner Herzog's 1979 remake starring Klaus Kinski was stylish and visually engrossing, but it lacked the sense of foreboding found in Murnau's 1922 classic. Schreck, in fact, was so convincing as the vampire that some have wondered if the actor was one himself. Hence, E. Elias Merhige's 2000 fantasy comedy Shadow of the Vampire, which featured Oscar-nominated Willem Dafoe as Schreck as a real vampire and John Malkovich as a very un-Murnauesque Murnau. Schreck, I should add, was born in Berlin in 1879. He died in Munich in 1936. Nosferatu remains, by far, his greatest contribution to film. »
- Andre Soares
*here be spoilers.
Director: Bob Willems.
The character of Renfield is quite the complex one to understand. In Bram Stoker's original treatment Dracula, he's characterized as the quintessential madman obsessed with the consumption of life. He serves a secret master, and Stoker never intended to have him survive past the events of the novel.
Just how he lasted to be featured in Renfield, the Undead almost needs to be asked. The presumption is that the staff of the asylum simply just buried him, and there he remained until the time was right for him to claw himself out of the dirt. If one interment was not enough, being buried six feet under was enough to really send him to go off the deep end.
Some people may see Phil Nichols performance of Renfield reminiscent of the Joker from "Batman." This actor certainly »
- firstname.lastname@example.org (Ed Sum)
When it comes to horror films, Americans must humbly bow their heads and concede defeat to their international brethren. Sure, Wes Craven, Tobe Hooper, George Romero and others deserve all the accolades they've received, but as the below films prove, clever horror knows no American territoriality.
Eerie houses, ghost eyes, and sadistic doctors can be found anywhere.
Here are nine extremely scary exports every horror fan needs to see.
'The Eye' (2002)
Country: Hong Kong
Why So Scary: You'll hear this a lot from us, but skip the 2008 remake starring Jessica Alba (if you even remember it) and check out the Pang brothers' tale of a blind woman who receives a corneal transplant and begins seeing strange, dark figures everywhere she goes. It'd be a betrayal to give away any more than that. Let's just say we dug our fingers into the seat cushion more times than we'd like to admit. »
- Jason Newman
Choosing my favourite horror films of all time is like choosing between my children – not that I have children, but if I did, I am sure I would categorize them quite like my DVD collection. As with all lists, this is personal and nobody will agree with every choice – and if you do, that would be incredibly disturbing. Also, it was almost impossible for me to rank them in order, but I tried. I based my list taking into consideration three points:
1- Technical accomplishments / artistry and their influence on the genre.
2- How many times I’ve revisited the films and how easily it makes for a repeated viewings.
3- Its story, atmosphere and how much it affected me when I first watched them.
There's nothing quite like a silent film with live musical accompaniment. Earlier this year, I got to see the Alloy Orchestra perform the score they wrote for Fritz Lang's "The Complete Metropolis" at Ebertfest and it blew my mind; the night easily ranks amongst the coolest experiences I've ever had in a movie theater. When a talented composer actually writes the music for the film you're watching, like Alloy did for that version of "Metropolis," that's an even rarer and greater treat.
Folks in Austin, Texas will have a chance to tap into that silent-movie-live-score magic this Halloween weekend, with a special screening of F.W. Murnau's 1922 vampire masterpiece "Nosferatu." On Sunday, October 30, the film will play the Alamo South Lamar accompanied by a live performance by Graham Reynolds and the Golden Arm Trio. Reynolds, the composer of Richard Linklater's "A Scanner Darkly," wrote the score especially for the film. »
- Matt Singer
42 – Nosferatu: The First Vampire
Directed by F.W. Murnau
1922 – Germany
The earliest surviving film based on Dracula is Nosferatu, an unauthorized adaptation of Bram Stoker’s novel. One of the first vampire movies, it is perhaps on one of the best vampire movies ever made. Generally creepy from beginning to the last frame.
Federico Fellini (segment Toby Dammit)
Roger Vadim (segment Metzengerstein)
1968 – France
First thing to notice is the three directors: Federico Fellini, Louis Malle and Roger Vadim. Second you need to take notice in the cast which includes Brigitte Bardot, Jane Fonda, Peter Fonda, Alain Delon, Terence Stamp, Salvo Randone, James Robertson Justice, Françoise Prévost and Marlène Alexandre. Spirits Of The Dead is an adaptation of three Edgar Allan Poe stories that amount to one mixed bad, but with one incredible segment that needs to be seen. »
When we think of the great horror performances of the last 100 years, the tendency is immediately to think of the monsters and killers: Anthony Perkins, Bela Lugosi, Max Schreck. This isn’t entirely fair on the other cast members, but it reflects the way that most horror movies aren’t all that interested in the victims. What might be harder, though, than playing a memorable villain is giving a great performance in a horror movie as the one responding to the horror. Lots of teenagers have been chopped up by Freddy, Jason and Michael, and usually the audience is relieved to see them go. But how many have made us really care about their plight?
- Adam Whyte
Apparently, superstar actor Johnny Depp wasn't just showing off his knowledge of early horror cinema when he recently revealed that his take on the vampire Barnabas Collins in director Tim Burton's Dark Shadows adaptation was inspired by "classic" movie vampires like Max Schreck in Nosferatu, a Symphony of Horror. Empire recently released two new photos from the set of the movie — one featuring Depp as Collins, who was awakened in the 1970s after a 200-year slumber; the other featuring Michelle Pfeiffer as Elizabeth Collins Stoddard, the matriarch of the Collins family in the '70s — and Depp's splayed (and sufficiently bloodied) talon-like fingers in one of the images immediately brings to mind that classic image of Nosferatu ascending the stairs from the 1922 movie.
Link | Posted 10/26/2011 by BrentJS
- BrentJS Sprecher
Campfire tales can sometimes involve a scary moment when it is being told on a lone summer's night. Just what lies out there, beyond the fringes of our vision, or our imagination? It is that fear of the unknown that primitive hunter-gatherers had to conquer and in what evolved from that, it became an early art form. Horror has evolved from early history where it took on mythical roots—where early creation myths are filled with monsters like demons, and good is often in conflict with evil. They existed in stories.
The word ‘horror’ didn’t get used until after Horace Walpole's 1764 novel, The Castle of Otranto, was published. After the genre gained popularity in literature, and motion pictures was just becoming nouveau, the three films that hailed the beginnings of a horror film genre are: Das Kabinet des Dr Caligari (1920); Nosferatu, eine Symphonie des Grauens (1922); and Phantom of the Opera »
- email@example.com (Ed Sum)
On 11 October, Halloween began early at the Barbican Centre with a screen talk by Mark Gatiss and film critic Jonathan Rigby, followed by a screening of Harry Kümel's Belgian vampire film Daughters of Darkness (1971). The hour-long discussion covered much the same ground as Gatiss' BBC4 series A History of Horror - on which Rigby was show consultant - but for fans it was a great opportunity to see in person these two engaging, funny, and impressively knowledgeable horror enthusiasts.
The pair chatted about German Expressionism and the striking black and white images from Robert Wiene's The Cabinet of Dr Caligari (1920) and F.W. Murnau's Nosferatu (1922) that stayed with them long before they were able to view the actual films. A large part of the talk was given to Universal's classic monster movies, which started with Lon Chaney in The Phantom of the Opera (1925) and The Hunchback of Notre Dame »
- Daniel Green
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.
Justine Smith (11 viewings) Total of 31 viewings
Spider Baby or The Maddest Story Ever Told
Directed by Jack Jill
This movie is very fun, not so much scary as gleefully depraved. The film revels in it’s childhood attitude, »
In the 1920s those seeds planted the decade before took hold, and there are notable examples of early horror on both sides of the Atlantic. The most significant of these, and perhaps the most famous, is F.W. Murnau’s masterpiece, Nosferatu: A Symphony of Horror. It is the first of countless adaptations of Bram Stoker’s Dracula, though famously made without the permission of the Bram Stoker estate. Although included amongst the Expressionist movement, what’s startling today is the movie’s lyrical use of natural light and exterior shots (of running water, animals etc.); visually it is in stark contrast to Caligari’s jagged mindscapes. They both create otherworldliness in different ways, one by giving us distorted images we can relate to, and the other by alienating us with carefully employed images of nature.
The best vampire movies from this to Let the Right One In (2008) take the myth seriously, »
- Adam Whyte
I’m not a big fan of the horror genre. I don’t care for horror films, TV shows, novels or anything like that. But I do have an understanding of the genre and the roots that it has in something I really do enjoy: German expressionist cinema.
German expressionist cinema is a type of film that highlights bizarre sets, unusual angles, dark shadows, strange people and strange places. Mental illness was often a feature of the stories in one form or another. Expressionism got its start in Germany in 1913 with The Student of Prague, but it didn’t really take off and come into its own until after World War I. Though the Expressionist movement was largely dead after 1933 (not coincidentally the year that the Nazis came to power in Germany), it nevertheless created vibe that resonates throughout film today, inspiring, in whole or in part, such genres as »
- Chris Swanson
Horror has had a rough year in 2011, both in cinemas and on our DVD shelves. As late into the year as October (the month in which horror is god) the only effective genre films have been those that merged together horror with comedy (Attack the Block and Tucker & Dale versus Evil for instance). Everything else has been shown on the festival circuit, which means they won’t see the light of public consumption until 2012. Failing that the peak of horror has potentially been saved for the final months of the year. Now instead of picking fault with the poor films that have been released thus far this year, let us travel back to the origins of the genre and to Germany where three select films were made that proved to be intrinsic in the development of the genre. Those three films are Robert Weine’s The Cabinet of Dr Caligari, »
- Robert Simpson
Note: This is the second article in this series of posts. Click here to see the first entry.
Every year I spend the majority of the month of October watching as many horror movies as I possibly can. So I decided to take it upon myself to list off the greatest horror movies ever made. I felt the need to break up the list into several categories. You see, usually when people ask me for recommendations of what horror films they should see, they still have some idea of what sub genre they are interested in watching. So as appose to having one big jumbled list, I’ve broken it down to help with those looking for recommendations in a specific area. Please Note: by the end of the month, the last entry in this series will include a list of what I think are without a doubt, the 31 greatest horror movies ever made. »
You just can’t keep a good vampire down, which seems to be the case with Barnabas Collins. Since he was introduced to American audiences in the second season of campy/gothic 60s soap opera Dark Shadows, Barnabas has remained the most popular and best-remembered part of the series. From the series spawned a comic book series, two feature films, several novels, a revival series in the 90s starring Ben Cross in the titular role, and a failed pilot filmed for The CW. And now, the often-rumored film adaptation from the collaboration team of Tim Burton and Johnny Depp is finally in production. And we have the new pictures from the set.
A few weeks ago, fans were aghast when set pictures were leaked featuring Depp in ghostly-white make-up dressed like Michael Jackson (which should cause sheer terror in anybody). But the new pictures look closer to what we should »
Olga Tschechowa points the finger.
It's a listless country house gathering, broiling with intrigue under the surface: Bertie Wooster might appear, except we're in Germany. The hunt is rained off: nobody has anything to do except read the paper or gossip. And then Graf Oetsch arrives, suspected of murder, and they really have something to gossip about...
I first saw F.W. Murnau's Schloß Vogeloed (1921), under the misleading title The Haunted Castle, on a grey-market VHS bought on eBay. Grey was the word: the washed-out images were devoid of clarity, life and atmosphere, and the only thing that struck me asides from the pervasive theatricality was a double dream sequence which crashed into the plot for no real reason.
The first dream is scary, although the dreamer is the film's comedy relief character, "the anxious gentleman" played by Julius Falkenstein. As he slumbers, the window blows open and the diaphanous curtains blow in the gale. »
In this week’s column, James gets his teeth into Fright Night, and asks whether we’re now officially bored with vampires…
Colin Farrell is a vampire! I like the sound of this supernatural scenario. Indeed, this is a case of inspired casting that allows a talented and adaptable actor a juicy role he can really get his teeth into.
It’s just a shame that the Irishman is only becoming a seductive bloodsucker now for Fright Night, and not at the beginning of his career when he spent some time in Ballykissangel. It would have been fun to see young Farrell terrorising BBC primetime TV, worrying the sheep and spreading unholy terror through the County Kerry countryside.
Ah well, never mind. Farrell has finally got fangs for his appearance as Jerry Dandridge in the 3D remake of the 1985 flick. I’m going to naively pretend that the new Fright Night »
1-20 of 36 items from 2011 « Prev | Next »
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