5 items from 2016
If beauty is in the eye of the beholder, then Guillermo del Toro’s new exhibit at the Los Angeles County Museum of Art is sure to please viewers with an eye for the macabre. Titled “Guillermo del Toro: At Home with Monsters,” the show runs from August 1 until November 27, and will travel to co-organizing museums in Minneapolis and Ontario next year. Containing almost 600 eerie objects from the filmmaker’s private collection — including sculptures, paintings, costumes and books — the exhibition reflects his lifelong obsession with monsters.
“You can see my movies over and over again, and you will see that I adore monsters. I absolutely love them,” del Toro said at Saturday’s preview, adding “I think humans are pretty repulsive!”
Though he doesn’t consider himself a horror filmmaker these days, del Toro’s Lacma exhibit is filled with the type of ghoulish artifacts most often associated with a Fangoria convention. »
- Matthew Chernov
Dailies is a round-up of essential film writing, news bits, videos, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.
Watch a clip from Quentin Tarantino‘s commencement speech at AFI this year:
At BFI, Pedro Almodóvar on 13 great Spanish films that inspired him, and watch a video on his use of circles:
Blancanieves is one of the peaks in recent Spanish cinema, but had the bad luck to be released a year after The Artist (2011), a silent film that triumphed the world over. Pablo Berger had in fact decided years earlier to film his personal take on the Brothers Grimm fairytale as a black-and-white silent; the result is heartrendingly beautiful. »
- The Film Stage
Brian De Palma‘s shocking exploitation gut-punch, Sisters, is a perfectly orchestrated exercise in style, a staging of some of the finest suspense sequences since Alfred Hitchcock was above ground. Channeling the Master of Suspense’s gleeful enjoyment of audience manipulation, De Palma remarkably employs a trashy genre aesthetic to satirically explore issues of race and social alienation. It’s a film about outsiders — a starkly disturbing reminder that looks and appearances can be dangerously deceiving — that’s nevertheless less interested in soap-box statements than inducing audiences to squeal and squirm. Grim in its contemporary relevance, De Palma and co-writer Louisa Rose‘s political satire is ever-present but far from overt, quietly bubbling in the background. This is a film in which police officers respond to learning of the stabbing of an African-American man by hatefully grumbling, “Those people are always stabbing each other.”
The film’s opening scene launches »
- Tony Hinds
The continued adventures of Duane Bradley and his sinister twin brother are getting the high-def treatment, as Synapse Films announced that they will release Basket Case 2 and Basket Case 3: The Progeny on respective Blu-rays this August:
1982’s Basket Case introduced horror fans to Duane Bradley and his twin brother Belial, and a new horror classic was born. They also introduced the world to Frank Henenlotter, the uniquely crazed talent who would later give us Brain Damage and Frankenhooker. In 1990 and ‘91, Henenlotter and star Kevin Van Hentenryck returned for two even more demented sequels, both coming to Blu-ray from Synapse Films this August, each at the low price of $19.95!
- Derek Anderson
Attention classic movie freaks – Set your DVR for this Monday!!!!
Tod Browning (1880-1962) was a pioneering director who helped establish the horror film genre. Born in Louisville Kentucky, Browning ran away to join the circus at an early age which influenced his later career in Hollywood and echoes of those years can be found in many of his films. Though best known as the director of the first sound version of Dracula starring Bela Lugosi in 1931, Browning made his mark on cinema in the silent era with his extraordinary 10-film collaboration with actor Lon Chaney, the ‘Man of a Thousand Faces’. Despite the success of Dracula, and the boost it gave his career, Browning’s chief interest continued to lie not in films dealing with the supernatural but in films that dealt with the grotesque and strange, earning him the reputation as “the Edgar Allan Poe of the cinema”. Browning »
- Tom Stockman
5 items from 2016
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