9 items from 2012
Throughout the month of October, Editor-in-Chief and resident Horror expert Ricky D, will be posting a list of his favorite Horror films of all time. The list will be posted in six parts. Click here to see every entry.
As with all lists, this is personal and nobody will agree with every choice – and if you do, that would be incredibly disturbing. It was almost impossible for me to rank them in order, but I tried and eventually gave up.
Special Mention: Gremlins
Directed by Joe Dante
Written by Chris Columbus
Gremlins gets a special mention because I’ve always considered it more of a comedy and a wholesome Christmas flick than an actual horror film. This tribute the 1950s matinee genre stands the test of time from a time when parents would take their children to family films that pushed the boundaries of the MPAA. Joe Dante is »
I almost find it hard to call Berberian Sound Studio a film. The experience of watching is simply that . . . an experience. All of the formal elements of a film are present: characters, dialogue, and story – albeit a minor one . Yet, the film isn’t necessarily about that. Peter Strickland has instead designed a film that acts as both a loving homage to fans of giallo cinema while also using sound to tell a very atmospheric tale of a skittish sound designer.
Toby Jones stars as Gilderoy, an English sound designer who arrives in Italy to work on a new film. If the timid technician wasn’t already stressed-out enough because of the demanding producer and a missing claims department, then the fact that the film is in the horror genre really pushes him close to the edge. The screaming witches and murdered women of the film Gilderoy is working on »
- Michael Haffner
Join us lurking in the gloom as we seek out the best film scenes involving shadows – from the sinister to the comforting
This week's clip joint is by MisterIks. Think you can do better? Email your idea for a future Clip joint to email@example.com
From the claustrophobic dread of gothic silents to the psychological shadows scattered through more modern cinema, shadows have been cast on walls, haunted the past, concealed what we may not want to see or allowed somebody (or something) to emerge into view.
The use of shadows to enrich the a film's atmosphere or narrative has been with us since the earliest cinema. For this Clip joint, I would like your favourite scenes involving shadows. My chosen scenes tend towards the horror genre, so it would to great to also see some clips where shadows offer lighter entertainment, or where shade brings respite »
- Guardian readers
Article by Jim Batts, Dana Jung, and Tom Stockman
No other actor in the long history of horror has been so closely identified with the genre as Boris Karloff, yet he was as famous for his gentle heart and kindness as he was for his screen persona. William Henry Pratt was born on November 23, 1887, in Camberwell, London, England. He studied at London University in anticipation of a diplomatic career; however, he moved to Canada in 1909 and joined a theater company where he was bit by the acting bug. It was there that he adopted the stage name of “Boris Karloff.” He toured back and forth across the USA for over ten years in a variety of low-budget Theater shows and eventually ended up in Hollywood. Needing cash to support himself, Karloff landed roles in silent films making his on-screen debut in Chapter 2 of the 1919 serial The Masked Rider. His big »
- Movie Geeks
Once in a while, the agents of director Nicholas McCarthy will pitch him on the idea of making a found footage horror movie. How does McCarthy respond to this seemingly reasonable request? “I’ll be like, ‘F— off!’” says the filmmaker.
To be clear, McCarthy has nothing against the found footage genre per se. But his own tastes run to a more rigorously composed visual approach as evidenced by his fondness for the films of horror maestros Val Lewton (Cat People) and Dario Argento (Suspiria) and his own debut move, The Pact. In the supernatural thriller Caity Lotz (MTV’s »
- Clark Collis
On the occasion of Anthology Film Archive's retrospective on Jean Epstein and the publishing of a new anthology on the filmmaker edited by Sarah Keller and Jason N. Paul, Jean Epstein: Critical Essays and New Translations, we are here reprinting the essay by Nicole Brenez, "Ultra-Modern: Jean Epstein, or Cinema 'Serving the Forces of Transgression and Revolt.'" The anthology is published by Amsterdam University Press and available in the Us and Canada from the University of Chicago Press. Many thanks to Amsterdam University Press, University of Chicago Press, Magdalena Hernas, Sarah Keller and Nicole Brenez.
Jean Epstein disappeared over half a century ago, in 1953. Yet, few filmmakers are still as alive today. At the time, a radio broadcast announced the following obituary: “Jean Epstein has just died. This name may not mean much to many of those who turn to the screens to provide them with the weekly dose of emotion they need. »
A classic piece of Americana. William Dieterle’s haunting fantasy is that rarity, a major studio art film. It’s had a rocky ride over the decades but is now available uncut on DVD after years of neglect, recuts and spotty distribution under a myriad of titles, including All That Money Can Buy, Here is a Man, A Certain Mr. Scratch, and Daniel and the Devil. As the Satan’s smolderingly sexy consort, a pre-Cat People Simone Simon must have made quite an impression on Val Lewton. Alec Baldwin directed and starred in an updated remake in 2003, which was finally released in 2007 as Shortcut to Happiness with Baldwin’s name removed.
"Showcasing a free-form approach to narrative that you'll wish wasn't all but extinct in American independent cinema," writes Benjamin Mercer in the L, "Sara Driver's long-unavailable (and too small) body of work constitutes a minor revelation. In her 1981 debut, You Are Not I — recently rediscovered and refurbished, providing the impetus for Anthology's retrospective — Driver laid the groundwork for her eerily dissonant overlay of enchantment, terror, and tedium: Adapting a Paul Bowles story with longtime collaborator (and partner) Jim Jarmusch, who also shot the film on black-and-white 16mm, You Are Not I is an outer-boundary study in the mind's capacity to project its disturbance." Suzanne Fletcher plays Ethel, "who has somehow escaped from a nearby mental hospital in the flaming aftermath of a several-car pileup. She travels through a derelict zone to her sister's house, where the 'inconvenient' Ethel winds up in an unnervingly clenched domestic showdown. »
“I am Ophelia. She who the river could not hold.” These words, taken from Heinrich Müller’s play Hamletmachine, are spoken by a girl playing an actress at the start of the beautiful new film Low Life, screening Sunday and Wednesday as part of Lincoln Center’s series Rendez-Vous with French Cinema. She is one of a group of young people who gather together in the streets and in their rooms at night, quoting and making plays, films, novels, and songs in an effort to choose their own identities, and to resist identities imposed on them by the State. The binaries of native/immigrant, legal/illegal, and natural/unnatural come into relief in particular through the love story of Carmen (Camille Rutherford), born in Lyon, and Hussain (Arash Naiman), an Afghan poet threatened with deportation. When together they’re quiet »
9 items from 2012
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