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Find out what Lucrecia Martel's The Headless Woman, the interior in Ingmar Bergman, Audrey Hepburn in Breakfast At Tiffany's, Hitchcock's Rear Window basket and Ernst Jandl's poems have to do with Ramon Zürcher's The Strange Little Cat (Das merkwürdige Kätzchen).
Following a press screening of Jacques Demy's Young Girls Of Rochefort, I met up with Zürcher. In the center of Demy's marvelous and innovative musical which features a pastel clad vision of Gene Kelly, are twins, played by Catherine Deneuve and her late sister Françoise Dorléac. In perfect symmetry, Ramon brought along his twin brother, producer Silvan Zürcher to the office of Criterion Collection, off Union Square, where our conversation took place, arranged by »
- Anne-Katrin Titze
News flash for all you horror lovers out there, Relativity has officially finalized a deal to finance yet another haunted house movie: The Disappointments Room, starring Kate Beckinsale and directed by Disturbia helmer D.J. Caruso.
Inspired by a ‘true’ event – and you should take that with a pinch (no, the whole shaker) of salt – the film centers on a family’s encounter with the paranormal, inexplicable bumps in the night that inevitably go hand-in-hand with this genre, while they unravel the horrifying mysteries that come attached to their idyllic – and characteristically ancient – new home.
If there’s one thing Hollywood has taught us in recent years, it’s that you can never feel particularly safe in your own home. Yes, films like The Purge, The Strangers and Funny Games have turned the security of the family house into a prison of incomprehensible terror… well, the latter two certainly did – Funny Games »
- Dale Barham
The line-up for this year's Film4 FrightFest in London has just been announced – and boy, is it a doozy! Sporting a record-breaking 38 UK/European premieres and 11 world premieres, this August is going to be an exciting time in the genre calendar.
Check it all out right here, including lots of new images!
This year Film4 FrightFest will be moving from its previous home at Leicester Square's Empire Cinema to the nearby Vue Cinema (also on Leicester Square), prompting an ingenious reshuffle of the screening arrangements.
All main screen films will be presented at different times across three different screens, with two extra screens reserved for single-slot screenings of the various films hitting this year's Discovery Screens.
Here's the full list of goodies:
Main Screens (5, 6, 7)
Thursday Aug 21
Opening Night Film - The Guest (UK Premiere)
- Gareth Jones
Film4 FrightFest 2014, returning for its 15th year, unveils its biggest line-up ever. From Thurs 21 August to Monday 25 August, the UK’s leading event for genre fans will be at the Vue West End, Leicester Square, to present sixty-four films plus twenty shorts across five screens. There are sixteen countries representing five continents with a record-breaking thirty-eight UK or European premieres and eleven world premieres.
Are you ready for a monstrous and memorable mayhem of killer claws, cannibalism, cult classics, murderous musicals, chiller thrillers, graphic novel action and sick celluloid masterpieces? Then prepare yourself for the biggest, strongest and most eclectic must-see programme in Film4 FrightFest’s history.
From the opening night turbo-driven thrill-ride The Guest to the UK premiere of the closing night mesmeric sci-fi fantasy The Signal, FrightFest has netted the latest works from genre big-hitters such as Eli Roth (The Green Inferno), Alan Moore and Mitch Jenkins (Show »
- Phil Wheat
While the combination of sunny weather and sporting events like the World Cup tends to be a mood-improver for most, it's bad news for the box office. Most cinemas will be bracing themselves for a lean weekend, but what about those picturehouses that go the extra mile to stand out?
We've rounded up 8 of the world's most unusual movie-viewing venues below...
Guantanamo Bay Lyceum cinemas, Cuba
There's a great sense of irony in the fact that while the self-confessed architect of 9/11, Khalid Sheikh Mohammed, sits in his guarded prison cell in the world's most notorious detention centre, just the other side of the wall, Us soldiers can watch Oliver Stone's World Trade Centre on the big screen.
There are, in fact, two outdoor cinemas within Guantanamo Bay for the 1,000-strong guard force and people who live and work there. They show the latest Us releases on huge grass areas with tiered stadium seats. »
Six years after their last attempt, Empire Magazine has conducted a poll of over 250,000 film fans to come up with a list of the 301 greatest movies ever made. It's the 1980 classic "The Empire Strikes Back" which took the top spot, beating out the 2008 winner "The Godfather" which slipped down to second place. The Top 50 of the list are:
The Lord of the Rings: Fellowship of the Ring
2001: A Space Odyssey
Terminator 2: Judgement Day
- Garth Franklin
It’s that time of year again when Somerset House launch their wonderful Summer Screen season and once again, you can’t fail to be impressed. That’s not all either because if you’re quick, as it closes on Thursday, you can vote for the Audience favourite as they’re celebrating their 10th Anniversary!
To mark the milestone season, the Best of 10 vote will relinquish control from the curators for one night and for the first time, let you ladies and gents choose which film you’d like to see again at Somerset House. A list of 10 films, selected from some of the best-sellers since the season first began, are in the link box below for you to vote on!
The winner will then be added to the bill and voters will be invited to an exclusive 24 hour pre-sale, to be given the chance to secure tickets first for this special one-off anniversary night. »
- Dan Bullock
At a press conference at the Cannes Film Festival on Wednesday afternoon for “Grace of Monaco,” the festival’s opening night film, Nicole Kidman addressed objections about her portrayal of Grace Kelly.
Earlier this month, the royal family of Monaco issued a statement that read, “The trailer appears to be a farce and confirms the totally fictional nature of this film.”
“I mean, obviously, I feel sad, because I think the film has no malice toward the family, particularly toward Grace or [Prince] Rainier,” Kidman said. “It’s a fictionalization. You take dramatic license.”
Kidman added that she understood Kelly’s children feeling protective of their mother. “I still have respect, and I want them to know the performance was done with love,” Kidman said, noting if they ever decided to view the film, “they would see affection for both their parents.”
Kidman said that she felt “many similarities” to Princess Grace. »
- Ramin Setoodeh
The offscreen palace intrigue between “Grace of Monaco” director Olivier Dahan and his on-again off-again U.S. distributor Harvey Weinstein turns out to be far livelier than anything on screen in Dahan’s cardboard and frequently cornball melodrama about Grace Kelly’s bumpy transition from Hollywood to actual princess — and her (seemingly single-handed) saving of her embattled sovereign state from French annexation. Handsomely produced but as dramatically inert as star Nicole Kidman’s frigid cheek muscles, Dahan’s strained bid to recapture the critical and commercial success of his smash Edith Piaf biopic “La Vie en rose” is the sort of misbegotten venture no amount of clever re-editing could hope to improve. The decision to release the pic in France and other key Euro territories immediately following its opening-night Cannes berth reps a healthy gamble on Kidman’s drawing power against the summer blockbuster deluge.
Although Dahan and screenwriter Arash Amel »
- Scott Foundas
After admitting the laudable Stephen Toblowsky and much-missed Jt Walsh, we now see whether The Overlooked Hotel can make room for the delightful and versatile Michelle Monaghan.
A recent film magazine review queried why Michelle Monaghan had not hit it big (or at least bigger) off the back of her charming, star-making turn in Kiss Kiss Bang Bang. It was and is a pertinent question and it is hard to know why she has not become a more established star. Although she has a varied CV, it is hard to pick too many turkeys (Made of Honour and The Heartbreak Kid were pretty middling efforts, but hardly part of a broad trend), nor has she gone so left field as to disassociate herself from more mainstream opportunities.
Monaghan had been knocking around in a variety of TV gigs and supporting turns on the big screen, before catching a break as »
- Dave Roper
Directed by Brian De Palma
It is obvious that Body Double (1984) is a combination of the plots of Vertigo (1958), Rear Window(1954) and Dial M for Murder (1955) by Alfred Hitchcock, and nearly as obvious to say that the film also takes cues from Michael Powell’s Peeping Tom (1960) and elements from various slasher films like Abel Ferrara’s The Driller Killer (1979). Unfortunately, a good number of critical pieces on Brian De Palma are obsessed with listing off his influences and coming to the inept conclusion that he is merely a Hitchcock imitator with a couple of clever cinematic tricks up his sleeve. Few writers take De Palma on his own terms, though select critics are finally coming around, and most ignore the way he constructs his complex thriller narratives, creates exquisite images that take advantage of cinema’s unique artistic properties, »
- Cody Lang
Hey everyone! Starting this week, Daily Dead is going to be bringing you a weekly DVD & Blu-ray release recap so that you guys and gals can better keep up on all the great home horror entertainment coming at you each and every week. Considering the amount of titles being announced these days, we figured this would be a handy reminder of just some of the awesome movies you can to add to your own DVD and Blu-ray collections.
Here’s a rundown on what’s coming your way this week including a ton of amazing classic titles in hi-def from Universal Studios, a handful of Godzilla sequels being released on Blu-ray, and more.
None of Hitchcock’s films has ever given a clearer view of his genius for suspense than Rear Window. When professional photographer J.B. »
- Heather Wixson
Fans of Alfred Hitchcock movies will watch Brian De Palma’s Sisters and at the beginning notice that the music sounds a little like that out of Psycho. Then they’ll notice that the relationship between the two sisters is a little like Norman and his mother, before they are suddenly slapped in the face with a change in tone and suddenly it’s Rear Window. I guess you could say that De Palma was ripping off Hitchcock, it’s been said many times. In my view though this is of little importance when Sisters works so well. If you are going to take inspiration in your filmmaking from anywhere, why not copy off the master? Plenty of others have done so. »
- Paul Metcalf
By Darren Allison
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"The Next Alfred Hitchcock" was how director Brian De Palma was being celebrated by some back in 1973. It was largely in praise of his latest film, the thriller ‘Sisters’. There is little doubt that ‘Sisters’ is not only homage to Hitchcock’s Psycho, but also a huge nod towards Hitchcock’s entire body of work. As the saying goes - ‘You only borrow from the best’ and of course, it was no secret that De Palma was a huge admirer of Hitchcock’s work.
‘Sisters’ was inspired by a Life Magazine article read by De Palma, about the Russian Siamese twins Masha and Dasha. The film begins with a model named Danielle (played by Margot Kidder), who appears on the local TV game show, Peeping Toms (the film’s first example of its voyeuristic theme). Danielle goes out to dinner with the winning contestant, »
- email@example.com (Cinema Retro)
Tension. It is perhaps the most vital component of any good story. Whether that story is dramatic, romantic, horrific or comedic – they all need an element of tension to make them work. There are many, highly effective plot devices that filmmakers can employ to build that tension – in concert with more technical methods, such as sound, lighting, music and framing – but there is, perhaps, none better than the old solo character trope, which is used to great effect in this month’s Locke.
Written and directed by Steven Knight (Hummingbird, Dirty Pretty Things), Locke features Tom Hardy (The Dark Knight Rises) as a construction foreman driving from Birmingham to London. During his journey, he tries to settle issues over the phone, while pondering his dead father. The film takes place almost entirely in the car, with the other side of his phone conversations audible, but not visible.
The reason that »
- Sarah Myles
To mark the release of Sisters on 28th April, we’ve been given 3 copies to give away on Dual Format DVD and Blu-ray.
Before 1973, Brian De Palma was impossible to pigeonhole: he made comedies, political satires and openly experimental pieces. But with Sisters (originally released as Blood Sisters in the UK) he turned to the suspense thriller and discovered his natural home – and a style that would lead directly to later masterpieces like Carrie, Dressed to Kill and Blow Out.
When Danielle (Margot Kidder) meets potential boyfriend Philip (Lisle Wilson) after appearing on the TV show Peeping Toms (a nod to the Michael Powell shocker), she invites him home, only to attract the ire of her twin sister Dominique. From across the courtyard, Rear Window-style, reporter Grace (Jennifer Salt) witnesses Philip being murdered by one of the twins – but the police find no body or any physical evidence. Naturally, »
Peeps: You either love them or you hate them. Unless, of course, you’ve never had them, which should probably be a crime.
But in case you don’t know, the Easter-themed candy consists of a marshmallow that’s covered in colored sugar crystals and most often formed into the shape of either a chick or a bunny. We know, based solely on that description, it seems obvious that this classic candy should star in a Hollywood movie, but up to now, it’s never been done. However, that might change!
According to Deadline, Adam Rifkin has optioned film and »
- Samantha Highfill
Mad Men is back for a final series and its sartorial impact cannot be overstated. Jonathan Heaf describes how Don Draper helped a generation of ageing hipsters grow up gracefully, while Lauren Cochrane sums up the style influence of the other principal players, from perfect pyjamas to outlandish prints
When Mad Men began, in 2007, many men myself included were wearing the same scoop-necked, vintage band T-shirts, too-skinny jeans and winklepickers we had started the millennium in. It was a time when Hedi Slimane's pipe-cleaner menswear silhouette was still worth skipping lunch for, when Peter Doherty and his band of rakes were roaming the back alleys of Camden, inhaling the last vapours of indie rock credibility.
Then Don Draper waltzed in, with his grey suits, heavily pomaded, side-parted hair, billowy white shirts and perfectly neat pocket square. He looked like your dad, but sharper: like James Stewart in Rear Window, »
- <strong>Jonathan Heaf</strong> and Lauren Cochrane
You'll want to make some time for this excellent "Siskel & Ebert" special from 1983, “Dial H for Hitchock,” in which the beloved and much-missed critical pair do their thing (after a few promos for their review of “The Big Chill”, for whatever reason). The show highlights an interesting bit of film history: it was made to coincide with the rerelease of several Hitchcocks in the early 80s–“Vertigo,” “Rear Window,” “Rope,” “The Man Who Knew Too Much,” “The Trouble With Harry”–all of which had been hard to see in the U.S. for some years before 1983, Hitchcock himself having intentionally kept prints scarce to increase their value. “Vertigo” and “Rear Window”, of course, are two of Hitchcock's absolutely most influential film, so it's strange to imagine a time when many film fans wouldn't ever have seen them. This isn't just a Hitchcock hagiography though: the other three films aren't quite of the same legendary status, »
- Ben Brock
By Mark Pinkert
Alfred Hitchcock‘s North by Northwest (1959) is his most famous rendering of the innocent-man-on-the-run thriller, but The 39 Steps (1935) is the original, and while the former is colored, cohesive, and so in a form for longevity, the latter is more eccentric, stylized, and perhaps more oddly compelling. But The 39 Steps hasn’t survived in popular memory because it is in black-and-white and is often difficult to understand (mumbling British accents and underdeveloped sound-mixing). Modern film viewers will have seen at least Psycho (1960),Vertigo (1958), and Rear Window (1954), or some combination of the Hitchcock essentials, but only the true enthusiasts–fewer and fewer they remain–will see The 39 Steps. My suggestion is to see it, regardless.
Read the rest of this entry… »
- Mark Pinkert
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