21-34 of 34 items from 2015 « Prev | Next »
If you’re a diehard horror fan, you no doubt recognize the strides that “classic” horror films took to get us where we are today. While these films are indeed respected, they are often considered hokey, now that the bar for our tolerance of fear has climbed so high in the last 85 or more years. Naturally, as we change as human beings, so do the fears and expectations of each passing generation, be it the result of advances in science, social norms or the general state of humanity. A great example, as much as I find the subtle shadow play and slow-burn dread of John Carpenter’s Halloween terrifying, younger folks may find Rob Zombie’s loose remake/revision to be a much more frightening and socially-relative film with its abrasive depiction of graphic violence. A quality horror film, and what is often recognized as a “classic”, is one that »
- Josh Soriano
Despite winning critical acclaim for a variety of award-winning performances throughout his career, Anthony Perkins is most fondly remembered for his legendary portrayal of the deranged and eerily-soft spoken psychopath who ran the Bates Motel, harboured a passion for taxidermy and co-habited with the decaying corpse of his dead mother. So revered was his performance that Bates was voted the second greatest screen villain of all time by the American Film Institute (Anthony Hopkins took that particular accolade for his chilling turn as Hannibal Lecter, although Bates did beat Darth Vader).
It was a character Perkins would become forever associated with in the annals of Hollywood history – aside from the film’s own sequels, »
- Jak Penny
From toilet-based scares to nasty encounters in the shower, here's a selection of 17 memorable moments of terror in the bathroom...
Nb: the following contains potential spoilers and scenes which may be considered Nsfw.
The scariest moments in horror are often the most intimate - this is why knives are a far nastier, button-pushing instrument of death than the gun. As the Joker famously put it in The Dark Knight, “You can savour all those little emotions...”
Intimacy may be the key to understanding why, in horror films, so many dreadful things tend to happen in bathrooms. The bathroom is often where we go to be by ourselves - either to answer the call of nature, brush our teeth, or simply relax in the bath after a hectic day at work. Equally, the water closet also sees us at our most vulnerable: naked, or at least with our trousers down, and »
Now this is a list that could result in a lot of fascinating dissection and thanks to HitFix it comes to our attention almost three years after it was originally released back in 2012, celebrating the Motion Picture Editors Guild's 75th anniversary. Over at HitFix, Kris Tapley asks, "Is this news to anyone elsec" Um, yes, I find it immensely interesting and a perfect starting point for anyone looking to further explore the art of film editing. In an accompanying article we get the particulars concerning what films were eligible and how films were to be considered: In our Jan-feb 12 issue, we asked Guild members to vote on what they consider to be the Best Edited Films of all time. Any feature-length film from any country in the world was eligible. And by "Best Edited," we explained, we didn't just mean picture; sound, music and mixing were to be considered as well. »
- Brad Brevet
A random bit of researching on a Tuesday night led me to something I didn't know existed: The Motion Picture Editors Guild's list of the 75 best-edited films of all time. It was a feature in part celebrating the Guild's 75th anniversary in 2012. Is this news to anyone else? I confess to having missed it entirely. Naturally, I had to dig in. What was immediately striking to me about the list — which was decided upon by the Guild membership and, per instruction, was considered in terms of picture and sound editorial as opposed to just the former — was the most popular decade ranking. Naturally, the 1970s led with 17 mentions, but right on its heels was the 1990s. I wouldn't have expected that but I happen to agree with the assessment. Thelma Schoonmaker's work on "Raging Bull" came out on top, an objectively difficult choice to dispute, really. It was so transformative, »
- Kristopher Tapley
Oprah Winfrey is teaming with "Selma" director Ava DuVernay for a TV series adaptation of Natalie Baszile's novel "Queen Sugar" for Winfrey's Own network. Winfrey will executive produce and appear in a recurring role.
The story follows a "spirited woman" who leaves an upscale Los Angeles life behind to claim an inheritance from her recently deceased dad: an 800-acre sugar cane farm in Louisiana. DuVernay is set to write, direct and executive produce the series with production commencing later this year. [Source: E! Online]
The BBC has released the first trailer for "The Casual Vacancy," the upcoming mini-series adaptation of J.K. Rowling's first non-"Harry Potter" novel. The three-part tale commences airing on February 15th.
The story is set in a seemingly idyllic English village where the townspeople fight for the spot on the parish council after one member dies. In the process, nasty secrets come to light. »
- Garth Franklin
It seems clear that Bates Motel is moving closer and closer to the events of Alfred Hitchcock's Psycho, with last month's trailer entitled Becoming Psycho. Today, The Hollywood Reporter has debuted new a new poster for Season 3, which literally shows the word "Psycho" right next to young Norman Bates (Freddie Highmore), as he is being embraced by his loving mother Norma (Vera Farmiga). Of course, we don't necessarily need that overt homage, since Norman looks more psychotic than usual in this poster.
Bates Motel returns for a gripping third season filled with family strife, murder and mystery lead by Vera Farmiga (Norma) and Freddie Highmore (Norman). This season focuses on the evolution of the Bates family and dives head first into Norman's waning ability to stay in denial about what's happening to him and the lengths he will go to gain control of his fragile psyche. The dramatic events »
Last week, Steven Soderbergh offered his own cut of 2001: A Space Odyssey in a much more complete fashion than he did with either Raiders of the Lost Ark or Psycho. He didn’t merely provide a navel-gazing soundtrack to a black-and-whitified version of Indy so that everyone could focus in on how Spielberg staged his scenes, or combine the two Psychos together so that everyone could focus in on how much cooler Anthony Perkins is than Vince Vaughn. Soderbergh’s cut of 2001 is the product of a complete vision for the movie (in as much as it can be without shooting new scenes or having access to any footage that didn’t make Kubrick’s cut). If aliens learn about human civilization through the internet, and they find this video without the accompanying text, they’ll think that it’s the “real” 2001. They’ll also wonder why our space program has moved backward in the past »
- Scott Beggs
The Gone Girl team of director David Fincher, screenwriter Gillian Flynn and actor Ben Affleck have already set their sights on their next project: Strangers, a modern take on Alfred Hitchcock's 1951 suspense classic Strangers on a Train, according to Deadline.
In the Hitchcock original, the plot revolves a murder pact between a tennis star (played by Farley Granger) and the titular stranger on a train (portrayed by Robert Walker). Aboard, they devise a plan to kill the source of each other's problems – the tennis star's ex-wife, the stranger's father »
It seems Ben Affleck and director David Fincher hit it off during the making of Gone Girl, as the two are expected to team up for a remake of the Alfred Hitchcock classic Strangers on a Train, the first remake of the great man's work since 1998's Psycho. According to Deadline, Gone Girl author and screen writer Gillian Flynn is also on board for the remake, which will possibly just be called Strangers. In the original, tennis pro Guy Haines meets the charming, yet psychotic, Bruno on a train, which sets in motion a plan to pull off the perfect crime, with both strangers tasked with murdering the other's respective thorn in their side. This modernised version would take on slightly meta aspect, with Affleck as an actor in the middle of an Oscar campaign who accepts a ride on a wealthy stranger's private jet after his own plane breaks down. »
- firstname.lastname@example.org (Tom White)
The films of Alfred Hitchcock still provide rich pickings for modern filmmakers, in spite of the fact that the last full-on remake was Gus Van Sant's ill-advised take on Psycho. Thus, Michael Douglas vehicle A Perfect Murder went back to the Dial M For Murder source material, whilst the Shia Labeouf-headlined Disturbia was inspired by the wonderful Rear Window.
Next up then? It might just be Strangers On A Train. Warner Bros is trying to get a remake of the 1951 original together, and it's recruiting the team behind Gone Girl to do it. Thus, the studio wants novelist and screenwriter Gillian Flynn, star Ben Affleck and director David Fincher to take the job on.
The new version will be modernised (taking place in the middle of an Oscar campaign, »
Starting in March, A&E has set up a Monday night of Carlton Cuse-produced spins on genre favorites. A&E announced on Friday (January 9) morning that "Bates Motel" will return for its third season on Monday, March 9 at 9 p.m. "Bates Motel" will be followed by the first season of A&E's remake of "The Returned," which A&E hopes will do better than last spring's short-lived "Bates" lead-out "Those That Kill." "Bates Motel" is, of course, a semi-prequel to Alfred Hitchcock's "Psycho," while "The Returned" is a very literal English-language take on SundanceTV's acclaimed French zombie-kinda drama "Les Revenants." While both dramas feature "Lost" veteran Carlton Cuse as executive producer, it's worth noting that Raelle Tucker ("True Blood") is running the show on "The Returned," while Kerry Ehrin is steering "Bates Motel." The "Returned" ensemble includes Mary Elizabeth Winstead, Mark Pellegrino, Jeremy Sisto, India Ennenga, Sophie Lowe, »
- Daniel Fienberg
By Anjelica Oswald
Keep on Keepin’ On, director Alan Hicks’ debut film, follows four years of the friendship and mentorship between jazz legend and trumpeter Clark Terry, who played with Count Basie and Duke Ellington and taught a young Quincy Jones how to play, and Justin Kauflin, a talented 23-year-old blind pianist. The two musicians support each other as Terry begins to lose his eyesight due to health issues and as Kauflin deals with stage fright as a semi-finalist in the Thelonious Monk International Jazz Competition. The film is one of 15 films on the Oscar documentary shortlist, five of which will be nominated on Jan. 15.
The Academy is particularly fond of music-related documentaries, nominating 17 since 1942, with eight winning. Keep on Keepin’ On could join the following Oscar-nominated films:
Director Murray Lerner’s black-and-white documentary offers a glimpse into three years (1963-1966) of the Newport Folk Festival, which »
- Anjelica Oswald
It’s 10 p.m. in London, and Rosamund Pike has just roasted a chicken, finished the washing up, folded the laundry and tended to a wee sick one. Now she sits for a moment in her kitchen, spent but happy, her four-day-old baby son snoozing in his basket beside her.
The setting may be calm and pastoral, in keeping with Pike’s new life, but it’s sharply at odds with the actor we now know her to be. This year she delivered a career-making performance as Amy Dunne, the stunningly beautiful, dangerously secretive and cynically vicious wife in David Fincher’s “Gone Girl, »
- Sharon Waxman
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