3 items from 2016
Presenting murderous moppets on screen is always a dicey proposition. For every The Bad Seed or The Omen, there is always The Good Son or Mikey skulking about. It’s all about the fear – making a five or ten year old believably frightening is hard to do. As audience members, we put our faith in filmmakers to produce tension, conflict, and danger in a palpable (but not necessarily plausible) way, and when it’s tested we end up wading through Children of the Corn. But when our faith is rewarded, we find ourselves in the Village of the Damned (1960), a seminal killer kid chiller.
Based on the novel The Midwich Cuckoos by John Wyndham, Village was produced by MGM’s British division and distributed there in July, with a December rollout in the States. The film was a great success, both with critics and audiences alike, luring them in with »
- Scott Drebit
Jim Clark, who won an Oscar for editing Roland Joffé’s “The Killing Fields” and was also nominated for his work on the director’s film “The Mission,” died in the U.K. on Feb. 25. He was 84 and had been ill for some time.
News of his death was announced by the Guild of British Film and TV Editors on Feb. 26.
His credits also include Stanley Donen’s “Charade” (1963); John Schlesinger’s “Darling” (1965), “The Day of the Locust” (1975) and “Marathon Man” (1976); Michael Apted’s “Agatha” (1979), “Nell” (1994) and Bond film “The World Is Not Enough”; Michael Caton-Jones’ “Memphis Belle” (1990) and “City by the Sea” (2002); and Mike Leigh’s “Vera Drake” (2004) and “Happy-Go-Lucky” (2008).
In addition to the Schlesinger films listed above, he did uncredited work on the director’s “Far From the Madding Crowd” and served as a creative consultant on the helmer’s 1969 classic “Midnight Cowboy.”
Clark received the American Cinema »
- Carmel Dagan
Movies dealing with witchcraft are usually lumped in with the supernatural, so they’re sometimes unfairly shoved to the back of the horror line. However, I truly believe they should have their own category. With supernatural horror, forces are typically thrust upon a protagonist, revenge for misbegotten deeds perpetrated upon the deceased, or righting of wrongs from beyond the pale. Where witchcraft sets itself apart is in the approach – yes, it does deal with the unseen, unkempt and unwanted from beyond – but these forces are usually conjured by a human, for good or nefarious purposes. It’s definitely a case of “don’t call us, we’ll call you”, and you won’t find a finer example of filmic witchery than 1962’s Burn, Witch, Burn.
A British production (Independent Artists), Burn, Witch, Burn was picked up and distributed in North America by American International Pictures. In the U.K., it »
- Scott Drebit
3 items from 2016
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners