10 items from 2010
The episode opens with Blair in a homage to Wait Until Dark. She hears someone in her house and calls out to Chuck. Someone lunges at her from the shadows and grabs Blair, who falls to the ground. As she screams for help, she notices that her attacker is a woman. Blair wakes up, realising that it was a nightmare. Meanwhile, Serena wakes up next to Colin - the cab stealer - and slips out. Back at home, Blair asks her where she was but Serena insists that she just talked to Colin all night. She explains that she doesn't want to just be one of his conquests. She asks Blair what's wrong and Blair admits that she had another Chuck nightmare. She asks why a girl with long hair would attack her, but a look of realisation appears on her face. Serena explains that she doesn't want to be »
- By Catriona Wightman
Any Gossip Girl fan knows of Blair Waldorf’s fondness for Audrey Hepburn and her repeated Hepburn dreams. “It was in the books that she was obsessed with Audrey Hepburn and there was also a part of the books that described how she was trying to live in the movie version of her life but things never quite lined up,” explains executive producer Stephanie Savage. “So we sort of combined those two elements to give her these signature dreams where she was trying to have these perfect Audrey Hepburn moments, but her subconscious always intruded.” Tonight’s dream includes a »
- Tim Stack
If you were forced to give up one of your senses which would it be? Hearing? Touch? Spidey? It would be devastating to lose any of them obviously, especially the sixth, but I expect the most frightening would be the loss of sight. The idea of your world going slowly and irreversibly dark is terrifying, and while some films choose to view the subject of blindness as fodder for treacly drama or humorous action (At First Sight, Blind Fury) there have been a few that embrace the horror of it all. Audrey Hepburn’s Wait Until Dark is probably the best known blind-centric thriller, but for me few films beat the little-seen Afraid Of the Dark when it comes to milking the nightmarish premise for maximum chills. But the new film produced by Guillermo Del Toro comes pretty damn close. A blind woman stumbles through her home, staring in vain into the dark corners and pockets of »
- Rob Hunter
If a film has the name Guillermo Del Toro attached to it (producer, writer, director, whatever), I will make an immediate beeline to that movie. As a writer/director, he's treated us to modern classics like The Devil's Backbone and Pan's Labyrinth (and who doesn't love the Hellboy movies?), and as a producer he's put his name and efforts behind titles like The Orphanage, Splice, and now Julia's Eyes, a comfortably old-fashioned horror/thriller that borrows a little bit from Wait Until Dark, but also forges some enjoyable new ground of its own. The film starts out simple and gradually gets a lot more intense: a lonely blind woman hangs herself in her cellar, but when her sister and brother-in-law discover »
“From the beginning, you have watched others suffer,” says Jigsaw (Tobin Bell) in the new trailer, embedded below. “Now it is your turn.” Question, Jigsaw: Will we suffer because this 3-D final chapter might just be a gimmicky attempt to revive a hack-neyed (ha!) Saw franchise? (Especially after Saw VI’s poor performance at the box office in October.) Or because you literally intend to inflict bodily harm on movie-goers? I vote the the second option, not just because Jigsaw completes his latter sentence with “…to play” (unfair editing alert, oops!), but also because the trailer seems to indicate that »
- Kate Ward
Julia’s Eyes seems to take on the dark and haunting tone of the Orphanage while adding a faster pace to the proceedings. The film’s official synopsis is as follows:
Julia, a woman suffering from a degenerative sight disease, finds her twin sister Sara, who has already gone blind as a result of the same disease, hanged in the basement of her house. In spite of the fact that everything points to suicide, Julia decides to investigate what she intuitively feels is a murder case, entering a dark world that seems to hide a mysterious presence. As Julia begins to uncover the terrifying truth about her sister’s death, her sight deteriorates, until a series of unexplained deaths and disappearances cross her path.
- Kristy Puchko
Craig here with this week's Take Three
Today: Alan Arkin
Take One: Three-hundred-and-sixty-three words about one performance
Thirteen Conversations About One Thing (2001) was a solemn little indie film. I caught at random back in ’06 - and returned to it this week for Take Three. It’s one of those character-driven, multi-plot-strand affairs, à la Short Cuts - one of the many that came in the wake of Magnolia etc - where the cast are individually designated an appropriately emotional storyline to battle through. It was worth seeing (twice) for Arkin’s greatly measured, affecting performance. His character, Gene English, comes across as initially unlikeable; he’s a difficult, workaholic manager for an insurance firm, none too cheery day-to-day, largely due to the utter joylessness of his life, but brusquely committed to his work regardless.
On a few rare occasions director »
- Craig Bloomfield
Melanie Robel has only been acting in the "biz" for a few short years and she's already added the "executive producer" status to her resume with the upcoming Post Mortem America: 2021. Check out the interview below where she talks about her projects, what she does in her spare time and her guilty pleasures. Melanie also surfs and I needs me some lessons, I wonder if she's up for this kinf of task? This first image of Melanie is from artist Dennis Willman who does these amazing "Playzom" pieces inside his upcoming Ginger-Stein series and also does work with Comic Book Divas.
Brian S- Hi Melanie, so how'd you get into acting?
Melanie- When I was very young we discovered that I was able to memorize movie dialogs by listening, and then I would do one man shows. Complete with voice and expression changes. I remember my sisters and I would reenact the songs in Annie. »
Chicago – Whenever we hear the term “Slacker,” it does harken back to a certain movie called “Back to the Future.” And the actor that interpreted that famous invective is none other than veteran actor James Tolkan, portraying Principal Strickland.
Tolkan has played villains and authority figures throughout a career that began with a role on the TV show “Naked City” all the way back in 1960. Throughout that early era, Tolkan was splitting time between character parts in TV, film and the Broadway stage. At the same time, he was part of the famous Actor’s Studio during the high point of that legendary thespian school.
He became recognized for all time with two key roles in the 1980s. Principal Strickland, both 1985 and ‘55 versions, in the Back to the Future series, and as Commander “Stinger” Jordan in the unforgettable “Top Gun.”
- firstname.lastname@example.org (Adam Fendelman)
Chicago – Thrillers set in a frigid landscape are nothing new. Just look at “The Thing,” or “The Shining,” or heck, even “The Empire Strikes Back.” Like outer space, a frozen wasteland is an efficiently isolated location where there’s little hope of escape from whatever malevolent forces lurk there. In the case of “Whiteout,” the malevolent forces are the filmmakers and the helpless victims are us.
This thoroughly disposable picture, directed by the consistently disappointing Dominic Sena (“Kalifornia,” “Swordfish”), deservedly ended up on a lot of year-end lists ranking the worst films of 2009. The laughable script, credited to no less than four writers, is based on a graphic novel that, on the basis of the film, must’ve consisted largely of blank pages. Most of the key scenes take place in a fierce blizzard where the action is maddeningly obscured by digital snowflakes, making viewers unsure of who is doing what to who. »
- email@example.com (Adam Fendelman)
10 items from 2010
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