6 items from 2013
Every year, we here at Sound On Sight celebrate the month of October with 31 Days of Horror; and every year, I update the list of my favourite horror films ever made. Last year, I released a list that included 150 picks. This year, I’ll be upgrading the list, making minor alterations, changing the rankings, adding new entries, and possibly removing a few titles. I’ve also decided to publish each post backwards this time around for one reason: that is, the new additions appear lower on my list, whereas my top 50 haven’t changed much, except for maybe in ranking. Enjoy!
Written and directed by Peter Tscherkassky
Outer Space has gained a reputation over the years as being a key experimental film alongside the works of such legends as Stan Brakhage and Michael Snow. Horror buffs will recognise the actress in the short as Oscar nominee Barbara Hershey. »
- Ricky da Conceição
“Movie Houses of Worship” is a regular feature spotlighting our favorite movie theaters around the world, those that are like temples of cinema catering to the most religious-like film geeks. This week, Fsr’s Allison Loring chose one of her favorite theaters in Los Angeles. If you’d like to suggest or submit a place you regularly worship at the altar of cinema, please email our weekend editor. Aero Theater Location: 1328 Montana Avenue, Santa Monica, CA Opened: Originally opened in 1939 as a 24-hour theater for aircraft workers, but closed in 2003 after Robert Redford’s Sundance Cinemas project (which was going to take over ownership of the theater) fell through because General Cinemas (which was being sold to AMC) went bankrupt. The Aero is now officially known as the “Max Palevsky Aero Theater” thanks to Palevsky’s funding for the American Cinematheque’s refurbishment of the theater which re-opened in January 2005. No. of »
- Allison Loring
Sometimes you have to wonder about why people collect DVDs or Blu-rays. Collectors proudly display their stockpile on a shelf, and truth be told, most of the time, these movies are simply used as decor. Whenever I visit someone’s house or apartment for the first time, the first thing that grabs my attention is their movie collection. A selection of DVD’s and Blu-rays really do indicate someone’s tastes, interests and hint at certain aspects of their personality. But people spend thousands of dollars purchasing movies they’ve most likely already seen, and the bigger the collection, the more likely you’ll find movies they still haven’t had a chance to watch. Often someone will stumble upon a DVD and Blu-ray, and buy it on impulse; perhaps the DVD cover stood out, or maybe they’ve just always wanted to watch the movie but never had a chance. »
By 1976, giallo cinema had already reached its peak, and different postwar paranoia icons increasingly replaced the black-gloved killers of the past. Coming off a co-screenwriting turn (uncredited) for Pier Paolo Pasolini's controversial masterpiece Salò, director Pupi Avati brought Italy's social and political unrest from the period to the countryside for his community terror tale, The House with the Laughing Windows. The filmmaker wanted to channel the pastoral, Catholic fears from his childhood for his low-budget horror film, but the influence of previous rural-set gialli like Sergio Martino's Your Vice Is a Locked Room and Only I Have the Key and Fulci's Don't Torture a Duckling are present. Avati introduces us to Stefano (Lino Capolicchio), who has been sent to an Italian village to restore a church fresco that depicts the death of Saint Sebastian — or so he thinks. A strange cast of characters greets him, including the mayor »
- Alison Nastasi
Jameson Cult Film Club, Liverpool & Sheffield
Twenty years before he had the budget to film men shooting each other on horses, Quentin Tarantino had to resort to filming men shooting each other in warehouses. But while Django Unchained has been praised as a bracing return to form, these special "immersive" screenings celebrate the movie that established Tarantino's form in the first place: Reservoir Dogs. By "immersive", they mean screening the movie in a warehouse setting, decked out like an extension of the movie, with characters (watch out for the psychotic Mr Blonde), themed catering and even recreations of the movie's more memorable moments (bring spare ears). It's all free as well, though you'll have to register quickly.
Camp & Furnace, Liverpool, Wed; Gibb Street Warehouse, Birmingham, Thu
Between The Lines, London
This promises to be a ground-breaking festival »
- Steve Rose
Champion of the disinherited of postwar Italy, Pier Paolo Pasolini's masterworks reveal an obsession with martyrdom that foreshadowed his own wretched death
At the end of Mamma Roma (1962), Pier Paolo Pasolini's great film, the hero lies dying on a prison bed like the dead Christ of Mantegna or a barefoot saint by Caravaggio. Much has been made of the Renaissance and baroque iconography in Pasolini's cinema. The implied blasphemy of Caravaggio's grubby, low-life Christs excited the iconoclast in the Italian film-maker, whose wretched death was somehow foreshadowed in his own work. On the morning of 2 November 1975, in a shanty town outside Rome, Pasolini was found beaten beyond recognition and run over by his Alfa Romeo. A woman had noticed something in front of her house. "See how those bastards come and dump their rubbish here," she complained.
The scene of the murder, Idroscalo, recalls a setting for a »
- Ian Thomson
6 items from 2013
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