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Ahead of its premiere at the Toronto International Film Festival, a trailer has arrive online for the Turkish horror Baskin, which we have for you here…
What should be a routine night on patrol becomes a trip into the darkness of the mind and soul for a squad of unsuspecting cops in this tour-de-force feature debut from the ferociously talented director Can Evrenol. Based on Evrenol’s terrifying 2013 short of the same name, and drawing upon a diverse range of inspirations — not only such films as Quest for Fire, Apocalypse Now, and Hellraiser but also the paintings of Caravaggio, Bosch, and Giger — Baskin offers up a nightmarish compendium of imaginative frights that will leave even seasoned horror-movie fans reeling.
Responding to an emergency call for backup, the squad arrives at an old building to find an abandoned patrol car and no sign of their comrades. Entering the building and making their way to the basement, »
- Gary Collinson
The Dolby Institute and the SoundWorks Collection have launched a series of 10 “Conversations with Sound Artists” podcasts, kicking off this week with Randy Thom, Skywalker Sound’s director of sound design. Thom discusses what makes great soundscapes with the Dolby Institute’s Glenn Kiser and the influence of "Apocalypse Now" on modern sound design (listen to a clip below). Thom, a two-time Oscar winner got his break working as one of Walter Murch’s mixing assistants on "Apocalypse Now," and it provides a crucial lesson in teaching the viewer how to listen to sound. Indeed, the film memorably opens with an unforgettable sound: “a ghostly synthesized helicopter,” Thom recalled. As with great visual storytelling, the best sound design provides questions and a sense of mystery. “We don’t understand this ourselves — the filmmakers — you bring your history and your knowledge and your imagination into this,” Thom added. “Here are some clues that we have and. »
- Bill Desowitz
From thrillers to sci-fi to horror, here's our pick of 20 films from 1986 that surely deserve a bit more love...
A fascinating year for film, 1986. It was a time when a glossy, expensive movie about handsome men in planes could dominate the box-office, sure (that would be Top Gun). But it was also a year when Oliver Stone went off with just $6m and came back with Platoon, one of the biggest hits of the year both financially and in terms of accolades. It was also a period when the British movie industry was briefly back on its feet, resulting in a new golden age of great films - one or two of them are even on this list.
As ever, there were certain films that, despite their entertainment value or genuine brilliance in terms of movie making, somehow managed to slip through the net. So to redress the balance a little, »
Stars: Johnny Harris, Sam Keeley, Joe Dempsie, Sofia Boutella, Kyle Soller, Nicholas Pinnock, Parker Sawyers, Michaela Coel, Rajinikanth, Jesse Nagy | Written by Tom Green, Jay Basu | Directed by Tom Green
It was probably inevitable that a critical and commercial success like Monsters would spawn a sequel. The general concern upon announcement was that it would fail to live up to the spirit of the original film, and would become just another generic alien shoot ‘em up. There was also a concern that there isn’t really an obvious way to continue the story in the original film. Monsters: Dark Continent - note the lack of a numeric designation in the film’s title — doesn’t really try to be a direct sequel. It’s a second offering in the universe created by the original film, and if the first film was a romance or road trip set against the backdrop of mysterious alien creatures, »
- Dan Woolstencroft
Nil by Mouth, 1997.
Directed by Gary Oldman.
Depicting the lives of a dysfunctional, South London family. Aggressive Ray and junkie Billy are central roles as we see how their flaws bleed into their home lives and affect others.
There is a moment, on the tube, as Billy (Charlie Creed-Miles) begs for change. A girl, with her friends, cannot assist and as Billy continues down the train we see the roll of her eyes. In 2015, nearly 20 years after Gary Oldman’s directorial debut, Nil by Mouth, we still see this poverty and desperation on the trains. The eternal conflict as we choose not to support, against our instincts, as “we know where the money will go”. What is so effective in Oldman’s brutal film, is how we know intimately the family, friends and background of Billy. We also see his sister, »
- Simon Columb
By the spring of 1988, several high-profile cases had brought the gang violence in Los Angeles to national attention. The fatal shootings of an 18-year-old college student and her 12-year-old neighbour were, according to a newspaper report, the 113th and 114th gang-related murders to have occurred in La County since the start of the beginning of 1988. The previous year saw 387 people killed in gang-related incidents.
Against this backdrop came Colors, Dennis Hopper’s unflinching and disturbingly authentic crime drama starring Robert Duvall and Sean Penn. Some of the film’s harshest critics called it exploitative and voyeuristic - a calculated attempt to cash in on the real violence that was regularly making headlines. Colors’ detractors were given further fuel when reports began to circulate of violent incidents occurring in »
Warning: Full spoilers for the premiere episode of “Fear the Walking Dead” follow… Two of the biggest questions that audiences asked themselves ahead of the debut of AMC’s “The Walking Dead” companion series “Fear the Walking Dead” were: How will it distinguish itself from its parent series? And will “Fear” learn from “The Walking Dead”’s mistakes? The former remains to be seen, though we did speak with “Fear the Walking Dead” showrunner Dave Erickson about his long-term plans for the series. As to the latter, there are multiple interpretations of the exact nature of “The Walking Dead”’s mistakes. The audience does tend to make their thoughts on the matter known, though. Often in the form of memes. As one example, “The Walking Dead” has come under fire in the past for what many felt was a pattern of introducing male African American characters only to either quickly »
- Roth Cornet
AMC’s “Fear the Walking Dead” has the benefit of a sizable built-in audience and an inherent curiosity factor. The connection to “The Walking Dead” is a double-edged sword, however. Though “Walking Dead” continues to be a ratings juggernaut for AMC, both critics and audiences have grown weary of repeated story arcs and what sometimes feels like a long road to nowhere. When the spinoff series was announced many wondered how it would distinguish itself from the parent show. The answer the creators landed on was to set the “Fear” during the time of Rick Grimes’ coma --the inception of the zombie apocalypse. For those who don’t recall, “The Walking Dead” protagonist essentially awoke from his coma to a world that was already overrun by “Walkers.” “Fear” will provide viewers with a look at what was happening while he was sleeping. The trick is to craft a series out »
- Roth Cornet
There was So Much Comic Con 2015 discussion in the August edition of the Flickering Myth Movie Show, the debate has actually spilled out into its own 17 minute long video (the in-episode segment was less than half that amount). In the special extended cut (think Apocalypse Now: Redux), the esteemed panel discuss…
-the Star Wars: The Force Awakens behind-the-scenes footage.
-why Marvel weren’t in attendance, and should they have been?
-the new Deadpool trailer.
-the epidemic of ‘leaked footage’.
-and who won Comic Con 2015 overall?
This is an excerpt from the August edition of The Flickering Myth Movie Show, which you can watch in full here:
- Oli Davis
Let Me Make You a Martyr, the upcoming, harrowing new crime movie about an abusive father, is set to reunite Sons of Anarchy's Mark Boone Junior with shock rocker and erstwhile Sons actor Marilyn Manson. While the film won't arrive until next year, check out an exclusive trailer featuring Manson as a Native American hit man.
Boone plays Larry Glass, a character whom the movie's producers describe as "a drug dealer, pimp and all-around scumbag," who hires Manson's character Pope, a hit man (or "bogeyman," as Manson describes it »
It has been a long time since I was in the same room with director Michael Cimino. My first job out of Nyu Cinema Studies was in the publicity department at United Artists in New York, where I witnessed the long delays on Cimino’s follow-up to his Oscar-winning 1978 anti-war diatribe “The Deer Hunter,” the period western “Heaven’s Gate.” The director got caught up in chasing authenticity in the myriad details of the production, training for weeks the cast led by Kris Kristofferson and Isabelle Huppert to roller-skate for one scene—and demanding endless retakes until he shot more feet of film, over 1 million, than even Francis Coppola did on another memorably out-of-control UA movie, “Apocalypse Now.” The original $11 million budget bloated to $32 million (Cimino’s figure), as recounted in Steven Bach's "Final Cut: Art, Money and Ego in the Making of 'Heaven's Gate.' “Heaven’s »
- Anne Thompson
Christopher Nolan recently announced a new project entitled Quay, a documentary short about two British stop-motion animators. Set to premiere next week, it’s a far cry from Nolan’s blockbusters in both scope and subject matter. Yet it’s clearly a personal project, with Nolan using his clout and money to promote two obscure filmmakers.
Every artist – director, star, screenwriter – has some project that they want to make above all. A deeply personal, original idea; an autobiographical story; a favored story or hero they wish to celebrate. If a filmmaker is successful or lucky enough, they get a chance to produce them. Yet sometimes the reaction isn’t what they expect.
Francis Ford Coppola started his career directing exploitation films for Roger Corman, notably the horror film Dementia 13 (1963). Then he toiled as screenwriter and occasional director, helming the musical Finian’s Rainbow (1968) and the more personal The Rain People »
- Christopher Saunders
Earlier this week Brad reported on several casting details for Woody Allen's next film, which I can only assume will be released in the summer of 2016, and today more details emerge as Oscar-winning cinematographer Vittorio Storaro and other crew members have joined the project. Storaro is a three-time Oscar winner, taking home trophies for Apocalypse Now, Reds and The Last Emperor, and he was nominated a fourth time for his camera work on Dick Tracy. While he hasn't done much of note in recent years this still represents a pretty interesting pairing, especially considering one of Allen's fan sites, Woody Allen Pages, notes Allen's next film will be set in the 1930s. Also joining Allen's crew is production designer Santo Loquasto, who has worked on numerous other Allen productions, most recently lending his hand and eye to Allen's 2013 film Blue Jasmine and nominated for Oscars on three other Woody Allen productions (Zelig, »
- Jordan Benesh
Woody Allen has worked with some terrific cinematographers in his time — Gordon Willis, Darius Khondji, Sven Nyquist, and Vilmos Zsigmond, among others — and for his 2016 movie, which begins shooting very soon, he's knocking another great craftsman off his bucket list. Vittorio Storaro will reportedly lens the upcoming picture, which is pretty exciting stuff. The cinematographer is a three time Academy Award-winner for "Apocalypse Now," "Reds," and "The Last Emperor," and counts Bernardo Bertolucci, Francis Ford Coppola, and Warren Beatty among the filmmakers he's worked with. Read More: Woody Allen's Next Untitled Movie Adds Anna Camp, Kristen Stewart, Corey Stoll, And More The collaboration should be an interesting one as Woody Allen Pages reports that the film, starring Jesse Eisenberg, Blake Lively, Parker Posey, Kristen Stewart, Bruce Willis, Corey Stoll, Ken Stott, Anna Camp, Stephen Kunken, Sari Lennick, Paul Schneider, and »
- Kevin Jagernauth
When you put two high profile, hot-as-all-hell actors like Jennifer Lawrence and Chris Pratt together in a movie, that.s going to get some attention. Which is just what has happened with their upcoming sci-fi romance, Passengers. And not only does it have two big, A-list celebs leading the way, the film is putting together an impressive supporting cast, including the latest addition, Morpheus himself, Laurence Fishburne. According to The Hollywood Reporter, the veteran actor who has appeared in everything from Apocalypse Now to Hannibal to the upcoming Batman v Superman: Dawn of Justice, is in talks to join Passengers. Along with Pratt and Lawrence, Fishburne joins another recent addition, Michael Sheen, who plays a robot on a spaceship. What we don.t know, however, is what role Fishburne will play, as the report doesn.t offer much in the way of details. The story of Passengers seems pretty simple, »
Everyone knows that Jaws, Blade Runner, Apocalypse Now, The Crow, 47 Ronin and absolutely anything directed by David O. Russell had punishing shoots, but what about those ones you might not be quite so familiar with?
From Best Picture-winning classics to low-budget horrors, contemporary sci-fi flicks and everything in-between, these movies were all assailed by huge production problems, be it creative arguments on set or acts of God, which tested the mettle and patience of just about anyone working on them.
Though many of these movies are best remembered for, well, just being great movies, dig a little deeper and there are some juicy tales of how everyone involved suffered for their art, and though for some the juice may not have been worth the squeeze.
15. Gladiator Fox
Why It Was Hell: Developing Gladiator’s script was an absolutely agonising process, going through countless drafts such that, a mere two weeks before shooting, »
- Jack Pooley
Everything in Max Renn’s life is beginning to pulsate. First the Betamax videotape sent to him by one Bianca O’Blivion, which seems to breathe in his hand as he removes it from its beige packaging. Then Max’s television, squatting in the corner of his apartment, appears take on a life of its own: veins twitching, the screen bulging to the sound of a woman’s voice: “Come to me, Max. Come to me...”
David Cronenberg’s Videodrome, released in 1982, is loaded with violent and startling imagery like this. Like Apocalypse Now, its very narrative seems to disintegrate as its morally suspect protagonist Max Renn (James Woods) embarks on a journey into his own heart of darkness: a fascination with the origins of a video signal soon leads him to a world of corruption, »
“I coulda been a contender! I coulda been somebody, instead of a bum, which is what I am, let's face it.” That classic scene from “On The Waterfront” was part and parcel behind Marlon Brando's release into the stratosphere of supercool. Beginning with his stage debut as Stanley Kowalski in “A Streetcar Named Desire” (which he, of course, reprised in the 1951 film adaptation), his film debut in “The Men,” and a string of larger-than-life roles culminating with his Oscar-winning turn as Terry Malloy in 'Waterfront,' Hollywood was Brando's oyster in the 1950s, and a man became a cultural symbol. Through these roles, and future titanic turns in “The Godfather,” “Apocalypse Now,” and “The Last Tango in Paris,” we know and remember Marlon Brando as one of the greatest screen actors of all time. But what of the man behind the actor? This question fuels Stevan Riley's documentary, »
- Nikola Grozdanovic
I sat down with Oscar-winning screenwriter, actor, director and musician Billy Bob Thornton for Venice Magazine in October of 2001. He had a slate of very diverse projects he was promoting: his first solo music album, "Private Radio," as well as the films "Monster's Ball," "Bandits," and "The Man Who Wasn't There." My strongest memory is of Thornton's quiet intensity and an undercurrent of Southern affability, which came out once he decided you were okay. He seemed to feel that way about me after I shared with him my idolatry of legendary filmmaker Fred Zinnemann, something we shared. I also remember his unusual diet, when our lunch was served. Thornton got the biggest plate of sliced papaya I've seen to date, artfully presented. I got a seafood salad. He looked at my plate, smiled, and told me about the horrible shellfish allergy he'd been saddled with all his life, and how »
- The Hollywood Interview.com
"You never get a second chance to make a first impression," or so the saying goes, and sometimes with a film all it takes is one scene or perhaps even a single shot to draw viewers into a film. An opening shot often sets the tone for the rest of the story, something one YouTuber examines in the video below. More of a tribute video than a true video essay, the extended montage explores the art of the opening shot using clips from esteemed classics 2001: A Space Odyssey, Apocalypse Now, Lawrence of Arabia and Star Wars as well as more modern fare, too, including clips from The Dark Knight, No Country for Old Men and Stoker. Go ahead, check out the video below and see if you can spot which clips are from which films, and then take to the comments and let us know which films impress you »
- Jordan Benesh
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