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This is a creepy, suspenseful novel of the supernatural, where a man in a 1938 Rolls-Royce Wraith kidnaps kids and takes them to a place he calls Christmasland.
Of all the holidays, Christmas remains my favorite, even if it’s lost all meaning. I love the decorations, I love the music (which is odd, because it’s so religious and I’m not very religious), I love the sweets and all the other food that goes with those 6 weeks that starts at Thanksgiving. Yeah, presents are great, but for me they pale next to the colorful lights, the sparkling tinsel, and the smell of pumpkin pie and gingerbread cookies (love the odor, but not a huge fan of »
There’s a certain flavor to Stephen King’s 1970s novels that goes deeper than theme and tone and even feel, especially in the smaller, more personal stories like The Shining and ’Salem’s Lot and The Dead Zone. The books are certainly “of their time,” but it’s more than that: it’s a distinct spirit that’s difficult to pin down and even harder to describe. These books – as well as the Bachman novel Blaze, a relic from those early days – come from such a distinct time, place, and mindset in King’s career that the stories can’t help but reflect who and where their author was when they were written. Cheese aficionados and wine connoisseurs call this elusive essence terroir. At this late date, decades after those classic novels were published, it would be almost impossible to capture that exact flavor again, in a new novel »
- Kevin Quigley
Cemetery Dance's special edition of Stephen King's The Shining sequel, Doctor Sleep, sold out in record time. If you missed out, here's a look at a few color interiors from artist Vincent Chong that include an introduction to two main characters, Abra Stone and Rose Flanagan.
Author Brian James Freeman posted the following photos on his website, and Cemetery Dance provided a bit more elaboration:
Vincent Chong has turned in the rest of his original color interiors for [the] special edition of Doctor Sleep by Stephen King, which sold out just one week after it was announced, and [here's] a little sneak peek at ... main characters Abra Stone [and] Rose Flanagan, who is known as Rose the Hat by the True Knot, the nomadic family she travels with.
We don't know what's up with the train, but it sure is plenty spooky! And the bottom two images are better looks at the alternate »
- The Woman In Black
This Thursday in the Beauty and the Beast Season 1 finale (The CW, 9/8), viewers will get much beast-on-beast action, now that Gabe’s secret is out and his survival depends on Vincent’s death — and TVLine has a first look at the Ada-turned-b.A.
Surveying this photo during a visit to TVLine’s Times Square office, Sendhil Ramamurthy explained, “Because I’m ‘Beast 1.0,’ they wanted to him be scarier, more feral… and veiny.” What’s more, as the actor previously shared, Gabe Beast is “much, much stronger than Vincent, »
- Matt Webb Mitovich
Here's an impressive CGI model of Jack Nicholson's iconic scene from The Shining. The illustration was done by Hossein Diba, and it's appropriately called "Here's Johnny!" As good as CG is getting it will never fully replace real actors. What would be crazy is if one day all of these Gc character rose up against their makers and tried to take over the world.
- Joey Paur
Google is known for their creative "Doodles" on special days throughout the year. May 8 was no different as the company celebrated renowned graphic designer Saul Bass' 93rd birthday. Bass passed away in 1996, but his impact is long-lasting.
Bass created some of the world's most iconic brand logos, including At&T, Quaker Oats, Dixie and the Girl Scouts of America. He was also responsible for many legendary movie posters, including "The Shining," "Vertigo," "It's a Mad, Mad, Mad, Mad World" and "Anatomy of a Murder."
However, the Google Doodle pays tribute to Saul through something else he was known for, movie title sequences. The video features the word "Google," as written in many of Bass' better-known title sequences. Movies like "Spartacus," "Ocean's 11," "Around the World in Eighty Days" and "Psycho" are represented in the video. Saul's last credited work is the 1998 shot-for-shot remake of "Psycho," which utilized a title »
Baz Luhrmann is the latest to try translating a celebrated book to the big screen, but there's danger in being too faithful to the text
Gatsby fever won't break until Baz Luhrmann's new adaptation opens this week, but this fifth film version of F Scott Fitzgerald's classic novel raises an interesting question: what makes a good adaptation, anyway? Why does Stanley Kubrick's The Shining merit documentaries in its own right, and Stephen King's The Shining end up forgotten among the made-for-tv mini-series? What should we hope for – or fear – from Luhrmann's take?
Adapting a novel or short story into film is a lot translation – turning words on a page into the language of movies: angles, actors and images. Filmmakers, like translators, are stuck in the middle between the original and the audience, and have to balance three elements: story, style and ambition.
Story might seem obvious, »
- Alan Yuhas
Horror film festivals are hardly a new concept, but in its first year the Stanley Film Festival has hit on something new: a horror film festival in a haunted hotel. On paper, the idea holds immediate appeal: The hotel, a beautiful architectural achievement located amid the natural splendor of Estes Park, Colorado and built in 1909, embraces the rumors that late residents haunt its hallways. Legend has it that Stephen King had a nightmare in room 217 that inspired him to write "The Shining." Appropriately, visitors can buy a room 217 keychain in the gift shop and tour the hotel in search of ghosts. And now, once a year, they can watch movies, too -- including, of course, "The Shining," which screened one night outdoors on the hotel's expansive lawn. But is Stanley's horror festival merely one more quirky addition to a spooky tourist attraction or does it hold potential as a legitimate »
- Eric Kohn
Typically, horror fans go crazy for fright flicks with a body count totaling in the double digits, or higher. Case in point, Dawn of the Dead has a reported death toll of 175; Army of Darkness has an estimated 107 total kills (both statistics from moviebodycounts.com); and both films are tried and true fan favorites for their liberal use of violence as well as countless other reasons. We enthusiastically commend George Romero and Sam Raimi for offering up a staggering body counts in these and many of their other films. We frequently pay tribute to horror films and horror killers that rack up above average kill counts, but it’s rare that we make a point to recognize characters that made a major impact on us without incurring a massive death toll. With that said, we have elected to take the opportunity to spotlight some killers and their corresponding films that »
- Tyler Doupe
One of television's all-time greatest sci-fi series has finally arrived on 13-disc DVD boxset - the truly breathtaking The New Twilight Zone: The Complete Collection - and to celebrate the release we have a copy to give away to one lucky winner! Read on for a synopsis and details of how to enter the competition:
Featuring an unbelievably stellar line-up of creative talent right across the board – from the stars to the writers and directors involved – the highly-acclaimed 1980s incarnation of “The Twilight Zone” comes to DVD as a digitally remastered 13-disc collection featuring all three seasons of the series that redefined the fantasy/anthology genre and raised the bar for quality television in general.
Travel into the fifth dimension once again with The Twilight Zone, testing the limits of reality and exploring the mysteries of the universe. Airing from 1985 to 1989, this critically acclaimed anthology series carried on the »
- Flickering Myth
(Michael ran this piece on MichaelDavisWorld.com and asked that we run it here at ComicMix in place of his regular column. After reading it, you’ll know why!)
When is making a short zombie film an act of protest?
When the heroes and heroines are black. When there is no Sacrificial Negro to fulfill the fantasy that our lives matter less than white lives. When there is no cooning, shucking or jiving. When no black “Spiritual Guide” exists only to ennoble and enlighten white characters. When artists and backers unite to circumvent cultural barriers to tell our own stories.
As authors and screenwriters, we never set out to become filmmakers. But after years of options, pitches and meetings, we realized Hollywood is just a money machine following the ticket-buying habits of America as a whole. It will never lead. It was time to stop waiting for Hollywood to translate our stories to screen. »
- Michael Davis
When it comes to film interpretation and finding madness in the method, it’s only a matter of time before an overly philosophical troll decides to take an almighty stab at the man whose portfolio is stuffed with the mystery, symbolism and deeper meaning usually reserved for Michele de Nostradame and biblical verse. But while Stanley Kubrick’s horror masterpiece The Shining provided the inspiration for a film which provided the inspiration for an idea that provided the inspiration for a decidedly strange column, it is his most influential – and maddeningly metaphorical – motion picture that this week take’s it place under the warped microscope.
Since its release in 1968, 2001: A Space Odyssey has provided the creative spark for countless filmmakers and induced ever more debates trying to discern what exactly it all means. For this viewer and scribe, its point can be found in its incomprehensibility, a purpose within anarchic nonsense. »
- Scott Patterson
For almost 40 years, the works of master scaremonger Stephen King have never exactly wanted for popularity. That said, interest in King’s fiction has experienced something of a resurgence recently – Carrie, his first published novel, is getting a new film adaptation this year; Under the Dome will appear as a miniseries event on CBS this summer; and a prequel to the original film adaptation of The Shining may just be in the wings.
Now, a more recent offering from King looks to be on the block for adaptation. J.J. Abrams’ production company Bad Robot will apparently be adapting the time travel novel 11/22/63 for the small screen.
Deadline reports that Bad Robot is in final negotiations for the rights to 11/22/63. The company intends to create a television series or miniseries around ...
- Kyle Hembree
Darling (or deviant, depending on who you ask) of the horror genre, rock-star-turned-director Rob Zombie is back with his fifth live-action feature film, The Lords of Salem, a story of witchcraft and satanism in modern-day Boston.
Heidi (Sheri Moon Zombie) works as a DJ at a local Boston radio station along with fellow DJs, Herman Whitey Salvador (Jeff Daniel Phillips) and Herman Jackson (played by the legendary Ken Foree). Following one of their late night shows, Heidi receives a square wooden box containing a vinyl record addressed only to her, with only a note proclaiming “A gift from the Lords” to identify it. Assuming it is merely a PR stunt by an ambitious band, Heidi gives the record a spin »
- Phil Wheat
From hospital hallways to haunted hotels, corridors are coming into their own as the entryway to great cinema
This week's Clip joint is by Lauren Mullineaux, a freelance journalist and cultural critic based in Manchester. If you've got an idea for a future Clip joint, drop and email to firstname.lastname@example.org
Walk with me. TV may have made pacing through hallways sexy, but the movies showed us long ago that the corridor isn't as boring as you might think.
Long and unseemly, they're classically associated with the horror genre, but their appearance in every building ever made means a corridor scene is fast becoming a cinematic staple.
Whether in a school, a house, a hotel or even a spaceship the corridor gives film-makers a location in which to ramp up suspense or cripple viewers with anxiety. After all, where else are all the bodies supposed to go? »
This is the second debate of our new monthly feature, entitled ‘Thn Friday Face Off’. One Friday every month will see two Thn titans of film knowledge duke it out over a pressing issue relating to our most beloved art form. Each film fanatic will argue from a different viewpoint on a particular subject, in a bid to persuade our exceptionally attractive readers, as well as his or her colleague, they should be deemed the winner.
Of course, there are no definitive right or wrong answers. However, we would love for you to get involved by sharing your opinion, and voting for whoever you think has argued their case in a more effective way. You can do this by commenting below, tweeting us via @thncom, or commenting on our Facebook page. Before doing so, we ask that you read the opposition’s stance on the matter here.
In the spotlight »
- Chris Wharfe
Title: The Future Director: Alicia Scherson Starring: Manuela Martelli, Nicolas Vaporidis, Luigi Ciardo, Alessandro Giallocosta, Rutger Hauer. ‘Il Futuro’ (The Future) has surprisingly managed to be part of the world dramatic competition programme of Sundance 2013. The grand opening of the movie, which homages Stanley Kubrick’s ‘The Shining,’ (with a yellow Fiat taking the place of the iconic Volkswagen Beetle), creates great expectations. But as soon as the two lead actors are left on their own, everything collapses. For her third feature film, Chilean born director Alicia Scherson adapts cult Latin American author Roberto Bolano’s novel, ‘Un Romanzetto Lumpen,’ on a peculiar coming-of-age story, that begins when the parents of [ Read More ]
The post The Future Movie Review appeared first on Shockya.com. »
- Chiara Spagnoli Gabardi
When my co-workers start asking me about a horror movie, I know that a trailer has hit a nerve with the mainstream. It looks like that is the case with Universal’s new film The Purge. The film will be making its debut in a little over a week at Stanley Film Festival which is a horror film festival taking place in the Stanley Hotel, the inspiration for Stephen King’s The Shining, in Estes Park, Co. I’m looking forward to the word that comes out of that festival for this film.
It also looks like they will be seeing the film more than a month early as Universal has pushed the film from May 31st to June 7th.
Today, Universal has released two TV spots for your eyeballs to spy on. Enjoy and welcome to the New America.
- Andy Triefenbach
The accepted wisdom about Jack Nicholson has him comfortably ensconced in the pantheon of great actors whose careers came of age in the 1970s, and who have given us, between them (Nicholson, De Niro, Pacino, Streep, Hoffman et al) a ludicrously high proportion of cinema's most inarguable, evergreen classics. Nicholson alone scorched a trail through that decade, boasting 17 titles between "Easy Rider" (1969) and "The Shining" (1980), including further all-out masterpieces "Chinatown," "One Flew Over the Cuckoo's Nest," "Five Easy Pieces," "The Last Detail," and "Carnal Knowledge." The baseline we judge off when it comes to Nicholson is high indeed. And so it's hardly surprising that the accepted wisdom also has Nicholson on a graceful, but perceptible downward curve since then, with the high watermarks of his later career coming further apart, peppering the eighties, but popping up more sparsely in the nineties and noughties. Then again, over the course of the last two decades, »
- The Playlist Staff
Rating: 3 out of 5 stars
Having essentially emasculated one of cinema’s greatest bogeymen by giving Michael Myers a troubled back story in his Halloween remakes, you’d be forgiven for not expecting too much from Rob Zombie’s The Lords Of Salem. Usually more interested in cribbing over-the-top theatrical aesthetics from his favourite horror movies and exercising a visual style and tone from Seventies exploitation flicks, The Lords Of Salem sees horror’s greatest magpie deliver a surprisingly restrained, atmospheric little creepshow that genuinely chills, building a growing sense of spooky disquiet right up until its final act where sense and subtlety go straight out of the window and Rob has his wife ride a goat (nowhere near as erotic as it sounds or should be).
Opening with a flashback to 17th century Salem with a coven of naked crones led by Meg Foster dancing around a fire, flicking themselves »
- David Watson
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