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The selection of restored titles screening at this year’s Venice Film Festival (Aug 31 - Sept 10) have been revealed.
Italian director Roberto Andò (The Confessions) will oversee the strand’s jury of cinema history students which will award two prizes: Best Restored Film and Best Documentary On Cinema (the line-up of the latter will be revealed at a later date).
Now in its fifth year, this year’s selection includes Kurosawa’s Seven Samurai, Woody Allen’s Manhattan, John Landis’s An American Werewolf In London, Andrei Tarkovsky’s Stalker, and George A Romero’s Dawn Of The Dead amongst a host of other restorations.
The full Venice Film Festival line-up will be revealed on Thursday (July 28).
Venice Classics 2016 line-up:
1848, Dino Risi (Italy, 1948, 11’, B/W)
restored by: Archivio Nazionale Cinema Impresa-csc-Cineteca Nazionale and Veneranda Fabbrica del Duomo di Milano »
Horror Channel FrightFest 2016 is a little over a month away and excitement is rising as news of events, guests, movies and more continues to emerge. First up in the latest batch of event announcements is a fantastic lineup of special master classes, demonstrations and panel discussions. UK horror fans will treated to a symposium on ‘Women in Horror’, a ‘Horror Writing Master Class’, and a special effects demonstration from Dan Martin, who worked on Ibiza Undead, which is set to play at the festival. Beware the Moon filmmaker Paul Davis will celebrate the 35th anniversary of An American Werewolf in London by discussing his new book documenting the making of the film. There’ll also be a Screen International fronted panel discussion on the future...
[Read the whole post on screenanarchy.com...] »
Genre festival reveals masterclasses and film programme.
Horror Channel FrightFest (Aug 25-29) has unveiled the line-up of events and movies for its 2016 edition, set to be held at the Vue cinema in London’s Shepherds Bush.
Screen will host a panel on the future of the UK horror film industry, followed by the first Screen International Horror Rising Star Award [click here for the shortlist].
There will also be a horror writing master class with writer-director James Moran; a women in horror symposium; a special effects demo from maestro Dan Martin; and a discussion by filmmaker Paul Davis – who made John Landis approved doc Beware The Moon - marking the 35th anniversary of An American Werewolf In London.
The festival will also »
- firstname.lastname@example.org (Michael Rosser)
Scheduled for a September 27th release, the cover art for the new Blu-ray has yet to be revealed, but it will come with a special sleeve exclusive to the release. The film will be restored, giving viewers a better look at John Landis’ lycanthrope mayhem and Rick Baker’s incredible, Oscar-winning makeup effects.
So far, the list of special features for the anniversary Blu-ray are the same ones that were included on the 2009 Full Moon Edition Blu-ray, making the restoration the only new element, but we’ll keep Daily Dead readers updated on future announcements regarding this release. In the meantime, we have a list of the special features below. Will the 35th anniversary An American Werewolf in London Blu-ray make it on your shelf? »
- Derek Anderson
Given some distance and the perspective of time, almost every horror film seems to look better and find its audience. Though the early to mid 1990s have long been considered a particularly bad period for American horror movies, recent years have seen a number of titles being reassessed and opinions on them revised to be much more favorable than they were 20 years ago. Titles like Disturbing Behavior and I Know What You Did Last Summer and The Rage: Carrie 2, largely written off by horror fans during their theatrical releases in the ’90s, are now being talked about as secretly good genre efforts not because the movies have actually improved, but because enough time has passed that the films can be removed from their historical context and taken for what they are.
Of course, some ’90s titles were always secretly good; they only needed some time to find their audience. »
- Patrick Bromley
1978 cast a long shadow in the world of horror. From Dawn of the Dead to Halloween, the landscape was abundant with everything from the socially relevant to the singularly terrifying, from superior remakes (Invasion of the Body Snatchers) to quirky haunted houses (The Evil). And then there’s the red headed stepchild that no one talks about: Brian DePalma’s The Fury. Frenetic, action packed, and gruesome, The Fury never gets the love from even most DePalma fanatics. What a shame – it’s never less than entertaining, and at its best showcases the director’s mesmerizing visual touch.
Released in March by Twentieth Century Fox, The Fury made $24 million against its $5.5 million budget. That’s good green, folks, and DePalma received favorable reviews, still basking in a critical glow left over from his previous effort, Carrie (’76). So why is it so easily dismissed, ranked along the lines of efforts like Wise Guys, »
- Scott Drebit
Similar to the famed Sundance Labs that have helped foster the careers of such future A-list filmmakers as Quentin Tarantino and Cary Fukunaga, Shudder Labs -- which held its inaugural edition earlier this month -- invites a group of select filmmakers to attend a week-long retreat with established industry names to take their works-in-progress to the next level. The difference? Shudder Labs focuses its mentorship efforts on filmmakers working in the horror genre, providing them with the guidance of such genre vets as writer/director Larry Fessenden (Wendigo, The Last Winter), Snowfort Pictures CEO Travis Stevens and Lindsay Peters, Industry Director of the genre-centric Fantasia Film Festival and Director of the Frontières International Co-Production Market. Shudder, for those unfamiliar, is a streaming service that focuses exclusively on horror films, and at $4.99 a month it's an agreeably cheap way for fans of the genre to gain streaming access to films they probably won't find on Netflix. »
- Chris Eggertsen
In 1813, renowned writer Jane Austen published a book called Pride and Prejudice, which tells the story of the Bennet sisters, who are gussied up and married off to wealthy suitors, one by one. The only sister who seems to question this system is Elizabeth, the rebellious member of the family, who feels strong disdain for the system that treats her more like property than a proper citizen. In 2009, author Seth Grahame-Smith put a new twist on the old tale by creating a parody novel called Pride and Prejudice and Zombies, which loosely follows the same basic outline, but adds an entirely different obstacle to the tale: the living dead.
In Grahame-Smith’s story, the girls are not only fighting for the right to be married into regal families, but also battling for their lives on a daily basis. An outbreak has occurred within these humble streets, and now flesh-eating zombies »
- Kalyn Corrigan
The Talented Mr Ripley
28 Days Later
Cabin in the Woods
30 Days of Night
Kill Bill: Volume One
Deep Blue Sea
8 and above.
Red looks good on you
0 and above.
That was a bit bloody tough for you
4 and above.
Bleedin' hard huh?
Continue reading »
- Benjamin Lee
Sean Wilson asks his fellow Flickering Myth writers about the film experiences that shaped their childhoods…
I was more than a little startled when hit with the recent revelation that nineties family classic Free Willy this year passed its 22nd birthday. It’s not a lengthy period in the grand scheme of things but for me it encapsulates an entire aeon of time having passed, as it was one of the first movies I vividly remember watching at the cinema. I couldn’t have been older than 7, the theatre was the Paignton Picture House (one of the world’s oldest cinemas, currently undergoing a new lease of life following its tragic closure in 1999) and the movie was the sort of rollicking emotional rollercoaster that sears itself into young minds.
This seemingly unassuming piece of news nevertheless hit me like the proverbial wave, making me wistful and reflective on the nature of formative cinema experiences, »
- Sean Wilson
New American Werewolf book available for pre-order. From Paul Davis, writer and director of the award-winning An American Werewolf In London documentary Beware The Moon and Dead Mouse Productions Ltd who brought you 245 Trioxin: The Story Of Return Of The Living Dead and You’Re So Cool Brewster! The Story Of Fright Night comes Beware…
The post Definitive An American Werewolf In London Book Available for Pre-Order appeared first on Shock Till You Drop. »
- Chris Alexander
The “Boston Underground Film Festival” (http://bostonunderground.org) at the Brattle Theatre in Cambridge, Ma is a hub for early film festival favorites, diverse programming, film culture and community along with multiple blocks of diverse short filmmaking visions. Whether it’s the celebration of local filmmaking talent with the “Homegrown Horror” short film block curated by Chris Hallock or the short film block that looks at the dark, twisted and humorous side of horror with “Fugue & Riffs”. After BUFF18, we had the chance to talk with six of these filmmakers as well as past and present members of these short film blocks at Buff!
These New England filmmakers and their film projects includes Andrea Mark Wolanin (Cleaning House), Izzy Lee (Innsmouth – which played at BUFF18 before the feature “Antibirth”), Jim McDonough (Idiom Origins Vol. 1), Jarrett Blinkhorn (They’re Closing In), Corey Norman (Suffer the Little Children) and Alex Divincenzo (Trouser Snake).
How does the resources, »
- Jay Kay
The documentary Beware the Moon chronicled the history of John Landis’ classic movie An American Werewolf In London. But there was still more of the story to tell, so an upcoming book of the same name and containing even more… Continue Reading →
The post An American Werewolf in London Getting a Making-of Book Called Beware the Moon appeared first on Dread Central. »
- David Gelmini
When Uncle Creepy told me he was attending Pasadena, California’s Monsterpalooza this past weekend, I couldn’t help but feel incredibly jealous – and I’m even more jealous now that photographic evidence of the show’s awesomeness has begun to circulate around… Continue Reading →
- John Squires
This isn’t the first time we’ve been gifted with action figures based on John Landis’ An American Werewolf in London and John Carpenter’s The Thing, but I’ll be damned if these aren’t seriously impressive sculpts. ToyArk reports out of this past weekend’s Monsterpalooza in Burbank, CA where Pop Culture Shock showcased some of their upcoming […] »
An absorbing study of the evolution of a film-making niche that will hold most weight with the movie buffs
A wide-ranging, informative and nicely generous documentary about the unsung – or perhaps more accurately, rarely sung – heroes of the monster-movie universe. Everything from King Kong to Avatar gets a namecheck, via Georges Méliès, Ray Harryhausen, An American Werewolf in London, Star Wars and Lord of the Rings. We get an intense, and necessarily concise, account of the development of technique – how stop-motion evolved into animatronics and on to CGI.
Continue reading »
- Andrew Pulver
We love us some Werewolves at Famous Monsters, evident by our reunion features on The Howling in the current issue (#285) and An American Werewolf In London in the last issue (#284) of the magazine — plus coverage of the Cry Havoc comic book in #285. In this podcast, we speak with The Howling director Joe Dante and its star, Dee Wallace, about the making of the classic 1981 horror flick. We also dive into the world of Werewolves in movies, TV, and comics. Hosted by Famous Monsters of Filmland magazine’s Executive Editor David Weiner alongside FM’s Caroline Stephenson (our resident Werewolf fanatic) and Cameron Hatheway.
Joe Dante interview – [7:21]
Dee Wallace interview – [14:08]
General Werewolf discussion – [25:19]
Buy Famous Monsters #284 & 285 at CaptainCo! »
- Cameron Hatheway
The Silver Scream Fest was in high gear Saturday, March 5, with a screening of Heather Langenkamp’s documentary I Am Nancy, focusing on her life post A Nightmare On Elm Street; a conversation with Bela Lugosi Jr. about his father’s legacy and the Golden Age of Hollywood; screenings of four of Lugosi Sr.’s classic films; a tribute to the late great Wes Craven by his Elm Street stars Langenkamp and Robert Englund and producer Marianne Maddalena and a screening of New Nightmare; a reunion of An American Werewolf In London’s director John Landis, special effects guru Rick Baker, and star David Naughton; screenings of the fantastic fest films; and so much more. Check out the magic below! And check out Friday’s gallery here!
All photos courtesy the Film Squad.
- Harker Jones
Since any New York cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Ib Technicolor prints of Hatari!, Singin’ in the Rain, and Vertigo screen this Saturday.
A new print of Craig’s Wife screens this Sunday. »
- Nick Newman
There are hundreds of different movie trivia books out there, but not often do authors specifically focus on the horror/Sci-Fi/monster categories. Enter The Monster Book Of Movie Monster Trivia by Philip Cerreta (Aventine Press). The self-described “only movie monster survival guide/quiz book of its kind” intrigued us at the office, and we thought it would be fun to bring the book along on the car ride to the Silver Scream Festival.
It may have been that mystery bag of candy we consumed at that sketchy gas station, but this quiz book ended up leaving a bad taste in our mouths. Let me first say that we did look forward to reading this when it first arrived. We love quizzing each other on a regular basis here at the office, especially when it comes to horror and all things monsters. But the way Cerreta tackles writing the questions »
- Cameron Hatheway
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