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(1984)

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John Carpenter Confirms New ‘Halloween’ Movie Will Ignore the Sequels

  • Collider.com
There may be no more storied and distinguished American horror director than John Carpenter. His closest competition would be George Romero and Tobe Hooper but Carpenter's is easily the most visually accomplished of the three. Carpenter is responsible for at least six classics that transcend the horror and science-fiction genres' supposed low-brow pleasures, including The Thing, Escape from New York, They Live, Starman, Christine, and most notably, Halloween. [caption id="attachment_662723" align="alignright" width="360"] Image via Universal/caption] Over the last decade, Rob Zombie has made one admirable remake and a frankly visionary sequel to that …
See full article at Collider.com »

Trent Reznor and Atticus Ross Cover John Carpenter’s ‘Halloween’ Theme — Listen

  • Indiewire
Trent Reznor and Atticus Ross Cover John Carpenter’s ‘Halloween’ Theme — Listen
John Carpenter’s musical legacy is nearly as revered for his music as he is for his movies, not least because the two are intertwined. The latest to pay tribute to the “Halloween,” “The Thing,” and “Escape From New York” director are Nine Inch Nails bandmates Trent Reznor and Atticus Ross, who’ve recorded a cover of the “Halloween” theme. Listen below.

Read More:Trent Reznor, Massive Attack, Flea and More Record Music for Banksy’s Walled Off Hotel

The duo’s latest collaboration with a celebrated auteur follows their appearance on an episode of the “Twin Peaks” revival that aired earlier this year, to say nothing of their recent scores for “Gone Girl,” “Patriots Day,” and “The Vietnam War.” Carpenter, for his part, is producing a new sequel to his classic slasher flick directed by David Gordon Green.

Read More:‘Twin Peaks’: David Lynch Had Nine Inch Nails
See full article at Indiewire »

Nine Inch Nails’ Trent Reznor and Atticus Ross Drop Creepy Cover of ‘Halloween’ Theme

Nine Inch Nails’ Trent Reznor and Atticus Ross Drop Creepy Cover of ‘Halloween’ Theme
To celebrate the Oct. 20 release of horror film auteur John Carpenter’s anthology of newly recorded themes from his films, Nine Inch NailsTrent Reznor and Atticus Ross have released a new version of the theme from Carpenter’s iconic 1978 film “Halloween.” The remainder of the tracks on the album were recorded by Carpenter — who directed and wrote the music for films including “The Fog,” “Escape From New York” and “Assault on Precinct 17.”

Reznor says, “I clearly remember my friends and I at 13 years old conning our parents into letting us see ‘Halloween’ when it came out in 1978. We left the theater forever changed. We were damaged and scarred, with the shit genuinely scared out of us and that theme stuck firmly in our heads. John Carpenter, it’s your fault that I turned out the way I did.”

Speaking about the new version, John Carpenter says, “Moody and dark, Trent Reznor and [link
See full article at Variety - Film News »

Watch John Carpenter Direct in New Behind-the-Scenes Look at the Christine Music Video

  • DailyDead
Earlier this month, horror fans were given quite possibly the coolest Halloween treat of the year when John Carpenter stepped behind both the wheel and the camera for a music video featuring a new twist on the iconic score for 1982's Christine, part of Carpenter's upcoming album Anthology: Movie Themes 1974-1998. If your engine is still revved up from seeing the Master of Horror reunited with a 1958 Plymouth Fury scorned, then you'll want to check out a new behind-the-scenes video showing Carpenter directing the enthralling music video.

The behind-the-scenes video was shared on YouTube by Carpenter's wife and business partner, Sandy King Carpenter, and you can watch it below. In case you missed it, check here and read on for more details on Carpenter's new album and tour dates.

"The theme for "Christine" is available as a part of John Carpenter's 'Anthology: Movie Themes 1974-1998,'
See full article at DailyDead »

Jeff Bridges interview: Kingsman: The Golden Circle, Iron Man, Starman, westerns

Duncan Bowles Sep 20, 2017

Jeff Bridges chats to us about movies, Kingsman, westerns, Iron Man and more...

When preparing for an interview it can often be a double edged sword if you choose to look at other peoples’ work. Sometimes you read an interview and the answers can look frighteningly short, so panic might set in that perhaps that person isn’t very chatty, or doesn’t like doing them (though often publications just choose to use highlights), but I have to say that with Jeff Bridges, I’m glad I’d read Celia Walden’s talk with him for the Telegraph first.

I wouldn’t usually reference what I’d read in an introduction, but once you know you’re going to be sat in a room with Jeff Bridges, alone, for fifteen minutes, you need as much preparation as possible – he is, after all, a cinematic legend who needs no introduction.
See full article at Den of Geek »

Watch John Carpenter’s New Christine Music Video

  • DailyDead
The Master of Horror driving the 1958 Plymouth Fury scorned? This could be the coolest Halloween treat we get all year. John Carpenter steps both behind the wheel and the camera for a music video featuring a new twist on the iconic score for 1982's Christine, part of Carpenter's upcoming album Anthology: Movie Themes 1974-1998, which he'll be performing live across North America this fall.

You can watch the new music video below, and in case you missed it, check here and read on for more details on Carpenter's new album and tour dates.

"The theme for "Christine" is available as a part of John Carpenter's 'Anthology: Movie Themes 1974-1998,' out October 20 on Sacred Bones Records.

Preorder: http://hyperurl.co/Anthology

Director: John Carpenter

Producer: Sandy King"

Anthology: Movie Themes 1974–1998: "John Carpenter is a legend. As the director and composer behind dozens of classic movies, Carpenter
See full article at DailyDead »

John Carpenter Remakes ‘Christine’ in This Awesome Four-Minute Short Film — Watch

  • Indiewire
John Carpenter Remakes ‘Christine’ in This Awesome Four-Minute Short Film — Watch
John Carpenter is giving horror fans the ultimate Halloween treat with the release of “Anthology: Movie Themes 1974-1998” this October. The compilation album brings together 13 of Carpenter’s most iconic movie themes, from “Halloween” to “They Live,” “The Thing,” “Starman,” and “Escape From New York.” In what could be the first of many music videos released in the lead up to the album’s debut, Carpenter has dropped the official video for the theme from “Christine,” and it’s essentially a remake of the movie in four minutes and thirty-three seconds.

Read More:John Carpenter Will Co-Write ‘Big Trouble in Little China: Old Man Jack’

Christine” was released in December 1983 and starred Keith Gordon as an unpopular teenager whose new car, a vintage Plymouth Fury named Christine, turns out to be sentient and incredibly violent. The film was hardly one of Carptener’s biggest hits, grossing only $21 million domestically,
See full article at Indiewire »

Jeff Bridges Wants Starman 2 to Happen

  • MovieWeb
Jeff Bridges Wants Starman 2 to Happen
Everything is being remade, rebooted or revived nowadays, so why not a sequel to the 1984 sci-fi romance Starman? The movie's leading man Jeff Bridges believes it's high time this actually happened. And he wants to see it soon. He also knows how it can happen, which should come as a no brainer for anyone who has seen the movie.

Starman comes as kind of an anomaly in director John Carpenter's career. He is mostly known for working in the horror genre, but has been known to step outside that realm with comedy adventures like Big Trouble in Little China and thrillers like Escape from New York. But comedy, romance and science fiction was never something he dabbled in much.

Starman arrived after John Carpenter made a string of classic horror movies that include Halloween, The Fog, The Thing and Christine. He welcomed the story as a change of pace.
See full article at MovieWeb »

“Year by the Sea” Star Karen Allen on Joan Anderson’s Book, Directing, and Roles for Women Over 60

Karen Allen in “Year by the Sea

Probably best-known for her turns in “Raiders of the Lost Ark” and the “Christmas Carol” retelling “Scrooged,” Karen Allen has been working regularly since her 1978 debut in “Animal House.” She serves as a theater actor and director in addition to acting onscreen in projects like “In the Bedroom,” “Law & Order,” and “Blue Bloods.” Allen recently made her directorial film debut with “A Tree a Rock a Cloud.” The short is adapted from a Carson McCullers story about a random, but significant, conversation between a boy and an older man. Allen’s latest project is Alexander Janko’s “Year by the Sea,” a portrait of a newly single woman rebuilding her life in Cape Cod, Massachusetts. The film is based on Joan Anderson’s bestselling memoir of the same name.

We sat down with Allen to talk about her connection to Anderson and the book, the way Hollywood treats women over 60, and why she decided to try her hand at film directing.

Year by the Sea” opens in New York September 8 and in Los Angeles September 15. A national theatrical release will follow.

This interview has been edited. It was transcribed by Lyra Hale.

W&H: I really wanted to ask you how you became involved in the film?

Ka: I was just at home and I got the screenplay, which was sent to me, and I read it and thought, “I didn’t know Joan’s work,” which is odd because we have a lot of similar pathways in our lives. It’s kind of surprising that we never met each other, that the book never came into my world. But I finished reading the script and I went right out and got the book and I sat with the book and I thought the book was quite courageous.

This was a woman who had reached a crisis moment in her life, who was taking a very clear tough-minded look at herself, and had made some decisions about just wanting to get to know herself. She was interested in that authentic self underneath all the things that she had piled onto herself over the years in terms of other people’s expectations and she just wanted to somehow — instinctively she knew in order to survive, and in order to really find herself, she was going to have to figure out how to let a lot of that fall away, go back, and really get to know herself again.

I found that very inspiring and moving. I went to meet the director and I was very open about how much I would love to play the role and about a week later they offered it to me. I met Joan and I spent some time with her, and we had a wonderful connection, which has stayed to this day.

I had a great time making the film. She was there but she didn’t interfere in any way at all. She let us do our thing. And I was playing her 25 years before the time period where I met her, so I wasn’t really playing the woman I was meeting. I was playing a woman who was at a much different part of the journey than she’s on right now.

W&H: I felt like this journey was about how women take on other people’s baggage and lose their own selves. It’s kind of a very common theme with women as they get older. So I would imagine that this would resonate a lot with women.

Ka: With women and certainly with anybody who’s ever been a parent. We don’t mean to do it, we don’t necessarily aspire to do it, but we fall in love with our children and we want to care for them, support them, educate them, and help them, in every way we can.

They become this daily rhythm and part of our lives and when they suddenly grow up and leave you feel this huge piece of yourself is missing because you really have adapted, grown, changed, and become a person who is a caretaker.

In spite of everything, you really do feel — and unlike Joan, I worked all through the raising of my child. I made tough decisions about what kind of work I would do and I stopped doing some of the really far-flung travels that I had been doing earlier in my life because it began to feel very unfair to pull my son out of school for three or four months and take him to somewhere where he would sit in a hotel room with a tutor or babysitter while I went off and worked 14 hours a day, six days a week. It just didn’t seem like a way of life that I wanted to embrace or that I wanted him to have to embrace. So I made choices that I felt were in support of him in terms of my working life.

And I think in Joan’s case, she’s a published writer, and she just put that on hold to raise two children and had a husband was very much involved in his work. She took on the role of parent and looking after their world. It’s an important role but it’s a role that ends at a certain point. It’s not a role that you’re going to have for life.

W&H: Hollywood has so many issues with women who are over 40 and here is a movie with women who are over 60 embarking on exciting things in their lives, and I’m just wondering what it felt like for you to be in a movie with women who are 60?

Ka: Well, I was thrilled because there just aren’t just that many films that come around. If I read a script with a role for a 60-year-old woman, it’s usually in some capacity of a grandmother, a mother, or a boss. They’re not fully realized characters. To have the opportunity to play a role like Joan Anderson, work with Celia Imrie, and Epatha Merkerson, as my two co-stars, and Michael Cristofer — all of us being over 60 — it just seemed like such a rare experience to have.

W&H: Well, it is. How many scripts do you actually get from your agents, to read?

Ka: I have scripts that come to me from all over the place. I just directed my first film and I’ve been out at film festivals with it.

From my agents, in the course of a year, in a good year, there could be 30 and a tough year maybe half that. Many of them are not ones I would really consider very seriously just because I don’t think they’re particularly film worthy. I work a lot in the theater, both directing and acting, and in the theater very rarely does the play end up on a major stage unless it’s really remarkable. So you don’t kind of have that same dilemma in the theater.

I come from, I feel like, a very real and extraordinary generation of actresses. And I’ve grown up with them all. I was in New York at the age of 25 and I pretty much know, if not know them well or personally, I certainly have met most of the actresses of my generation at one point or another, or had the pleasure of working with them. It’s a wonderful large and fantastic generation of actresses and I don’t see nearly enough of them on screen. It actually breaks my heart how I can think of 40 names right now who I just feel like I don’t get to see anymore.

W&H: Let’s talk a little bit about why you ventured into film directing. You said you’ve done a lot of theater, and why were you tempted into making the film that you did?

Ka: I’ve been directing in the theater for awhile and a producer who I had to work with in New York, who had produced play I had directed, that won an Obie [Off-Broadway Theater Award], was sitting with me one day and he said, “Why not film? Why have you kind of shied away from directing a film?” And I said, “I don’t know that I’ve shied away from it. It just seems to me like I’ve spent my adult life on film sets and I can’t for a second fool myself or be naive enough not to know what a large undertaking it is to make a film.”

For a director it can be two to three years really committed to one project. And as an actor I’m at times committed for three to four months, but that’s usually the longest. So it’s another way of approaching a project. It’s like saying, “Gee, I’m going to be doing this for 3 years.”

So he and I continued to talk and I said, “If I were going to do a film I would want to be wise and do a short film. I would want it to be a certain kind of film that I felt I could really do well, that would play on all my strengths so that I would really have a positive experience making it and not go into it feeling completely overwhelmed.”

I have seen many first-time directors with that deer-in-the-headlights look. I’m very familiar with it. I’ve worked with a lot of first-time directors in film. So we continued with that conversation and he finally said, “If you were going to do it, what would it be? And I said, “There’s a story of Carson McCullers’ that I’ve thought about for 40 years.”

It’s just been something that had sat there in my head for a very long time. And he said, “I would love to help you do this.” And then we brought on another producer, Diane Pearlman, who was with me in Cannes, who I don’t know if you’ve met her, she runs with Berkshire Film and Media Collaborative in Western Massachusetts. Then we moved forward and just decided to do it. And it has taken three years.

We’re still working on it and I was able to bring many, many women onto the crew of our film. I had a female first A.D. [assistant director], a female production designer, and a female costume designer. We were female rich, which was a great joy.

I decided to open up my world to directing about 10 years ago because I don’t want my creative life to be limited by whether there’s an interesting role for me at 65. I love telling stories and I love developing projects and I don’t see any reason why I’d have to be in them for me to be involved.

So it makes for a very enriching experience for me to also embrace working as a director because, you know, particularly in the playwriting world there are so many plays that I love, so many playwrights whose work I love, where there isn’t a role for me.

W&H: What did you learn as an actor working with first-time directors, that you took into being a director?

Ka: One of the main lessons is preparation, preparation, preparation.

If you show up on the set the first day and you have really done the work; have a sense of how you want to shoot the film, know the material, chosen the right actors, and you know your actors and you have done the work with them to know you’re on the same wavelength. If you’ve done the work then you can actually be very calm, clear-minded, and put your attention where it needs to go when you’re actually shooting.

I somehow felt like those were lessons that I had gathered over my 35 to 45 years of being on sets. And it seemed to me like the sets that were successful and the people who were really able to bring out their best, came from that kind of calmness in the director, because they knew what they were doing, they knew where they were going. They had a shot list, they knew how they wanted to shoot a scene, and yet they were prepared and open. Prepared and yet open. And I think actually to be open you need to be prepared.

So I tried to emulate that, and I actually feel I was quite successful at it, that I was a bit of a whirling dervish for about four months during preparation. And probably drove everybody crazy because I was into so much of the minutiae and I just wanted to make sure everything was explored and every decision was sort of looked at from all different angles.

It paid off in spades when I got on set with my actors.

W&H: That’s good advice. I would imagine that you have gotten the bug now and you want to direct more film?

Ka: Well, I’m really willing to take it a little bit at a time. At Cannes I had three scripts that were sent to me after people saw my film that were in various phases of development. None of them are fully funded.

The more my film gets out there into the world — we’ve been going to film festivals, we’ve won a number of awards — and the more that the film is being seen by people, the more attention I am getting as a director.

So it feels as though if I do want to do that, I could move in that direction, which is great. It’s lovely to feel like there’s a door opening up for me. So I’ll just see. One of the most difficult aspects of making this short film was that we raised the money ourselves. And it was one of the most difficult things I’ve ever had to do in my life. I don’t think I’m particularly skilled at it.

W&H: Last question: You’ve been in movies that have been so seminal to so many people. I was just wondering, what does it feel to be in films that have had such profound effects on people?

Ka: You know, that’s such a hard question to answer. It feels like often it just feels like such a privilege to have had a chance to work in the film world and to be hired to do all these wonderful roles. I had this wonderful period in my life, maybe for 15 years, where I was really working in an ongoing way, being offered really wonderful projects that I just loved every minute of. And now to still be doing it.

I don’t get offered all the great projects. I’m not on anybody’s A list for the next whatever. But I still keep working in independent films and in the theater. I’ve started to direct a couple films and you know it’s been such an incredible journey and I don’t know what it feels like for other people and their experiences. I know sometimes people are just, they love some of the films so much — “Starman” or “Raiders of the Lost Ark.”

It comes back to me sometimes in the most surprising ways and I can’t imagine having done anything else in my life. And certainly the first 22 years of my life I couldn’t have imagined anything like this was possible. I’d never met an actress or seen a play. I’d seen films. I loved films. I love to watch films. That world seemed a million miles away to me.

https://medium.com/media/2f0b4d8a500b0d970e07fb2024cfbd4f/href

Year by the Sea” Star Karen Allen on Joan Anderson’s Book, Directing, and Roles for Women Over 60 was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
See full article at Women and Hollywood »

John Carpenter Announces Tour Dates for Live Performances of His New Album Anthology: Movie Themes 1974–1998

  • DailyDead
Last year, Master of Horror John Carpenter rocked North America (and beyond) with synth-infused live performances of tracks from his Lost Themes II album, and now Carpenter has announced a new album, Anthology: Movie Themes 1974–1998, featuring themes from 13 of his films. Get ready to mark your calendars, too, because Carpenter is hitting the road once again to bring his transcendent tracks to life on stage.

John Carpenter's new Anthology tour kicks off on October 29th in Las Vegas and currently features 14 tour dates in cities across the United States and Canada. You can check out the full schedule in the image below or by visiting Sacred Bones Records' official website.

We also have details and a look at the cover art for John Carpenter's new Anthology vinyl album that comes out on October 20th, including the audio for the "In the Mouth of Madness" track, which you can
See full article at DailyDead »

Jeff Bridges Teases ‘Tron 3’ and His Return to the McU

  • Fandango
Jeff Bridges hasn’t done a lot of sequels. There’s Texasville, the follow-up to The Last Picture Show, and Tron: Legacy, and now he’s joining the Kingsman series for the sequel Kingsman: The Golden Circle. He’s never been against doing them. In a new interview with Uproxx, he explains that he expected to do Starman 2 but the movie continued as a TV series instead. And he had no idea The Big Lebowski was spinning off without him for the upcoming Going Places. He says...

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See full article at Fandango »

Jeff Bridges Teases ‘Tron 3’ and His Return to the McU

  • Movies.com
Jeff Bridges hasn’t done a lot of sequels. There’s Texasville, the follow-up to The Last Picture Show, and Tron: Legacy, and now he’s joining the Kingsman series for next month's sequel Kingsman: The Golden Circle. He’s never been against doing sequels. In a new interview with Uproxx, he explains that he expected to do Starman 2 but the movie continued as a TV series instead. And he had no idea The Big Lebowski was spinning off without him into the upcoming movie Going Places. However, he says of the idea of him ever reprising his role as that iconic title character: You know, there’s so many rumors about Lebowski, that they’re going to remake him, and so I hear those like everybody else. I get excited, but they all turn out to be...

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See full article at Movies.com »

The Raid, Filmmaker John Carpenter, Last Jedi Bts, And More -- The Lrm Weekend

  • LRM Online
By David Kozlowski | 21 July 2017

Welcome to Issue #5 of The Lrm Weekend, a weekly column highlighting cool and unique videos about film, TV, comics, Star Wars, Marvel, DC, animation, and anime. We also want to hear from you, our awesome Lrm community! Share your favorite videos to: @LRM_Weekend and we'll post your Tweets below!

Previous Issue: 7.14.17

What's happening everybody? It's Comic-Con week here at Lrm, so while everyone else is geeking-out down in San Diego, we decided to get a little bit weird. We're digging into some classic John Carpenter films, we've got a couple truly amazing fight scenes, a war film that can go toe-to-toe with Dunkirk, and an awesome new behind-the-scenes video about this holiday's Star Wars: The Last Jedi! Have a great Weekend guys!!!

Why do we love superheroes, martial arts, fantasy, and sci-fi? The big fight scenes, of course. Every week we'll bring you an epic
See full article at LRM Online »

John Carpenter Developing ‘Tales for a Halloween Night’ and ‘Nightside’ TV Series

John Carpenter Developing ‘Tales for a Halloween Night’ and ‘Nightside’ TV Series
John Carpenter stays busy. In addition to producing new takes on “Halloween” and “Escape From New York” and co-writing an upcoming series of “Big Trouble in Little China” comics, the horror auteur is taking on television as well. Carpenter is developing two small-screen projects, reports THR: Syfy’s scripted anthology series “Tales for a Halloween Night” and Universal Cable Productions’ “Nightside,” based on the series of books by Simon R. Green.

Read More: John Carpenter Will Co-Write ‘Big Trouble in Little China: Old Man Jack’

“I’m excited to partner with Universal Cable Productions on this venture into television,” said Carpenter. “On one hand it’s a return home to Universal where I have fond memories, and on the other it’s a step into the future with great new creative partners in programming.” “Tales for a Halloween Night” will be based on his own series of graphic novels
See full article at Indiewire Television »

John Carpenter Developing ‘Tales for a Halloween Night’ and ‘Nightside’ TV Series

  • Indiewire
John Carpenter Developing ‘Tales for a Halloween Night’ and ‘Nightside’ TV Series
John Carpenter stays busy. In addition to producing new takes on “Halloween” and “Escape From New York” and co-writing an upcoming series of “Big Trouble in Little China” comics, the horror auteur is taking on television as well. Carpenter is developing two small-screen projects, reports THR: Syfy’s scripted anthology series “Tales for a Halloween Night” and Universal Cable Productions’ “Nightside,” based on the series of books by Simon R. Green.

Read More: John Carpenter Will Co-Write ‘Big Trouble in Little China: Old Man Jack’

“I’m excited to partner with Universal Cable Productions on this venture into television,” said Carpenter. “On one hand it’s a return home to Universal where I have fond memories, and on the other it’s a step into the future with great new creative partners in programming.” “Tales for a Halloween Night” will be based on his own series of graphic novels
See full article at Indiewire »

Class of 1987: 30 Years of Liquid Evil – Celebrating John Carpenter’s Prince Of Darkness

  • DailyDead
Poor John Carpenter. Like nearly all of the truly great horror filmmakers, his movies are destined to be misunderstood in their time, only finding the proper appreciation several years after the fact when the rest of the world is finally able to catch up to what he’s doing. It’s not always the case, of course, as he has had a handful of commercial hits; for many years, his breakthrough movie Halloween was the most successful independent film ever made. It was the rare instance in which audiences were tuned in to what Carpenter was doing at the time he was doing it. Most of his other great films—and he has more great films than almost any other director working in the genre—took years to connect with the public. Don’t blame Carpenter for that. He’s a man ahead of his time.

It has been 30 years
See full article at DailyDead »

Cannes 2017. Retro Futurist—Kiyoshi Kurosawa's "Before We Vanish"

  • MUBI
Leave it to Kiyoshi Kurosawa, our favorite director of B movies that look like art films (or are they the other way around?), to upturn the nostalgia for American blockbusters of the 1980s. Japan’s modern day Don Siegel or Robert Aldrich, who admires in equal parts Jean-Luc Godard and, based on his new film Before We Vanish, John Carpenter, does Super 8, Midnight Special and Stranger Things one better by jumping off from 30-year-old conventions and making a damn good film.A bloody prologue of a massacred family and the dazzled schoolgirl culprit (Yuri Tsunematsu) suggests Kurosawa is squarely back in the horror-thriller genre, but the film’s tone and our expectations are suddenly taken an entirely other way by Yusuke Hayashi’s soundtrack shifting to a plucky comic theme. We learn that the girl is one of three aliens who have arrived on earth and inhabit human bodies, awkwardly
See full article at MUBI »

The Pros and Cons of Looking Back: Close-Up on John Carpenter’s "Christine" and "Starman"

  • MUBI
Close-Up is a column that spotlights films now playing on Mubi. John Carpenter's Christine (1983) is showing May 4 - June 3 and Starman (1984) is showing May 5 - June 4, 2017 in the United Kingdom.ChristineWas it too dark? Too bleak? Too gory? Did it have the misfortune of opening when American moviegoers were flocking to E.T.? Either way, when John Carpenter's The Thing landed in the summer of 1982, with an apocalyptic cliffhanger and the most surreally grotesque, tactile, gooey monster effects you never realized could be put on film, it fizzled. "It was hated," Carpenter later recalled at a screening in Los Angeles. "Hated by fans. I lost a job. People hated me. They thought I was this horrible, violent—" He trailed off and joked, "And I was." The audience laughed, because by now The Thing's exalted place in movie geek culture is secure: an exquisitely paranoid horror classic and arguably the crown
See full article at MUBI »

Comics Corner: Penny Dreadful, The Walking Dead #167, Outcast #27, Paper Girls #14

  • DailyDead
Welcome back to another Comics Corner, highlighting some of the most interesting horror-related comics now in circulation. Miss The Walking Dead on your TV screen? Well, Robert Kirkman's The Walking Dead #167 from Image Comics is out now, and we have the cover artwork! Also: Penny Dreadful: The Awaking #2.2, Blood Blister #2, Outcast #27, Fissure #2, Paper Girls #14, Big Trouble in Little China/Lost in New York, and Clive Barker's Hellraiser: Omnibus Trade Paperback Volume 1.

Penny Dreadful: The Awaking #2.2: "Continues the story directly after the shocking events of Penny Dreadful’s season three TV finale, featuring Ethan Chandler, Sir Malcolm Murray, Ferdinand Lyle, and Lily! Written by Penny Dreadful TV series co-executive producer Chris King with interior art by Jésus Hérvas (Sons of Anarchy).

Written by: Chris King

Art by: Jesus Hervas

Colored by: Jason Wordie

Cover by: Tristan Jones

Genres: Action/AdventureHorrorMovies & TV

About Book

Page Count: 31 Pages
See full article at DailyDead »

Video Essay. John Carpenter: Master of Perspective

  • MUBI
John Carpenter's Christine (1983) is showing May 4 - June 3 and Starman (1984) is showing May 5 - June 4, 2017 in the United Kingdom.From the start, the disparity between John Carpenter’s tastes and his impulses as an artist were obvious to even those who loved him dearly. His breakout film, Halloween (1978), arguably the most replicated movie of all-time, was derided by one side of the taste divide for its players’ full-throated embrace of still-nascent horror archetypes—those whining babysitters and their slavishly puckish boyfriends!—and celebrated by the other for stylishly transcending its origins as an artless genre project. His remake of The Thing (1982) was attacked for placing special effects on the same level as classic suspense techniques, both of which, in Carpenter’s hands, were executed to perfection and denigrated accordingly. This duality in Carpenter’s work lead many, particularly as his career went on, to push back against his perceived inclination towards silliness.
See full article at MUBI »
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