The Addiction (1995) - News Poster



Film Review: ‘Leatherface’

Film Review: ‘Leatherface’
Considering the game-changing stature of Tobe Hooper’s 1974 original in the annals of horror cinema, it’s odd that “The Texas Chainsaw Massacre” has had such a peculiar, erratic life in franchise terms. Odder still then that after so many re-inventions of this particular wheel, to varying artistic and box-office rewards, that “Leatherface” should quietly premiere on DirecTV a month before being dumped into a handful of U.S. theaters on Oct. 20.

Written by Seth M. Sherwood and directed by the French duo Julien Maury and Alexandre Bustillo (“Inside”), this “origin story” is a somewhat mixed bag. But it’s also an earnest and well-crafted attempt at course-correction, straying from stock slasher recyclage to provide a different story that actually connects a few dots in the very tangled cinematic “Chainsaw” universe to date. Particularly given the angry popular rejection just handed genre rule-breaker “Mother!,” you’d think this respectable addition to an uneven but name-brand horror pic
See full article at Variety - Film News »

The Overlook: The director of Bad Lieutenant takes on the prescient cyberpunk of William Gibson

In The Overlook, A.V. Club film critic Ignatiy Vishnevetsky examines the misfits, underappreciated gems, and underseen classics of film history.

“The information highway is leading straight to hell…”

Abel Ferrara

The films of Abel Ferrara are probably too anguished and tragic to be called hangout movies. To an extent, they wallow in states of sin, doom, and moral disrepair: a personal hell in Bad Lieutenant, the Lower East Side as it faces the end of time in 4:44 Last Day On Earth, a grueling film shoot in Dangerous Game. To the circles of Ferrara’s inferno, one can also add the indistinct cyberpunk future of his 1998 William Gibson adaption, New Rose Hotel. It’s a shame that Ferrara’s forays into the fantastic—such as Body Snatchers and the vampire film The Addiction—are more obscure than his crime films and psychodramas, as they interpret well-worn sci-fi ...
See full article at The AV Club »

Cannes: Directors' Fortnight reveals 2017 line-up

Cannes: Directors' Fortnight reveals 2017 line-up
Baker, Nyoni, Jasper and Carpignano join Cannes veterans Denis, Ferrara, Dumont, Garrel and Gitai.Scroll Down For Full List

Tangerine director Sean Baker, the UK’s Rungano Nyoni and Italo-American film-maker Jonas Carpignano will be among the buzzed-about names premiering new works at the 49th edition of Cannes Directors’ Fortnight this year (18-28 May).

Artistic director Edouard Waintrop unveiled the eclectic selection, comprising 19 feature-length films and another 11 shorts, at a press conference at the Cinéma Le Grand Action in Paris on Thursday (20 April).

Read more: Cannes 2017: Official Selection in full

Opening And Closing Films

Claire Denis will open the 49th edition – running May 18-28 - with Un Beau Soleil Intérieur starring Juliette Binoche, Gérard Depardieu and Xavier Beauvois.

Us director Geremy Jasper’s debut feature Patti Cake$ - which world premiered at Sundance this year has been selected as the closing film.

Us Presence

It is one of two Sundance titles in this year’s selection
See full article at ScreenDaily »

Abel Ferrara interview: Driller Killer, Bad Lieutenant, Body Snatchers

Ryan Lambie Nov 24, 2016

Maverick director Abel Ferrara talks to us about his career in movies, from Driller Killer to Bad Lieutenant and Body Snatchers...

When British distributor Vipco put out full-age ads depicting a particularly bloody scene from Driller Killer, the movie became an unwitting part of the 'video nasty' moral flap of the early 80s. Suddenly, director Abel Ferrara's low-budget, quick-and-dirty horror-arthouse-drama about a young artist going crazy in Manhattan was lumped in with such films as Cannibal Holocaust, Last House On The Left and the tawdry SS Experiment Camp.

See related  Yonderland: saluting a brilliant fantasy comedy Yonderland series 3 episode 6 review: Swapsies Yonderland series 3 episode 5 review: The Negatus Redemption Yonderland series 3 episode 4 review: Boo

Banned from 1984 until 1999 (when it was released with nearly a minute of cuts), Driller Killer is about to get a restored, 4K edition courtesy of Arrow Films, which presents the original theatrical version
See full article at Den of Geek »

The Neon Demon review: Nicolas Winding Refn makes Zoolander 3, but erotic and evil

There is style and chutzpah in this vampiric story of supermodel cannibals – as well as a superb central turn from Elle Fanning – yet it lacks the focus and wallop of his earlier work

Nicolas Winding Refn brings the cinéma du choc to Cannes with a movie which is fantastically preposterous and objectionable, but expertly varnished with a sheen of pure evil. It features the excellent Elle Fanning whose insouciant freshness is a reason to keep watching: a quality which oddly survives her inevitable journey to the dark side. There is a very great deal of Bret Easton Ellis in this story of vampirism and cannibalism in the La fashion scene — a world which shocks no-one by turning out to be shallow and vicious. If Andy Warhol wanted to remake Abel Ferrara’s The Addiction it might turn out like this. Or maybe if Ferrara wanted to do Zoolander 3.

Exasperating though this film can be,
See full article at The Guardian - Film News »

Horror Highlights: The Bye Bye Man, Karyn Kusama’s Curated Shudder Collection, Tarzan On The Planet Of The Apes

“Don’t think it. Don’t say it.” From Stx Entertainment, The Bye Bye Man will pay everyone a visit on June 3rd. Also: details on Karyn Kusama’s (The Invitation) curated collection on Shudder and Dark Horse Comics’ Tarzan on the Planet of the Apes at Emerald City Comicon.

The Bye Bye Man: “People commit unthinkable acts every day. Time and again, we grapple to understand what drives a person to do such terrible things. But what if all of the questions we’re asking are wrong? What if the source of all evil is not a matter of what…but who?

From the producer of The Strangers and Oculus comes The Bye Bye Man, a chilling horror-thriller that exposes the evil behind the most unspeakable acts committed by man.

When three college friends stumble upon the horrific origins of the Bye Bye Man, they discover that there
See full article at DailyDead »

Blu-ray Review: The Larry Fessenden Collection

  • DailyDead
If ever there was to be a Mt. Rushmore of modern horror, there’s no question that the face of Larry Fessenden would get prominent placement. One of the patron saints of indie horror, Fessenden is a true auteur and a true original whose incredible career is now being celebrated with the Scream Factory release of The Larry Fessenden Collection, containing four of his films and hours of bonus features that help illuminate just what a vital voice Fessenden has been in the genre for more than three decades. This is one of the best horror releases of the year.

Fessenden (whose Glass Eye Pix has been around since the mid-’80s, helping produce films including The House of the Devil, I Sell the Dead, Stake Land and Late Phases) has built a career on twisting and subverting the conventions of classic horror films and filtering them through his own distinctive lens.
See full article at DailyDead »

The Larry Fessenden Collection | Blu-ray Review

Scream Factory and IFC Midnight have paired up to present an inspired disc set for The Larry Fessenden Collection, an assortment of four of the director’s most notable genre films. Migrating between a number of notable projects as a character actor (he usually appears as some peripheral, grizzled weirdo, showing up in titles by Scorsese, Neil Jordan, and Kelly Reichardt, amongst others), he’s also a noted producer, editor, screenwriter, and cinematographer. But Fessenden’s made his most striking impression with a growing body of genre oriented independent directorial efforts. Usually prizing strong characterization amidst situations of mounting dread, Fessenden seems fascinated with testing the strengths and inherent weaknesses of mankind, and it’s probably easiest to label his filmography as environmental horror.

Out of Fessenden’s own production company Glass Eye Pix, 1991’s No Telling (or the Frankenstein Complex) melds motifs of Mary Shelley’s famed mad scientist with modern animal experimentation.
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200 Greatest Horror Films (170-161)

Special Mention: Shock Corridor

Written and directed by Samuel Fuller

USA, 1963

Genre: Psychological Thriller

Shock Corridor stars Peter Breck as Johnny Barrett, an ambitious reporter who wants to expose a killer hiding out at the local insane asylum. In order to solve the case, he must pretend to be insane so they have him committed. Once in the asylum, Barrett sets to work, interrogating the other patients and keeping a close eye on the staff. But it’s difficult to remain a sane man living in an insane place, and the closer Barrett gets to the truth, the closer he gets to insanity.

Shock Corridor is best described as an anti-establishment drama that at times is surprisingly quite funny despite the dark material. The film deals with some timely issues of the era, specifically the atom bomb, anti-communism, and racism. It features everything from a raving female love-crazed nympho ward,
See full article at SoundOnSight »

25 Years in La Part 3: Showtime, the Silverado, and the rise of Ain't It Cool

  • Hitfix
25 Years in La Part 3: Showtime, the Silverado, and the rise of Ain't It Cool
The first and most important thing that happened as a result of the staging of "Sticks and Stones" at the Met Theater as part of the Act One Festival was that Scott Swan and I got our first agent. Barbara Baruch worked for Ambrosio/Mortimer, a smaller boutique agency at the time, and from the moment we met her, she seemed like what I imagined an agent to be. She was nurturing, she was a cheerleader, she was a ballbuster, and she was always, always, always in our corner. Our time with her was unfortunately too short, and by the time the agency imploded in accusations of embezzlement, we were already repped by Gersh out of New York. Barbara was first, though, and she was the first one to start pushing people to come see our show and to read our work. The strangest thing about those early days is
See full article at Hitfix »

The Conjuring’s Lili Taylor joins Leatherface

Lili Taylor, who starred in Abel Ferrara’s 1994 NYC vampire film The Addiction and put in a properly awards-worthy performance in James Wan’s The Conjuring will return to horror in the upcoming Texas Chainsaw prequel, Leatherface. In reporting Leatherface’s presence at the Cannes Market, Deadline revealed Taylor has joined Stephen Dorff, Angela Bettis and young…

The post The Conjuring’s Lili Taylor joins Leatherface appeared first on Shock Till You Drop.
See full article at shocktillyoudrop »

The New Moral Order: Abel Ferrara's "Welcome to New York"

  • MUBI
“If women didn’t exist, all the money in the world would have no meaning.” —Aristotele OnassisFor over forty years now Abel Ferrara’s cinema has spewed out from the gangrenous wounds of our civilization of images. Never mind how ugly it was, it was always in your face. And unapologetically so. The damnation of life, as low as it could possibly get, and the existential dirt polite society and cinema sweep under the carpet have been Ferrara’s carnal muses. If crime and the underworld were often his preferred milieu, it never was out of teen-aged fascination for the dark side of society but because there he senses and lenses the bio-illogical matrix of our lives: the law of the jungle rationalized into the language of the Bible. Redemption in his cinema is never a concrete possibility, it functioned as a sort of moral mirage for lost souls—the
See full article at MUBI »

Da Sweet Blood of Jesus | Review

S’Blood: Lee’s Facsimile of Bill Gunn an Odd Satisfaction

Surprisingly, after the failure of his 2013 remake of Park Chan-wook’s Oldboy, provocateur Spike Lee’s latest, the Kickstarter funded Da Sweet Blood of Jesus, is also a remake, a modernization of Bill Gunn’s 1973 classic Ganja & Hess, a film tenuously positioned within the spectrum of Blaxploitation. Lee initially explained that the film was about blood addiction and not vampires, with early conversations indicating that this had nothing to do with the likes of Blacula. But those familiar with Gunn’s brilliant and strange (if somewhat compromised) original film will see his stamp all over it, directed with uneasy disconnect from Lee. It’s an odd, sometimes off-putting film, but it strikes a distinctive, addictive chord, generating a particular scent that will draw you down its path. Though Lee expressly wishes the focus of the film to be about
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What We Do in the Shadows review

Flight of the Conchord writers are behind this wickedly funny mockumentary about a bunch of undead flatmates rowing about the cleaning

What We Do in the Shadows: the return of the living deadpan

So many comedies are adoringly billed as “dark”, forgetting the ancient showbusiness maxim, “dark is easy; funny is hard”. Fortunately, this mockumentary from New Zealand succeeds in being both: in fact, it’s the best comedy of the year. What We Do in the Shadows is directed by its stars Jemaine “Flight of the Conchords” Clement and Taika Waititi, who in 2005 was Oscar-nominated for his short film Two Cars, One Night. A group of vampires share a house in Wellington, squabbling about the washing up and facing off with a rival gang of werewolves, à la Twilight. The rigour with which their hideous and crepuscular world is imagined, combined with the continuous flow of top-quality gags,
See full article at The Guardian - TV News »

Director Abel Ferrara Talks Pasolini, Shooting the Late Italian Filmmaker’s Unfinished Scripts, Body Snatchers, and the Chances for Driller Killer 2

Packing a voice that’s sounds like a New York accent filtered through gravel and a filmmaking resume comprised exclusively of uncompromising darkness, Abel Ferrara is a pretty intimidating provocateur. He’s also a genuine artist who sprung from the exploitation movie marketplace with art film aspirations and now brings a little of the old grit with him to art house fare. HIs career began with self-explanatory shock titles like Driller Killer and Ms. 45, then matured through the likes of King of New York, Bad Lieutenant, and The Addiction. These days, his hair is white and his wrinkles have wrinkles, but the work remains just as incendiary and he’s more productive than ever. Ferrara’s last film Welcome to New York just premiered at Cannes and now his latest film Pasolini has come to this year’s Toronto International Film Festival. As the title suggests, it’s about
See full article at »

Only Lovers Left Alive – review

Tilda Swinton and Tom Hiddleston are oddly endearing as centuries-old lovers in Jim Jarmusch's vampire movie

Us indie pioneer Jim Jarmusch has been pursuing his laconic strain of cinematic hipsterism for 30 years now, so long that he seems as ageless as the blood-sipping characters in his latest film. You thought there was nothing new to add to the vampire genre? So, apparently, did Jarmusch, which is why Only Lovers Left Alive luxuriates in a curious end-of-an-era melancholy, as if he'd set out at once to make the last ever vampire movie and cinema's last ever love story.

The lovers in question are reclusive rock musician Adam (Tom Hiddleston, exuding fastidiously weary cool) and Eve (Tilda Swinton, pallid and otherworldly – I swear, you'd barely recognise her). Centuries old, the couple are married and still deeply in love though living apart: she in Tangier, he in a Detroit seemingly reverting to primeval jungle.
See full article at The Guardian - Film News »

Only Lovers Left Alive – review

This retro-chic haute-hippy vampire flick gets its energy from the sulphurous chemistry between Tilda Swinton and Tom Hiddleston

I have warmed up – or maybe rather cooled down – to Jim Jarmusch's beautifully made and exquisitely designed vampire movie since seeing it at Cannes last year. At first, it looked studenty and self-congratulatory. But if it is an exercise in style … well, what style. With its retro-chic connoisseurship and analogue era rock, this is a brilliant haute-hippy homage: a movie that could almost have been conceived at the same time as Performance or Zabriskie Point.

As the undead lovers, Tilda Swinton and Tom Hiddleston hang out together very elegantly, exchanging worldly badinage and wondering what's in the fridge, like Withnail and Withnail, or I and I. Hiddleston is Adam, a reclusive vampire rock star hiding out from his fans in Detroit and savouring the necrophiliac ruin-porn thereabouts. Swinton plays his paramour,
See full article at The Guardian - Film News »

The top 25 underappreciated films of 1996

Odd List Ryan Lambie Simon Brew 31 Oct 2013 - 07:01

We train our sights on the year 1996, and the 25 underappreciated films it has to offer...

Independence Day managed to revive both the alien invasion movie and the disaster flick in 1996, and just about every other mainstream picture released that year lived in its saucer-shaped shadow.

Yet beyond the aerial battles of Independence Day, the flying cows in Twister, and the high-wire antics of Tom Cruise in Brian De Palma's Mission: Impossible, there sat an entire library of lesser-known and underappreciated movies.

As part of our attempts to highlight the unsung greats of the 90s, here's our selection of 25 such films from 1996 - the year chess champion Garry Kasparov lost to the might of the computer Deep Blue, and the year comedy star Jim Carrey starred in an unexpectedly dark tale of obsession...

25. The Cable Guy

We can't sit here and
See full article at Den of Geek »

The top 25 underappreciated films of 1995

Odd List Ryan Lambie Simon Brew 24 Oct 2013 - 06:46

Another 25 unsung greats come under the spotlight, as we provide our pick of the underappreciated films of 1995...

The year covered in this week's underrated movie rundown was significant for a number of reasons. It was the year that saw the release of Toy Story - the groundbreaking movie that would cement Pixar's reputation as an animation studio, and set the tempo for CG family movies for the next 18 years and counting. It was the year that saw James Bond (played by Pierce Brosnan for the first time) emerge for GoldenEye after a six-year break. It was also the year of Michael Mann's Heat, Dogme 95, and the moment where Terry Gilliam scored a much-deserved hit with 12 Monkeys.

As ever, we're focusing on a few of the lesser-known films from this particular year, and we've had to think carefully about what's made the cut and what hasn't.
See full article at Den of Geek »

Nosferatu (1922) HD Trailer for UK Blu-ray and Cinema Re-release

We recently reported that the classic silent horror film, Nosferatu, will be available on Blu-ray in the Us on November 12th. We now have details on the UK release, which comes in the form of a standard Blu-ray edition or a limited steelbook edition. A newly restored trailer has also come online to promote the re-release of Nosferatu in UK cinemas and you can watch it right here.

“An iconic film of the German expressionist cinema, and one of the most famous of all silent movies, F. W. Murnau’s Nosferatu: A Symphony of Horror continues to haunt — and, indeed, terrify — modern audiences with the unshakable power of its images. By teasing a host of occult atmospherics out of dilapidated set-pieces and innocuous real-world locations alike, Murnau captured on celluloid the deeply-rooted elements of a waking nightmare, and launched the signature “Murnau-style” that would change cinema history forever.

See full article at DailyDead »
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