4 items from 2015
1995, a weird year for American cinema. There was a new Bond in Pierce Brosnan. Some young punk commercial director named David Fincher reinvented the serial killer picture. Michael Mann delivered what many consider to be his great masterwork. Adam Sandler starred in his first film. Paul Ws Anderson turned the world’s goriest video game…
- Samuel Zimmerman
Exclusive: Carolco producer Mario Kassar talks to us about his forthcoming sci-fi action film, Bot. Here are the first details.
Twenty years on, and the Carolco brand has been revived by Kassar and new CEO Alex Bafer, with one of its first projects being a new incarnation of the fearsome horror-drama, Audition. Beyond that, Bafer also hinted at something more akin to Carolco's sci-fi action films of old; it is, he said, "a Terminator-type sci-fi summer blockbuster."
That film now has a name: it's called Bot, and it's the first in a potential trilogy of movies penned by Tedi Sarafian - the story writer behind, among other things, 2003's Terminator 3: Rise Of The Machines.
"Bot's the kind of movie I used »
Beginning his acting career very young, Fear Clinic‘s Thomas Dekker has worked with everyone from John Carpenter to Jerry Seinfeld and most people in between. Always jumping into each role and doing a hell of a job with them, Dekker’s always good, even if certain films might not have been (I’m not the biggest fan of the A Nightmare On Elm Street remake, but still liked what Dekker brought to the table). When Dekker was cast as a young John Connor in Terminator: The Sarah Connor Chronicles, he met and began a creatively rich working relationship with FX maestro Rob Hall, who went on to cast Dekker in both Laid To Rest films, as well as Fear Clinic. Playing Blake, a mysterious (and somewhat catatonic) survivor of a shooting which comes to the film’s Fear Clinic to be cured of his fears, Dekker does an excellent »
- Jerry Smith
Writing on John Carpenter’s cinema usually adheres to a few safe subjects: his pulsating synth scores, his ingenious use of negative space, his signature 2.35:1 frame, (specious) comparisons to Howard Hawks, etc. Ideally, his oeuvre is ripe for analysis, so formally and tonally consistent is his cinema, so rigorous the progression of his favorite themes and subjects. Phases begin and end, roughly. Experiments can be recognized, one-offs noted, dozens of through lines traced. And yet Carpenter, among the most coherent of filmmakers in a variety of contexts, is seldom subject to thoughtful criticism, and if so, is largely marginalized to a handful of admittedly excellent but overly-canonized and under-representative works.
If clung to for bruising, relentless films like Halloween (1978), The Thing (1982), Assault on Precinct 13 (1976), Prince of Darkness, and They Live (1988), Carpenter comes off rather severe, even despairing. One cannot deny this element in his work, a powerful vein »
- John Lehtonen
4 items from 2015
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