5 items from 2017
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. »
With Robert Rodriguez behind the camera, at least.
Everyone hates remakes. As film-critic people, we are obligated to hate remakes and reboots ever more. Remember Ben-Hur with Morgan Freeman? Remember Tim Burton’s Planet of the Apes (2001)? But I’m can’t help but get excited about the remake of John Carpenter’s Escape from New York (1981) that 20th Century Fox is starting to get the ball actually rolling on. For one, Carpenter remains on hand as executive producer, which kind of makes the director and now-prolific rock star look like a father watching kid’s play with his old toys. Carpenter hasn’t done anything, movie-wise, in almost decade so it’s nice to see that he’ll be somewhere behind a camera sometime soon. Last year, he announced that he’d be also be on hand to help helm currently-hip Blumhouse Production’s first take on the ninth Halloween movie. So »
- Andrew Karpan
The latest installment in the filmmaker's series of journal-films combining iPhone footage and sounds and images from movies. A diary penned with cinema.Journal (6.6.16 - 1.10.17)feat. additional footage from Masha Tupitsyn and Isiah MedinaMy journal-film series (of which this is the third installment) came to be as a means of resolving the points of convergence and departure amongst the environments I occupy and those which I encounter in cinema. I like to view these films as a method of managing the images that take up my thoughts and memories into a new continuity, one in which the distinction between images seen on-screen and those personally experienced is no longer absolute. In dissolving this partition, these films provide a vector for the animation conceptual concerns through cinema - montage fulfilling that which language can only formally describe and vice versa. The following essay outlines some of the concerns this film attempts »
Nick Aldwinckle Mar 2, 2017
Any regular readers (there must be a few of you; there must be) will be more than aware of this writer’s borderline obsessive love for the movies of one John Carpenter. You’ve got your Halloween, The Thing, They Live or The Fog, but everyone knows the real quality comes in the form of the later films in this cult film-maker, lord of the synth and accomplished ‘tache-wearer’s career and the classics that are Escape From L.A and his TV-movie take on Village Of The Damned. No? Ok, those are both more than a little iffy, but with the latest Blu-ray release of two other generally maligned late efforts in Carpenter’s body of work, we ask the age-old question 'Was Vampires really that bad?'
Let’s get this out of the way, vulgarians: Resident Evil: The Final Chapter is a bit different than the past Paul W.S. Anderson-directed entries. As evident from its initial trailer and clips, hand-held camerawork and frenetic cutting have come to replace the balletic action choreography praised as “bodies in motion and / or space” by numerous online film pundits. Which is not to act as if Anderson handed off the reins of his beloved franchise to Olivier Megaton or somebody, but this newest installment can’t necessarily be treated as another victory lap for Anderson’s superior technique. (Don’t worry: there are still plenty of corridors and trap doors to waltz through.) Yet once one is acclimated to this chaos-cinema form, even if it’s a bit more assaultive in post-converted 3D, the writer-director’s simultaneous economic storytelling and boyish imagination come into clear view.
It may have »
- Ethan Vestby
5 items from 2017
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