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Yomeddine | 2018 Cannes Film Festival Review

Natural Selection: Shawky Shackled by Straight Story

Tackling notions of identity in both a figurative and transfigurative sense, Yomeddine teeters ever so lightly into fable terrain with a spirit akin to Miracle in Milan (1951) and proportionally Tod Browning’s Freaks. The antithesis of throw the baby out bleakness of a Bahman Ghobadi’s Turtles Can Fly, under the guise of the roadtrip buddy comedy (donkey is the favored mode of transportation here), we could coin Abu Bakr Shawky‘s feature debut has “hopeful” miserablism, a sincere, well-intention film with an attached quasi cathartic denounement that is simply too rough around-the-edges, formulaic to…
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‘Border’ Review: Gender-Bending Fairy Tale Is a Wild Ugly Duckling Story From the Writer of ‘Let the Right One In’ — Cannes

‘Border’ Review: Gender-Bending Fairy Tale Is a Wild Ugly Duckling Story From the Writer of ‘Let the Right One In’ — Cannes
At first, “Border” is the story of an ostracized woman named Tina (Eva Melander), who works at a remote Danish port where she sniffs out contraband, and long ago accepted that she was ostracized because of her unusual appearance. But this is not your average ugly duckling story. As the movie charts a path to her burgeoning self-confidence, it arrives at a sex scene so unexpected and ludicrous it instantly transforms the movie into a dark fairy tale.

Iranian-born director Ali Abbasi’s sophomore effort (following 2016’s “Shelley”), co-written by the author of the Swedish vampire novel “Let the Right One In,” builds out such an unusual premise that it risks devolving into quirky inanity, but Abbasi grounds the narrative in an emotional foundation even as it flies off the rails.

While Tina possesses unique abilities, she has sagged into a mundane routine. A short, bulky woman with a gnarly overbite and exaggerated snout,
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BAMcinemaFest 2018 Lineup Includes ‘Sorry to Bother You,’ ‘Madeline’s Madeline,’ ‘Support the Girls,’ and More

For the best in new American independent cinema, Brooklyn’s BAMcinémaFest continually curates the finest selection from previous festivals, as well as new premieres.. They’ve now unveiled this year’s slate for the festival running from June 20-July 1, including some of my favorite films of the year thus far as well as highly-anticipated festival favorites and the world premieres of Michael Koresky, Jeff Reichert & Farihah Zaman’s Feast of the Epiphany, Lev Kalman & Whitney Horn’s Two Plains & a Fancy, and Aaron Schimberg’s Chained for Life.

“We are proud to present work that is compelling, defiant, and ultimately thrilling,”says Gina Duncan, Bam’s Associate Vice President of Cinema. “It feels appropriate to celebrate the tenth BAMcinemaFest with a line-up of films and filmmakers whose energy and adventurousness hints at something profound taking root. I can’t wait to see what it bears.” See the lineup below and for more information,
See full article at The Film Stage »

BAMcinemaFest Announces 2018 Lineup, Including ‘Madeline’s Madeline’ and ‘Sorry to Bother You’

Bam has announced the lineup for the 10th annual BAMcinemaFest, which takes place June 20–July 1. The festival will open with Boots Riley’s “Sorry to Bother You” and end with Josephine Decker’s “Madeline’s Madeline,” with Debra Granik’s “Leave No Trace,” Bo Burnham’s “Eighth Grade,” and many more playing in between.

In a message shared exclusively with IndieWire, Riley said he is “beyond honored and excited to have ‘Sorry to Bother You’ open BAMcinemaFest — especially on their 10th year anniversary. This festival is definitely one that celebrates new notions in film. Knowing the artistry and prestige that has occupied this spot previously, I am trying not to let it go to my head. You may see me act a little fancier after this. I will be holding all of my drinks with one pinky up — even bottles of water.”

Other standouts include Robert Greene’s “Bisbee ’17,” Gus Van Sant
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A Brief History of Movies So Unsettling They Caused People to Faint, Vomit, or Even Die

A Brief History of Movies So Unsettling They Caused People to Faint, Vomit, or Even Die
Among the many differences between William Friedkin’s newest film and his most famous, one is considerably more visceral than the rest: “The Devil and Father Amorth” probably won’t make anybody faint and/or vomit. The Academy Award–winning director has revisited “The Exorcist” 45 years later with a documentary about an actual priest who performs actual exorcisms, making a kind of companion piece to his horror classic.

The Exorcist” was ahead of its time in many ways, not all of which were confined to the screen. Reports abounded — some confirmed, some not — of audience members having extreme physical reactions to the film. Nearly half a century later, that tradition continues in fits and starts — someone might even make a documentary about it one day.

The most recent of these is Julia Ducournau’s instantly infamous “Raw,” a cannibalistic horror offering that proved so unsettling to two attendees of the
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Horror-On-Sea 2018 Interview: Michael Faust on ‘The Ingress Tapes’

Following the showing of the short film The Ingress Tapes and the trailer for Dead Celebrities at Horror-on-Sea, I got a chance to talk with filmmaker Michael Faust about what the concept for his shot was, appearing in his own films and the Horror-on-Sea festival itself.

Photo courtesy of J.Douglas Imagery

We are at the Horror-on-Sea Festival today for your film…

We had two showings today The Ingress Tapes which was a short and we had a trailer for a fourth coming film called Dead Celebrities which I am just finishing up. I should hopefully have this finished for submissions to festivals in the next three to four weeks.

Can you explain to everyone what The Ingress Tapes is about?

I’ve got be careful what I say, but it’s based on true events. The kind of idea I have been working on for a few years is,
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From 'Psycho' to 'Get Out': A History of Horror at the Oscars

On January 23rd, the Academy of Motion Picture Arts and Sciences announced this year's Oscar nominees – including Get Out, which earned nominations for Best Picture, Best Director, Best Actor and Best Original Screenplay. The love for the Jordan Peele's across-the-board hit was a rarity for a slew of reasons, including the fact that the filmmaker became only the fifth black man to ever be nominated for Best Director. But perhaps most remarkable was the fact that it nabbed a Best Picture slot: Depending on how flexible you are in defining "horror,
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Crypt of Curiosities: The Dracula Movies of 1931

When I started the Crypt of Curiosities, I did it with the explicit intention to introduce people to the weird, wild corners of genre cinema. Shaw Brothers’ Black Magic, Hammer mummies, hyper-violent anime, sadistic Spaghetti Westerns—it’s an exercise in peering into the odd expanses that deserve more attention. It’s about championing the under-championed.

So, admittedly, writing about one of the most recognizable, celebrated horror films ever made might seem a bit off. But there’s a catch. Because, like many films of its time, there were actually two versions of Dracula in 1931: Tod Browning’s iconic English-language one, and the much less beloved Spanish-language Drácula. While the former has gone on to become a classic, the latter has languished in relative obscurity, beloved by a small cult but otherwise alien to most viewers. So, I figured this would be a good opportunity to look at the two side by side,
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The Greatest Showman review – roll up, roll up, zone out

Hugh Jackman is having a great time as circus impresario Pt Barnum, but the audience are left shortchanged

Imagine Tod Browning’s 1932 pre-Code horror film Freaks asset-stripped by a third-rate Baz Luhrmann wannabe, the chilling refrain “one of us” sanitised into something closer to a soft-drink commercial tagline than a menace. Imagine a musical that, like its score, is all air-punching chorus and no verse; a featherlight film in which what meagre narrative there is unfolds in endless, oily musical montages. Imagine a film that replaces an emotional climax with a scene in which the main character rides an enormous CGI elephant covered in glitter. In fact, it doesn’t take a lot of imagination to conjure up a film such as The Greatest Showman, which is an uninspired plod through the life of Pt Barnum (Hugh Jackman). For all the skittish, pirouetting camera and sparkles, the characterisation is barely
See full article at The Guardian - Film News »

Unsoundies: The Caveman Impulse Behind Talking Pictures

  • MUBI
Allen Jenkins. Illustration by Tony Millionaire.We had a lurid fantasy life. And it was not pre-Code, it was prehistoric. Synchronized sound technology created Neanderthal Cinema, an aesthetic slouching and slack-jawed, a case of temporarily thwarted evolution. In a brief era with no accepted form and before industrial standardization, experimentation raged, and some of sound cinema's experiments were dumb, inept, or too far ahead of their time to have a prayer of working. So the exceptional and the clunking are both responses to a general ignorance about what will work. Take the split screen of sleeping sweethearts in Love Me Tonight (1932), with dream voice-overs singing on top: All we see is snoring people. Or the endless tracking shot in Cape Forlorn (1931) in which director E.A. Dupont hopes we'll be transfixed by the gradually transforming acoustics. Tod Browning is asleep in his chair for a reel of Dracula (1931) while the
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Attack of the Puppet People

All hail Bert I. Gordon, who singlehandedly carved out his own niche in ‘fifties monster folklore, and even won a battle or two against those sharpies at A.I.P.. His puppet people were originally just ‘Fantastic,’ but they had to be made into a menace with the “A” word usually reserved for icky poo Giant Leeches, Crab Monsters and 50-Foot Women.

Attack of the Puppet People


Scream Factory

1958 / B&W / 1:85 widescreen / 79 min. / The Fantastic Puppet People, Six Inches Tall, I Was a Teenage Doll, War of the Puppet People / Street Date November 14, 2017 / 27.99

Starring: John Agar, John Hoyt, June Kenney, Susan Gordon, Michael Mark, Kack Kosslyn, Marlene Willis, Ken Miller, Laurie Mitchell, Scott Peters, June Jocelyn, Hank Patterson.

Cinematography: Ernest Laszlo

Special Effects: Bert I. Gordon, Flora M. Gordon

Original Music: Albert Glasser

Written by George Worthing Yates

Story, Produced & Directed by Bert I. Gordon

It’s easy
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Saving Brinton – Review

Review by Roger Carpenter

It has been estimated that no less than 90% of silent films have been lost for all time. This is partially due to the silver nitrate contained in early film stock, which is extremely flammable. Entire film catalogs from some of the earliest production companies in existence were destroyed in warehouse storage fires as far back as the 1920’s. Other famous fires occurred as late as the 1960’s, destroying the only known prints of some silent films. Another reason for the loss of these films is, quite simply, they were thought of as disposable. During the silent era, especially in America, film wasn’t considered a legitimate art form. Films were considered cheap entertainment, the bastard child of the more prestigious form of art known as theater. Thus, some films were recycled by their own production companies for the valuable silver they contained while others were summarily
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Dawson City: Frozen Time – The Blu Review

Review by Roger Carpenter

Dawson City, located in the Yukon Territory of Canada, is inextricably linked to the 1896 gold rush. But the area had been an important seasonal fishing and hunting village for indigenous tribes for centuries before gold was discovered. Once the gold ran out, the city nearly ceased to exist before making headlines again in 1978 for a find nearly as extraordinary as the gold nearly a century before. This new discovery was of a cache of over 500 silent films from the earliest era of the movies, which had been buried for decades. Dawson City: Frozen Time is an exploration of the complicated history of the town as told through clips and still shots from the films salvaged from the tundra.

This area had long been a seasonal hunting ground for the Tr’ondek Hwech’in tribe, important because of its location at the confluence of the Klondike and Yukon Rivers.
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Dawson City: Frozen Time

This Blu is a fascinating hybrid of experimental film and historical documentary by Bill Morrison of Decasia fame. Lost film history and the vanished era of the Dawson Gold Rush blend into one story — all touched off by the discovery of tons of rare silent film, buried in the cold ground of the Canadian Yukon. And Donald Trump’s in there too! In the show, not the snow.

Dawson City: Frozen Time


Kino Lorber Kino Classics

2017 / Color & B&W / 1:78 widescreen & 1:37 Silent Ap / 120 min. / Street Date October 31, 2017 / available through Kino Lorber / 34.95

Starring: Kathy Jones-Gates, Michael Gates, Sam Kula, Bill O’Farrell, Chris ‘Mad Dog’ Russo, Bill Morrison.

Film Editor: Bill Morrison

Researchers: Kathy Jones-Gates, Michael Gates

Original Music: Alex Somers; sound design John Somers

Produced by Bill Morrison and Madeleine Molyneaux

Written and Directed by Bill Morrison

Bill Morrison is the celebrated filmmaker of Decasia, a wonderful film
See full article at Trailers from Hell »

Edgar Wright’s 100 Favorite Horror Movies, From ‘Nosferatu’ to ‘The Witch’

Edgar Wright’s 100 Favorite Horror Movies, From ‘Nosferatu’ to ‘The Witch’
Your ultimate Halloween horror movie binge is here. Edgar Wright has joined forces with Mubi to list his 100 favorite horror movies, and the collection is full of classics and surprising choices that range from 1922 to 2016. The director, who himself has given the genre a classic title thanks to “Shaun of the Dead,” names recent horror hits like “Raw,” “The Witch,” and “Train to Busan,” as well as classics from horror masters James Whale and Mario Bava.

Read More:Edgar Wright’s 40 Favorite Movies Ever Made (Right Now): ‘Boogie Nights,’ ‘Suspiria’ and More

Wright wrote an introduction to his list, in which he makes it clear this is simply a list of 100 favorite titles and not his definitive list of the best horror films ever. You can read Wright’s statement below:

Here, for Halloween, is a chronological list of my favorite horror movies. It’s not in any way
See full article at Indiewire »

R2-D2 is Scrap Pile No More: Unit Sells for Nearly $3M at Auction

  • The Wrap
Want to call this unit a scrap pile? An R2-D2 unit sold at an auction on Wednesday for $2.76 million. The Associated Press reported that the 43-inch tall unit, which was compiled from parts used on screen throughout the original trilogy, was the most expensive piece of memorabilia at the auction. There is no information on who purchased the item. The event was put together by Profiles in History, which scheduled four days worth of auctions on Hollywood memorabilia, including items from the collection of director Tod Browning, the front entrance doors and other decor from Rick’s Café Américain in “Casablanca,
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Film Review: ‘Dawson City: Frozen Time’

Film Review: ‘Dawson City: Frozen Time’
When you see home-movie footage from, say, the 1940s, the images look old, but the people in them appear, more or less, to inhabit the same universe that we do. But when you see documentary footage from the late 19th century, it has an entirely different, slightly spooky not-of-this-world quality. Is it because of the primitive scratchy images? The more archaic visual-recording technology? No, it’s because the people in the images lack even a hint of the awareness of image-making technology. They have no media in their souls, and that marks them as pre-modern spirits.

Dawson City: Frozen Time” is a one-of-a-kind curio of a movie that captures, through a collage of photographs, silent documentary footage, and pre-talkie Hollywood film, the story of a Canadian mining town from the 1890s up through the early decades of the 20th century. But it’s really telling the story of the birth of the modern age, and
See full article at Variety - Film News »

Money Is the Devil: Church Satirized in Enjoyable Early Lubitsch Comedy with Premise Similar to Keaton Classic

Money Is the Devil: Church Satirized in Enjoyable Early Lubitsch Comedy with Premise Similar to Keaton Classic
'The Doll' with Ossi Oswalda and Hermann Thimig: Early Ernst Lubitsch satirical fantasy starring 'the German Mary Pickford' has similar premise to that of the 1925 Buster Keaton comedy 'Seven Chances.' 'The Doll': San Francisco Silent Film Festival presented fast-paced Ernst Lubitsch comedy starring the German Mary PickfordOssi Oswalda Directed by Ernst Lubitsch (So This Is Paris, The Wedding March), the 2017 San Francisco Silent Film Festival presentation The Doll / Die Puppe (1919) has one of the most amusing mise-en-scènes ever recorded. The set is created by cut-out figures that gradually come to life; then even more cleverly, they commence the fast-paced action. It all begins when a shy, confirmed bachelor, Lancelot (Hermann Thimig), is ordered by his rich uncle (Max Kronert), the Baron von Chanterelle, to marry for a large sum of money. As to be expected, mayhem ensues. Lancelot is forced to flee from the hordes of eligible maidens, eventually
See full article at Alt Film Guide »

Remembering Forgotten Early Female Documentarian and That Talkies Began Long Before 'The Jazz Singer'

'Amazing Tales from the Archives': Pioneering female documentarian Aloha Wanderwell Baker remembered at the San Francisco Silent Film Festival – along with the largely forgotten sound-on-cylinder technology and the Jean Desmet Collection. 'Amazing Tales from the Archives': San Francisco Silent Film Festival & the 'sound-on-cylinder' system Fans of the earliest sound films would have enjoyed the first presentation at the 2017 San Francisco Silent Film Festival, held June 1–4: “Amazing Tales from the Archives,” during which Library of Congress' Nitrate Film Vault Manager George Willeman used a wealth of enjoyable film clips to examine the Thomas Edison Kinetophone process. In the years 1913–1914, long before The Jazz Singer and Warner Bros.' sound-on-disc technology, the sound-on-cylinder system invaded the nascent film industry with a collection of “talkies.” The sound was scratchy and muffled, but “recognizable.” Notably, this system focused on dialogue, rather than music or sound effects. As with the making of other recordings at the time, the
See full article at Alt Film Guide »

Dracula & The Mummy: Complete Legacy Collections

The 2016 blu ray release of the Frankenstein and Wolf Man Legacy Collections was a moment of celebration for movie and monster lovers everywhere, bringing together all the golden age appearances of Frankenstein’s misbegotten creation and Larry Talbot’s hairy alter-ego. Universal Studios treated those dusty creature features to luminous restorations; from Bride of Frankenstein to She Wolf of London, these essential artifacts never looked less than impeccable and, at times, even ravishing. Colin Clive’s frenzied declaration, “It’s Alive!”, never felt more appropriate.

Now Universal has turned their attention to their other legendary franchise players, Dracula, the sharp-dressed but undead ladies’ man and Im-ho-tep, the cursed Egyptian priest who loved not wisely but too well.

Dracula: Complete Legacy Collection


Universal Studios Home Entertainment

1931, ’36, ’43, ’44, ’45, ’48 / 449 min. / B&W / 1:33 / Street Date May 16, 2017

Starring: Actors: Bela Lugosi, Lon Chaney Jr. , Boris Karloff, Bud Abbott, Lou Costello

Cinematography: Karl Freund,
See full article at Trailers from Hell »
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