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For emerging filmmakers hoping to take the next step in their artistic and professional journey, finding a community of like-minded creators is crucial. With this goal in mind, Adobe has partnered with Sundance Institute on the Sundance Ignite x Adobe Fellowship program which, since 2015, has provided mentorship and support to promising filmmakers early in their careers. With an eye toward elevating underrepresented voices, the fellowship enables the next generation of creatives by offering an opportunity to share their stories with the world.

This year, as a presenting sponsor of the Sundance Film Festival, Adobe launched a short spot highlighting the work of four Sundance Institute alumni, which was co-directed and edited by 2018 Sundance Ignite x Adobe Fellow Carol Nguyen. The vignette, titled “When I Tell the Story,” epitomizes the importance of giving new filmmakers a platform to share their work and their voice. “When I tell the story, it’s dark and glittery.

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George A. Romero figuratively wrote the book on zombies with his low-budget, independent 1968 horror film epoch Night of the Living Dead. World War Z, 28 Days Later, Zombieland and even The Walking Dead trudged that territory but didn’t map much new terrain. Romero’s final novel, The Living Dead, completed by author Daniel Kraus (The Shape of Water novelization), doesn’t expand on the basics of the zombie apocalypse. It doesn’t challenge the zombie trope Romero filled out with his subsequent works on animated corpses, when The Living Dead had their Day, Dawn, Land, Diary and Survival. But, with it, Romero and Kraus do peer deeper into the mirror to find a bitter reflection of the horrors Romero brings out in The Living.

The Living Dead is character-driven in ways the feature films could never be. In Night of the Living Dead, the audience didn’t know,

Dead Dicks will be available on Blu-ray From Artsploitation Films July 28th

Dead Dicks, a light-hearted, metaphysical sci-fi horror film, is a bizarre celebration of death, resurrection and insanity. Think Harold and Maud meets Groundhog Day as directed by Alain Resnais (Last Year at Marienbad). Richie is a suicidal young man who, every time he kills himself, finds himself very much alive but with a dead body of him in his apartment. His sister comes to the rescue, but as the bodies pile up, the pair think that a vagina-like opening in Richie’s bedroom might hold the answer.

Check out this trailer:

The critics love Dead Dicks:

“Heston Horwin is fantastic as the depressed, suicidal Richie. He overcomes many of the film’s problems through sheer charisma and intensity. As Becca, Jillian Harris plays the put-upon and exhausted sister perfectly…Thanks to an impeccable cast and a more substantial,

Peacock, NBCUniversal’s new streaming service, launches nationwide Wednesday with hundreds of titles, including beloved TV series, blockbuster film franchises and some originals created specifically for the platform.

And while we’re willing to bet you’ve heard classics like “Cheers” and “30 Rock” and originals “Brave New World” and “Psych 2: Lassie Come Home” are among the offerings that will be available at launch, we’re also pretty sure you don’t know how many other shows and movies you’ll have access to on Day 1.

Well, don’t worry, because TheWrap has rounded up a list of the biggest films and TV series that will be streaming on Peacock when the service rolls out for everyone tomorrow. (It’s been available to Comcast and Cox subscribers since April.)

Also Read: NBC Sports to Move Premier League Streaming Rights to Peacock

Oh, first, in case you were wondering, the

Welcome to this week’s Ring Of Honor review, right here on Nerdly. I’m Nathan Favel and we have one good f—— match. This is an hour-show with one Good match. Do you feel bad for Roh when they have an hour and waste it? Alright, let’s go see the one match…wait. There’s two matches. Wow! Thanks a million!

Match #1: LifeBlood (Mark Haskins and Tracy Williams) vs. Vincent and Bateman (w/Chuckles The Clown and Vita Von Starr) – Disqualification The following is courtesy of rohwrestling.com:

Haskins had the Sharpshooter locked on Vincent when Chuckles grabbed a block of wood and hit Haskins with it, causing a disqualification. After the match, Vincent and Chuckles were preparing to do more damage to Haskins with the object, but Williams chased them away with a chair.

My Opinion: 2.6 out of 5 – LifeBlood was excellent here, but it takes two to tango,

Independent film stalwart Ben Barenholtz, longtime supporter of David Lynch and the Coen brothers, died Wednesday in Prague after a brief illness. He was 83.

Barenholtz had been living in Prague at the time of his death, according to his friend Sony Pictures Classics executive Tom Prassis. He died in his sleep surrounded by friends, Prassis added.

Barenholtz was also a Holocaust survivor and blogged in 2010 about his experiences of escaping into the Polish countryside with 11 other people at the age of eight. He lived in the woods for two years before the war came to an end.

Barenholtz began his career in the 1960s in New York City running the now-defunct Village Theater and the Elgin Cinema. He’s credited with pioneering the concept of midnight-movie showings, including Alejandro Jodoworsky’s “El Topo,” John Waters’ “Pink Flamingos,” the six-hour Russian production of “War and Peace” and Ken Russell’s “The Devils.

Ben Barenholtz, a veteran of the distribution and exhibition world who plucked David Lynch from obscurity and invented the concept of the midnight movie, died last night in Prague after a brief illness. He was 83.

Over the course of more than 50 years, Barenholtz was a major figure in the independent film community who wore a lot of hats. He began his career in the late sixties running the now-defunct Village Theater (later the Filmore East) followed by a successful stint launching the Elgin Cinema. It was there that he pioneered the concept of buzzy midnight-movie sensations, including a six-month stint for Alejandro Jodoworsky’s “El Topo” and John Waters’ “Pink Flamingos.” He also took big gambles on daring cinematic achievements, such as the six-hour Russian production of “War and Peace” and Ken Russell’s “The Devils.”

Barenholtz then ventured into distribution with Libra Films, which boasted an adventurous slate throughout

Earlier this week was George A. Romero's birthday, and if you found yourself reflecting on the legendary director's essential filmography, insightful social commentary, and unique approach to horror and humor, you're not alone. To celebrate the life and work of Romero, the Brooklyn Academy of Music is hosting an extensive, 10-day retrospective screening series titled Living with the Dead: The Films of George A. Romero.

Featuring all six of Romero's zombie movies (including a 3D screening of Dawn of the Dead) as well as the cult favorite Martin and lesser-seen films such as Season of the Witch and There's Always Vanilla, Living with the Dead: The Films of George A. Romero will take place from February 22nd–March 3rd and will include an appearance by producer Richard P. Rubinstein, who will discuss his collaborations with Romero.

For more information, we have the official press release with full details, and you can also visit Bam.

By Ernie Magnotta

The world of horror films lost two of its most important and influential figures recently with the passing of filmmaking geniuses George Romero and Tobe Hooper. Although the careers of these two great artists can fill (and have filled) entire books, I’d like to briefly mention their most important works and pay my respects to them both.

When I was around ten or eleven-years-old, I had snuck out of bed late one night to watch some old movie on TV; a Tarzan flick I think it was. In order to avoid waking my parents, I had to keep the volume on the television set very low, but sit close to the set so that I could hear. As I sat alone in my parents’ dark living room waiting patiently for the commercials to end, a bunch of zombies appeared on the screen and quickly lurched forward with their arms outstretched!

What Horror Movie Impressed You The Most (In Any Way)?

Movies, in general, are classified as being in "the top" based on how much money they make. By this standard, James Cameron's "Avatar" is the highest-grossing movie ever, with gross revenues in excess of $2.7 billion worldwide. But was it the best movie ever made?

Well, that's a completely different story - as revenue doesn't necessarily mean value. Thus, most list containing the top 5 horror movies of all time will contain films that were massively successful - think teen slashers like Scream or supernatural found-footage flicks like Paranormal Activity. But this also doesn't necessarily mean that they were the best horror movies ever made.

Instead of counting money, remakes, viewers, or sequels, let's take a look at horror movies from a different point of view: how impressive they were. How scary or pressing, how gross, how gruesome they were. And

George A. Romero rarely had it easy. From the beginning, he faced obstacles to getting his vision on screen and condemnation once he succeeded in doing so. It took him 20 years to make his way into the big leagues, yet faced frustrating interference once he did. Yet today, the work endures. He never abandoned his vision, even when it prevented him from having an easier time of the process, and his movies, once attacked as grotesque exploitation, are now properly celebrated as landmarks of cinematic horror.

Indeed, Romero not invented more than a new and enduring kind of zombie movie when he directed “Night of the Living Dead” 50 years ago; in many ways, he invented independent horror cinema as we know it. There had been lots of off-Hollywood fright films before “Night” hit screens in 1968, of course—even some showcasing graphic if cheaply executed gore, like the Herschell Gordon Lewis flicks.

By Jason Lees

MoreHorror.com

The magic’s gone. We lost George Romero.

I know I’m supposed to be positive through the tears, to remember his films and his legacy and celebrate one of our best, but right now, I just can’t. I don’t know why, but the world seems smaller today. Colder.

That’s bullshit. I know why. George Romero passed away. Of all the Masters of Horror, he was My master. He was the one that scared the hell out of my when I first picked up a Fangoria. I love all of his movies, even the not-so-great ones. I was a defender of George. Most anyone reading this probably was, too. We’re the ones who bragged up “Bruiser” alongside “Martin,” the ones who loved “Monkey Shines” as much as “Creepshow.”

The magic’s gone.

I’ve seen his “Night of the Living Dead” easily twenty times,

Chicago – The man that practically invented the modern Zombie film genre had met his own demise. Director George A. Romero passed away on July 16th, 2017, in Los Angeles. He was 77. Romero launched a whole new wave of horror with “Night of the Living Dead” in 1968, and put Pittsburgh (Pa) on the film location map.

George A. Romero Shoots a Scene for ‘Night of the Living Dead’

Photo credit: Spectra Filmworks

He was born in the Bronx, New York, and graduated from the Carnegie Institute of Technology, which began his Pittsburgh connection. He stayed there afterwards, and formed Image Ten Productions, which shot commercials and (famously) a segment for the broadcast-from-Pittsburgh “Mister Rogers Neighborhood.” On a shoestring budget and using local settings, “Night of the Living Dead” was released in 1968. Directed and co-written (with John Russo) by Romero, it would immediately cause a sensation in the horror genre. After some cult

Ryan Lambie Jul 18, 2017

As George A Romero sadly passes, we pay tribute to Night Of The Living Dead, and the meaning behind the writer-director's zombies...

In April 1968, director George A Romero threw some reels of film in the trunk of his car and took a long drive from Pittsburgh to New York. The grainy, black-and-white footage stored on those reels was little short of incendiary: then called Night Of The Flesh Eaters, Romero's film would, in time, change horror cinema forever.

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Shot on a budget of just $114,000, Night Of The Living Dead (as it was later renamed) was aggressively lo-fi: its producer, Russell Streiner, also played one of the film's first victims - he gets the immortal line, "They're coming to get you, Barbara" before

Tony Sokol Jul 17, 2017

Director George A Romero, who changed horror films forever, has died at the age of 77.

The legendary director George A Romero, who changed the landscape of horror films with his low-budget, independent black and white 1968 zombie masterpiece Night of the Living Dead, has died at the age of 77.

According to a statement from his longtime producing partner, Peter Grunwald, Romero died Sunday in his sleep while listening to the soundtrack of one his favorite films, The Quiet Man from 1952, following a “brief but aggressive battle with lung cancer.” Romero was surrounded by family, his wife, Suzanne Desrocher Romero, and daughter, Tina Romero.

What a body of work he leaves behind.

Night Of The Living Dead was made by Romero and his friends in Pittsburgh on a budget of $114,000 and went on to become an iconic statement of horror, pulling in $30 million. The movie was based on Richard Matheson

The iconic filmmaker was the father of the modern zombie film.

Director George Romero, creator of the Night Of The Living Dead films, has died aged 77.

According to a statement released to The L.A. Times by his producing partner Peter Grunwald, Romero died following a “brief but aggressive” battle with lung cancer.

He is survived by his wife, Suzanne Desrocher Romero, and daughter, Tina Romero.

Romero’s low budget 1968 film Night Of The Living Dead was hugely profitable and became a cult hit. By re-defining what a “zombie” was in the horror genre, it influenced countless future films and TV shows.

The film also spawned several official sequels directed by Romero, including Dawn Of The Dead, Day Of The Dead and Land Of The Dead.

Romero’s other films included The Crazies (1973), Knightriders (1981), Monkey Shines (1988) and Bruiser (2000).

It was announced in May that he was working on the upcoming George A. Romero Presents:

Capitol Barbie may be returning to Congress' hallowed halls. Reese Witherspoon recently revealed she would be on board to play Elle Woods in a third Legally Blonde film. "A lot of people have asked me if we're going to make another [Legally Blonde], and we're thinking about it," Witherspoon said in a Facebook Live Q&A session on Thursday. The actress recently celebrated the film's 15th anniversary in July. Witherspoon said that she loved playing sorority girl-turned-lawyer Elle because of "all the amazing costumes," and one special costar: her onscreen pet pooch Bruiser. "I got to work with a dog every day and I love dogs,

Tom Atkins has a résumé relished and enjoyed by generations of horror fans, and I had the great honor of speaking with the legendary actor about seeing Halloween for the first time, working with George A. Romero and Jamie Lee Curtis, and much more.

Did you enjoy watching horror and science fiction films in your formative years?

Tom Atkins: I was not a huge horror fan when I was a kid, but I did have one very favorite movie: The Thing from Another World (1951). I was not a teenager yet, and I went with a bunch of pals up to the local Mount Oliver Theater to see it. There were probably ten of us and it just scared the shit out of me. I love that movie, especially when they all widened out on the ice and realized it was a flying saucer. And then when The Thing was

Few filmmakers can be said to be as prolific and influential as George Romero. An icon of the zombie film genre, Romero’s love of horror traces back to his youth, and watching classic monster films such as Frankenstein and Dracula. Romero’s love of these films set him on a path to not only create horror films himself, but to change and redefine the genre for decades to come.

Romero’s first foray into the zombie film genre was 1968’s Night of the Living Dead. While a spectacular film in and of itself, Night of the Living Dead introduced the world to the modern zombie, and standardized the way that zombie films would be told from then on. Set in a farmhouse, the film depicts a small group of survivors fending off hordes of the reanimated dead. Prior to Romero’s take on zombies, Hollywood films depicted zombies as pale-faced minions of voodoo sorcerers.

This week is Ben Barenholtz' birthday.

We'd like to celebrate by running 2 pieces on his amazing wonderful life.

This is his public bio, which in itself, tells of a rich wonderful career in film.

In the next days we'll publish his amazing memoir of his European childhood when he narrowly escaped from the hands of Jew killers during the War.

I personally owe Ben a lot. When I was producing some years back Ben was working for Almi and bought an indie film I produced 'Home Free All' by Director Stewart Bird for that company. The money from that deal paid our investors and took us out of a deep financial hole. I am always grateful to Ben for his vision and belief in us then.

Now for his professional bio -

Biography for Ben Barenholtz

Birth Name Benjamin Barenholtz

Mini Biography

As an exhibitor, distributor, and producer, Ben Barenholtz has been a key presence in the independent film scene since the late 1960s, when he opened the Elgin Cinema in New York City.

Barenholtz secured his first job in the film business when he became assistant manager of the Rko Bushwick Theater in Brooklyn in 1958. From 1966-68 he managed and lived in the Village Theater, which ultimately became the Filmore East. At the Village Theater Barenholtz provided a home for the counterculture, with appearances by Timothy Leary, Stokley Carmichael, Rap Brown, and Paul Krasner. Some of the first meetings of the anti-Vietnam War movement, including the Poets Against Vietnam, were held at the Village Theater. It was also a major music venue, with performances by The Who, Cream, Leonard Cohen, John Coltrane, Ornette Coleman, Nina Simone and many others.

In 1968 he opened the Elgin Cinema. The theater became the world's most innovative specialty and revival house, relaunching the films of Buster Keaton and D.W. Griffith, running a variety of independent films by young American directors, and screening cult, underground, and experimental films for the emerging countercultural audience. The films of Stan Brakhage, Jack Smith, Maya Deren, Kenneth Anger, Jonas Mekas, and Andy Warhol, as well as early works by Jonathan Demme and Martin Scorsese, all played at the Elgin.

Barenholtz also developed new ways of screening movies. He started screening dance and opera films on Saturday and Sunday mornings. He created the "All Night Show" - movies started at midnight and ended at dawn. Most notably, Barenholtz originated the "Midnight Movie" in 1970 with Alexander Jodorowsky's El Topo, which ran for 6 months, 7 days a week, to sold out audiences.

The film was eventually bought by John Lennon. El Topo was followed at midnight by John Waters' Pink Flamingoes and Perry Henzell's The Harder They Come. Barenholtz formed the specialty distributor Libra Films in 1972.

The first film Libra distributed was a revival of Jean-Pierre Melville's Les Enfants Terrible, followed by Claude Chabrol's Just Before Nightfall, and Jean-Charles Tacchella's Cousin, Cousine, which became one of the largest grossing foreign films in the Us and was nominated for 3 Academy Awards.

Libra also launched and distributed, among others, George Romero's Martin, John Sayles' first feature Return of the Secaucus Seven, David Lynch's first feature Eraserhead, Karen Arthur's first feature Legacy, Earl Mack's first feature Children of Theater Street, and Peter Gothar's first feature Time Stands Still.

Barenholtz sold Libra Films to the Almi Group in 1982, but stayed with the company to become the President of Libra-Cinema 5 Films. In 1984 he left Almi and joined with Ted and Jim Pedas to form Circle Releasing. Among the films released by Circle were Yoshimitsu Morita's The Family Game, Guy Maddin's first feature Tales From the Gimli Hospital, Vincent Ward's The Navigator, John Woo's The Killer, Catherine Breillat's 36 Fillette, DeWitt Sage's first feature Pavarotti In China, Alain Cavalier's Therese, and Blood Simple, the first film by Joel and Ethan Coen.

His involvement in film production began with Wynn Chamberlain's Brand X and George Romero's Martin. He continued working with the Coens on the production of Raising Arizona, and as executive producer of Miller's Crossing and Barton Fink, which won the Palme d'Or at the 1991 Cannes Film Festival, as well as awards for Best Director and Best Actor. This was the first and last time the three top honors have all gone to the same film at Cannes.

Barenholtz went on to produce George Romero's Bruiser, J Todd Anderson's The Naked Man, Adek Drabinski's Cheat, executive-produced Gregory Hines' directorial debut Bleeding Hearts and Ulu Grossbard's Georgia, which earned an Academy Award nomination for Mare Winningham. He served as co-executive producer of Darren Aronofsky's Requiem for a Dream, which earned Ellen Burstyn an Academy Award nomination for Best Actress in 2000.

Barenholtz appeared in the documentary The Hicks in Hollywood, had a bit role in Liquid Sky, and appeared as a zombie in Romero's classic Dawn of the Dead. He was the main subject of Stuart Samuels' 2005 documentary Midnight Movies: From the Margin to the Mainstream.

Barenholtz directed his first feature, Music Inn, a documentary about the famed jazz venue.

Barenholtz was the producer of Jamie Greenberg's feature film Stags.

In 2012, Barenholtz produced Suzuya Bobo's first feature Family Games.

Barenholtz has recently completed directing and post production on Wakaliwood the Documentary, which was shot entirely in Kampala, Uganda. The film will be released in 2013.

He is now developing two feature fiction films which begin production in 2013.

IMDb Mini Biography By: Ben Barenholtz