Southbound is a prime example of a horror omnibus film: even the weaker segments have something to recommend them.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
An essay on David Cronenberg's "The Brood."
Three films from TIFF 2015 starring Natalie Portman, Charlotte Rampling and Helen Mirren.
An appreciation of Richard Lester as a retrospective of his work is about to unfold in New York City.
The epic uncool of Philip Seymour Hoffman; How "Selma" got smeared; The fantasy fueling "Sniper"'s popularity; Paradise in Palm Springs; Looking back at "Before Sunrise."
An excerpt from Vanessa: The Life of Vanessa Redgrave by Dan Callahan.
Recent releases on Blu-ray.
Glenn Kenny highlights the picks of Blu-ray releases for the month of November
Karen Black, who died Aug. 7 at 74, was the “what the hell?” emblem of the American New Wave, its most extreme, improvisational player, its most unusual, unaccountable, unstable presence.
Marie writes: Behold an extraordinary collection of Steampunk characters, engines and vehicles created by Belgian artist Stephane Halleux. Of all the artists currently working in the genre, I think none surpass the sheer quality and detail to be found in his wonderful, whimsical pieces...
Left to right: Little Flying Civil, Beauty Machine, Le Rouleur de Patin(click images to enlarge)
Marie writes: my brother Paul recently sent me an email sharing news of something really cool at the Capilano Suspension Bridge in North Vancouver. For those who don't remember - as I'm sure I've mentioned it in the Newsletter before, the Capilano Suspension Bridge was original built 1889 and constructed of hemp rope and cedar planks. 450 feet (137m) long and 230 feet (70m) high, today's bridge is made of reinforced steel safely anchored in 13 tons of concrete on either side of the canyon (click images to enlarge.)
This free Newsletter is a sample of what members receive weekly.For Roger's invitation to the Club, go HERE Marie writes: some of you may recall seeing a custom-built "steampunk" microphone stand made for the group Three Days Grace, by sculptor Christopher Conte; there were pictures of it inside the #14 Newsletter.Born in Norway, Christopher Conte was raised and educated in New York, where he currently lives. After earning a Bachelors Degree in Fine Art, he began working in the prosthetics field making artificial limbs for amputees; which he did for 16 years as a Certified Prosthetist. At the same time, he worked in obscurity creating sculptures which reflected his love for biomechanics, anatomy and robotics. In June 2008, he left the field to begin his career as a full-time artist. And you can now view his work portfolio online...
The Sculpture of Christopher Conte
Marie writes: some of you may recall seeing a custom-built "steampunk" microphone stand made for the group Three Days Grace, by sculptor Christopher Conte; there were pictures of it inside the #14 Newsletter.Born in Norway, Christopher Conte was raised and educated in New York, where he currently lives. After earning a Bachelors Degree in Fine Art, he began working in the prosthetics field making artificial limbs for amputees; which he did for 16 years as a Certified Prosthetist. At the same time, he worked in obscurity creating sculptures which reflected his love for biomechanics, anatomy and robotics. In June 2008, he left the field to begin his career as a full-time artist. And you can now view his work portfolio online...
The Sculpture of Christopher Conte
Apparently unconnected items appeared within two days of each other in the Los Angeles Times, and together confirmed my fear that American movie-going is entering into a Dark Age. The first was in a blog by Patrick Goldstein, who said: "Film critics are in the same boat as evening news anchors -- their core audience is people 50 and over, and getting older by the day. You could hire Jessica Alba to read the evening news -- or review 'G.I. Joe' for that matter -- and younger audiences still wouldn't care." The other was in a report by John Horn that despite "The Hurt Locker's" impressive box office success, "younger moviegoers are not flocking to the film, which could limit its ticket sales."
The obvious implication is, younger moviegoers don't care about reviews and have missed the news that "The Hurt Locker" is the best American film of the summer. There is a more disturbing implication: word of mouth is not helping the film in that younger demographic. It has been Hollywood gospel for decades that advertising and marketing can help a film to open strongly, but moviegoers talking with each other are crucial to its continuing success. That has been Summit Entertainment's game plan for "The Hurt Locker," which opened in a few theaters and has steadily increased its cities, becoming a real success without ever "winning" a weekend or benefiting from an overkill marketing campaign.
You might say horror movies are the mutant black sheep of the cinema. Some film devotees deem them too ungainly and disreputable to be taken seriously, as if they were deformed, illegitimate stepchildren who should be quietly locked up in the attic and not talked about. And yet... and yet... I suppose you can dislike (if not quite dismiss) entire sub-genres -- Hollywood musicals, maybe, or biblical epics -- but I don't see how you can seriously call yourself a film lover if you don't have some appreciation for horror movies. After all, they are so near the core appeal of the medium: Was there ever a genre better suited for shadowplay, unspooling in the dark before the collective (un-)consciousness of a crowd of spectators?
Richard Harris, the boisterous, brawling, sometimes brilliant Irish actor, is dead at 72. A charter member of the acting generation known as the Angry Young Men, he capped his career playing a very old and wise man--Albus Dumbledore, the headmaster of Hogwart's School in "Harry Potter And The Sorcerer's Stone" (2001).
"Hey, man, my wife and I were up until 7 this morning, rapping about things," Michael J. Pollard says, lighting a Camel and taking a mouthful of coffee.
LONDON - It was lunch time, and the studio pub was crowded, so the director leaned close to Oliver Reed and whispered: