Horror cinema is a film genre that is characterized by its desire to provoke feelings of dread, terror, fear, disgust, revulsion, horror, discomfort or concern in the spectator. Its plots often develop the sudden intrusion into an environment of abnormality of some force, event or character of an evil or heavenly nature, often of criminal or supernatural origin. It is in theaters of terror where a sensation of fear or dread is produced about the different causes generated by a certain character or professional actor.
Horror cinema was born alongside the cinema itself. The Lumière brothers shot the film L’arrivée d’un train à La Ciotat (The Arrival of a Train) in 1896. This film, as its name indicates, only showed the arrival of a train; only, since the cinema was an unknown invention for most of the spectators, they believed that the train would literally come out of the screen to roll them over; the first spectators of the film would scream and escape from the room terrified.
The first film considered to be a horror film was The Devil’s Mansion, directed and conceived by Georges Méliès, which premiered on December 24, 1896, in Paris. This gave way to all the horror films. During this era of primitive cinema, France positioned itself as the great director of the genre. Louis Lumière made Le squelette joyeux in 1897; Georges Méliès, in addition to the already mentioned The Devil’s Mansion, directed The Devil in the Convent (1899) and The Black Devil (1905); the pioneer in films made by women, Alice Guy was responsible for the film Faust et Méphistophélès (1903); Gaston Velle is responsible for La Peine du talion (1906); the Aragonese director Segundo de Chomón made La casa encantada (1907), Satan has fun (1907), La casa encantada (1908) and El hotel eléctrico (1908) among many other short films made in France. But what many consider the first deliberate horror film was made in 1910 by J. Searle Dawley for the Edison Studios (in the United States). It was the first adaptation of the Frankenstein myth.
In the 1920’s, the United States would develop a horror film that would explode in the 1930’s, of which we could highlight: Dr. Jekyll and Mr. Hyde (1920) by John S. Robertson, adaptation of The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson, starring John Barrymore; The Dark Legacy (1927), The Sinister Theatre (1929) and The Man Who Laughs (adaptation of the book of the same name by Victor Hugo) (1928) by the German Paul Leni and The Red Magician (1929) by the Hungarian Paul Fejos (the last two films named starring Conrad Veidt). Lon Chaney would consolidate in the silent cinema as a specialist in playing deformed characters. Especially scary is his interpretation of Quasimodo and the ghost, respectively, in: The Hunchback of Notre Dame (1923) (homonymous adaptation of Victor Hugo’s work) by Wallace Worsley and The Phantom of the Opera (1925) (adaptation of Gaston Leroux’s homonymous work) by Rupert Julian. It was precisely at this time that one of the best directors in horror films began his career in the genre: Tod Browning with: Human Claws (1927) and The House of Horror (1927) both starring Lon Chaney. He would continue his career with the Universal Pictures’ masterpiece Dracula (1931), Freaks (1932), The Mark of the Vampire (1935) and Hell’s Dolls (1936), all of the latter, as well as Human Claws and The House of Horror, by the MGM production company.
In the 1930s Universal Pictures specialized in horror films, especially monster movies in the gothic style and influenced by expressionist cinema.
It was not only Universal that cultivated horror films in the United States. RKO Radio Pictures made important horror films: King Kong (1933) by Merian C. Cooper and Ernest B. Schoedsack, the aforementioned Castle of Mysteries, Cat People (1942), The Leopard Man (1943) and I Walked with a Zombie (1943) by Jacques Tourneur or The Thing from Another World (1951) by Christian Nyby. Also some interesting films belong to MGM, Monogram Pictures or Paramount Pictures.
In a more contemporary era, the classic vampires and werewolves have remained more or less in force on the cinema screens, although usually departing from the classic Gothic style. This is demonstrated by films such as Roman Polanski’s The Fearless Vampire Killers (1967) and Tony Scott’s The Eagerness (1983); Tom Holland’s Night of Fear (1985); Joel Schumacher’s The Lost Boys (1987); Francis Ford Coppola’s Dracula (1992); and Guillermo del Toro’s The Invention of Cronus (1993); Interview with the Vampire (1994) by Neil Jordan; From Dusk Till Dawn (1996) by Robert Rodríguez; Vampires (1998) by John Carpenter; the Swedish Låt den rätte komma in (2008) by Tomas Alfredson and Vampyrer (Not Like Others) by Peter Pontikis, of the same year; the Korean Thirst (2009) by Park Chan-Wook; I Was a Teenage Werewolf (1957) by Gene Fowler; The Legend of the Beast (1975) by Freddie Francis; An American Werewolf in London (1981) by John Landis; Howling (1981) by Joe Dante; The Company of Wolves (1984) by Neil Jordan; Silver Bullet (1985) by Dan Attias (based on The Wolfman Cycle by Stephen King); Canada’s Ginger Snaps (2000) by John Fawcett; Britain’s Dog Soldiers (2002) by Neil Marshall and some parodies like William Crain’s blaxploitation film Black Dracula (1972); Juan Padrón’s Spanish-Cuban Vampires in Havana (1985); A Vampire on the Loose in Brooklyn (1995) by Wes Craven; Dracula: Dead and Loving It (1995) by Mel Brooks and Teen Wolf (1985) by Rod Daniel. In the same line as Dracula by Bram Stoker, we would find another new version of an important myth: Frankenstein by Mary Shelley (1994) by Kenneth Branagh with Branagh himself playing Dr. Victor Frankenstein and Robert De Niro as the monster.
Science-fiction horror films, often linked to catastrophic or apocalyptic films or extraterrestrial films, became fashionable in the 50’s, and (leaving aside the Universal Pictures films already seen, directed by Jack Arnold, among others) one of its main figures was Roger Corman, a B series director (low budget films) specialized in the adaptation, free and colorful, of stories by Edgar Allan Poe: The Fall of the House of Usher (1960), Pit and the Pendulum (1961), The Obsession (1962), Tales of Terror (1962), The Raven (1963), The Mask of the Red Death (1964) and The Tomb of Ligeia (1964); as well as an adaptation of a short story by H. P. Lovecraft, The Palace of the Spirits, and from some B-movies usually related to science fiction such as It Conquered the World (1956), Emissary from Another World (1957), Attack of the Crab Monsters (1957), The Wasp Woman (1959), The Enchanted Sea Monster (1961) and Man with X-Ray in His Eyes (1963).
The special effects technician Ray Harryhausen was an indispensable character in the field of catastrophic and giant monster movies. Influenced by King Kong he would make a series of remarkable films: The Great Gorilla (1949) by Ernest B. Schoedsack, The Beast from 20,000 Fathoms (1953) by Eugène Lourié, It Came from Beneath the Sea (1955) by Robert Gordon, Earth vs. the Flying Saucers (1956) by Fred F. Sears, The Beast from Another Planet (1957) by Nathan Juran and the dinosaur film The Valley of Gwangi (1969) by Jim O’Connolly.
We must not forget a sub-genre of horror films, perhaps without a golden age or exploitation, but with a great validity during many decades and, in fact, some great milestones of horror films belong to this aspect. It is about the paranormal cinema, either of entities, ghosts, demons, or simply paranormal facts, many times treated from realism, since it is frequent to play with the skepticism of the characters. Unlike the cinema of serial killers or the cinema of zombies, it usually moves away from violence and visual horror to focus more on the terror of the unknown, since many times the evil force of these films is not usually visible or only at certain moments or when they invade the body of some innocent character, in the case of demons.
This subgenre of horror films and exploitation films started to create a trend in the 1970s, although many place King Kong as the first Eco-terror film, or one of its great influences, or simply a film prior to the creation of the subgenre but which shares similarities. Eco-Terror is characterized by the antagonistic presence of one or more individuals of a non-human animal species. The usual characteristics of these animals are usually either eliminated or, if it is a natural aggressive behavior, exaggerated. Fear is focused on an existing animal and intensifies it with an increase in its aggressiveness, a rational or irrational hatred towards the human species, a plague of that species, modifying it either with a natural or artificial evolution or simply showing the need of that animal to feed. Sometimes, especially in the 1970’s and 80’s, this subgenre usually presents elements of gore cinema and a very typical characteristic of slasher that consists of the protagonists of the film dying as the film progresses, leaving at the end only a few survivors who are the ones who will solve the situation, usually by killing the animal or belligerent animals. Some of the best known and most representative films of this trend are The Birds (1962) by Alfred Hitchcock, Frogs (1972) by George McCowan, Jaws (1975) by Steven Spielberg, Orca the Killer Whale (1977) by Michael Anderson, Piranha (1978) by Joe Dante, Alligator (1980) by Lewis Teague, Cujo (1983) by Lewis Teague (based on the novel of the same name by Stephen King), the so-called Italian film Shark: Rosso nell’oceano, the Spanish film Slugs, muerte viscosa, Anaconda (1997) by Peruvian Luis Llosa, Lake Placid (1999) by Steve Miner, Ovejas asesinas (2006) by Jonathan King and Sharknado (2013) by Anthony C. Ferrante, among many others.
The slasher was not born overnight, we can even find clear references and similarities in many films before the 1960s, but, since if we try to find out all the background we would never end up. We are going to situate its birth on two fundamental pillars, which many consider the first slasher films. These are the British films Peeping Tom (1960) by Michael Powell and Psycho (1960) by Alfred Hitchcock. These two films created a trend and consolidated some of the typical characteristics of this sub-genre, for example, the importance of the figure of the killer (subjective shot from his own point of view) or the stylization of the knife as the favorite instrument of the psycho killer.
There are also clear references in the gore cinema that emerged in the 60s from the hand of Herschell Gordon Lewis and in the giallo cinema of Mario Bava, Dario Argento and Sergio Martino (among others). From these, it picks up the uncertainty of the killer’s identity (sometimes with the face hidden by a mask, a phenomenon massively popularized in the 80s), the explicit violence (stylization of blood and deaths) and the sexual element assigned to young characters that many times are the protagonists of this type of cinema (as well as their relationship with drugs). In fact, the combination of drugs, sex and murder is a technique widely used by the exploitation genre, which used to exploit these three elements for its profitability and for its air of renewal and rebellion towards a cinema governed by a more traditional and censorial society. In this way, throughout the 1960s and 70s a tendency towards what would be the slasher with the arrival of the 80s was created and therefore we find some films perfectly classifiable in the subgenre.
In a section on slasher cinema we can’t miss the figure of John Carpenter, director of the film that many consider a before and after in the slasher subgenre and many others as the first truly slasher film, Halloween (1978). This film presents a demented killer who wears a white mask and stalks young outgoing girls, the introverted one being the heroine. She would later make The Mist (1980), a remake of The Thing (1982), Christine (1983) (based on the novel of the same name by Stephen King), The Prince of Darkness (1987), The People of the Damned (1995) (remake of the film of the same name in 1960), In the Mouth of Fear (1995), Vampires (1998), Ghosts of Mars (2001) and The Ward (2010).
The other great director of modern horror films is Wes Craven. He made his debut with The Last House on the Left (1972), a very controversial film because of its explicit violence and which is named as a reference for the new horror cinema, more focused on the visual and the fear of physical damage and destruction. Another influential milestone in horror films and slasher films was The Hills Have Eyes (1977), which had a sequel directed by himself. He is also the director of the adaptation of the horror comic Swamp Thing (1982). With A Nightmare on Elm Street (1984) he would revitalize the slasher genre by giving the crimes a surreal sense. He also directed the TV films Invitation to Hell (1984) and Chiller (1985), the films Deadly Friend (1986), Shocker, 100,000 Volts of Terror (1989), the TV film Night Visions (1990) and The Basement of Fear (1991), among others.
Iconic characters of the slasher are Norman Bates, from Psycho, partially aware of his acts, presents a double personality, being the second one (his mother’s) the one who commits the murders, while he is reluctant to his violent acts and with the will to solve them in order to be a socially acceptable person; Leatherface of The Texas Chainsaw Massacre, with his face hidden by a mask made of human skin and armed with a chainsaw, suffers from some mental deficiency and is very influenced by his family, he believes that what he is doing is right because his family orders him to do so; Michael Myers of Halloween presents himself physically as a tall man in uniform with a mechanic’s suit and his face covered with a white rubber mask, he possesses an enormous strength and invulnerability to attack (or practically, immortality); he normally uses a big kitchen knife, he does not speak, he is intelligent to kill his victims but he does not present conscience about what he is doing, he moves by instinct, his mission is to kill and he does not ask himself why. This character would consolidate with the successful and numerous sequels as a villain at the level of Frankenstein’s monster or Dracula. Jason Voorhees, from Friday the 13th (1980) by Sean S. Cunningham (film that largely caused the explosion of the slasher and that popularized in a definitive way the topics of the subgenre), murderer of enormous size, immortal, masked with a field hockey mask and armed with a machete, lives in a forest near a lake and some huts and kills anyone who enters the forest, silent killer like Michael Myers, does not present any conscience about his acts or the concepts of Good and Evil. In contrast to the silent killers like Michael Myers or Jason Voorhees we find Freddy Krueger (always played (except in the version) by the actor specialized in the genre Robert Englund), and Chucky, from Tom Holland’s Child’s Play (1988), sadistic and perfectly aware of their acts, the first one with a burned face, dressed in a hat and a Christmas sweater and armed with a glove with blades, the second one, a doll possessed by a serial killer without a weapon of his choice; they don’t kill for instinct but for pleasure.
The main characteristics of the slasher film are usually: a psychopath (often masked) and usually with a knife kills certain isolated young people who are involved in drugs and sex, usually surviving only the so-called final girl, which is usually the most innocent. Adults (parents, teachers or police officers) often play the role of saviors for the young people and often die quickly to intensify the tension, as the only salvation the young people had has inevitably been killed. It is necessary to say that with the arrival of the decadence of the subgenre and at the present time the topics of the slasher have been diluted, existing many films with important influences and some keys but abandoning other topics of this one. However, the explosion initiated with Halloween and promoted with Friday the 13th, must be worthy of study, since it enjoyed a popularity, box office, influences and in some cases important artistic quality.
By the end of the eighties slasher films were no longer as profitable and their production decreased. In addition, many films were advertised as slasher films but were far from the subgenre, as is the case of Henry: Portrait of a Serial Killer, Hellraiser, Child’s Play or Candyman. There are also several films that are even further from slasher, even from the horror genre, but marked by an era where psychopathic films dominated, such as Alfred Hitchcock’s Frenzy (1972), Rob Reiner’s Misery (1990), Jonathan Demme’s The Silence of the Lambs (1991), David Fincher’s Seven (1995) and Michael Haneke’s Austrian Funny Games (1997), which had an American version of the same name in 2007, by the same director.
The zombie cinema has a wide representation of films throughout history. Its fundamental requirement is the presence of zombies and the struggle of the protagonists against them. It is said that the first zombie movie was Victor Halperin’s The Legion of the Soulless Dead (1932). This movie collected the topics that would define the zombie cinema until the arrival of George A. Romero: a villain has a legion of zombies working for him and who are his instrument for his sinister intentions, said villain is many times a Nazi doctor, a mad scientist or even aliens. Victor Halperin’s film would be followed: The Dead Walk (1936) by Michael Curtiz, I Walked with a Zombie (1943) by Jacques Tourneur, Revenge of the Zombies (1943) by Steve Sekeley, Invisible Invaders (1959) by Edward L. Cahn, Plan 9 from Outer Space (1959) by Ed Wood and The Plague of the Zombies (1966) by John Gilling.
In 1968, George A. Romero creates the independent masterpiece The Night of the Living Dead. In black and white, with a tiny budget and amateur actors, he created and consolidated the new topics of zombie cinema, present today. The subgenre, from 1968, would be defined as apocalyptic films, where the zombie phenomenon is no longer a problem of a specific region as it used to be, but a global plague on which the extinction of humanity depends. Besides, nobody controls the living dead, they are unreasonable beings whose only mission is to feed themselves uninterruptedly. Individually they are usually not a problem, their danger does not lie in their intelligence, but in their number and their voracity. Finally, one of the features that most differentiates the modern zombie cinema from the classic one is the gore. The way in which zombies have to attack humans (by eating them) has led many directors to show (sometimes in a very explicit way) the feeding of zombies, thus taking advantage of the economic and artistic potential of explicit horror. The director of The Night of the Living Dead himself returned to the theme in Zombie (1978), The Day of the Dead (1985), The Land of the Living Dead (2005), The Diary of the Dead (2007) and The Resistance of the Dead (2009), films with a clear concern for sociological analysis and that focus as much or more on the behavior of the survivors and their confrontations and differences than on the invasion. Likewise, Romero would move away from zombie movies but would remain in horror films such as: The crazies (1973), Martin (1977), Creepshow (1982), Los ojos del diablo (1990) (together with Dario Argento), La mitad oscura (1993) and El rostro de la venganza (Buried) (2000).
Within zombie cinema, as well as slasher cinema, it is necessary to mention the special effects artist and make-up artist Tom Savini, who worked with George A. Romero in Zombie, Creepshow and El día de los muertos, as well as in the slashers Friday the 13th, Maniac and El asesinato de Rosemary, among others.
Gore or splatter cinema focuses on the visceral and the fear of the destruction of the human body. It is a rather diluted sub-genre, since the Slasher, the Giallo or the zombie cinema, among others, present many similarities. Gore cinema is considered to be those films in which explicit violence, murder, torture and mutilation represent the most important part of the film. This type of cinema, presents clear influences in the French theater Grand Guignol and we can find some antecedents in the French film Le systeme du docteur Goudron et du professeur Plume (1904) of Maurice Tourneur and in the first film of the history where a decapitation is shown, the American Intolerance (1916) of D.W.
If the 2000’s were a good time for horror films with their return to the 70’s, the 2010’s have been a complete expansion, exploding in diversity and going beyond violence and blood to cover areas of auteur horror that recover the best of Polanski or William Friedkin.
The unprecedented box office success and acceptance in popular culture has made it, without a doubt, the most important decade for the genre since the 80s.
We review in these 31 titles the main currents, names, authors and films of more importance within these years following a chronological order. Many important ones are missing, but space is limited and probably some of these other films represent their style or subgenre.
Direction: James Wan
Cast: Rose Byrne, Patrick Wilson, Ty Simpkins, Barbara Hershey, Andrew Astor, Lin Shaye, Leigh Whannell, Angus Sampson.
James Wan’s first and genuine supernatural film of the decade, although he recovered details of his ‘Dead Silence’ (2007) and made them more commercial, picking up the trail of ‘Paranormal Activity’ (2007), the director injected his Mario Bava influences and created a 21st century classic with little money and good ideas.
The Crazies’ (2010)
Address: Breck Eisner
Cast: Timothy Olyphant, Radha Mitchell, Joe Anderson, Danielle Panabaker, Christie Lynn Smith, Brett Rickaby, Preston Bailey, John Aylward, Joe Reegan, Glenn Morshower.
Not all remakes are successful and, to tell the truth, George Romero has been quite lucky with his works from the 70s. Although it fails to capture any of his ideological concerns and the corrupt moral background of its protagonists, ‘The Crazies’ is an exemplary film of infected people full of action and suspense and a tone of despair that sets it apart from other similar films.
Black Swan’ (Black Swan, 2010)
Direction: Darren Aronofsky
Cast: Natalie Portman, Mila Kunis, Vincent Cassel, Winona Ryder, Barbara Hershey, Tina Sloan, Christopher Gartin, Sebastian Stan, Benjamin Millepied, Ksenia Solo.
Pure paranoia of echoes of Polanski, giallo and Satoshi Kon in which shines a broken Natalie Portman who manages to move from anguish to anger until she is frightening in her internal and external metamorphosis. The film that brought the European angle closer to the horror of 2010, and that could be considered the pioneer of the non-existent topic of high horror.
Stake land’ (2010)
Address: Jim Mickle
Cast: Nick Damici, Connor Paolo, Danielle Harris, Kelly McGillis, Michael Cerveris, Bonnie Dennison, Sean Nelson, Traci Hovel, Marianne Hagan, Tim House.
Jim Mickle, at the beginning of the decade a promise that had not yet passed through the Netflix independent author’s blender, took the Glass Eye Pix production to the top in this too forgotten post-apocalyptic road movie in the form of initiation cinema close to the western that was ahead of ‘The Walking Dead’ in many aspects.
Kill List (2011)
Address: Ben Wheatley
Cast: Neil Maskell, MyAnna Buring, Harry Simpson, Michael Smiley, Emma Fryer.
Folk horror has already been established as a term of use and disuse but in reality it has always been there. In this modest production it was silent and did not explode until its distressing end, but we must acknowledge Ben Wheatley’s experiment in mixing pagan country horror and hitman cinema.
The Cabin in the Woods (2011)
Address: Drew Goddard
Cast: Kristen Connolly, Chris Hemsworth, Fran Kranz, Richard Jenkins, Bradley Whitford, Anna Hutchison, Jessie Williams, Amy Acker, Brian J. White, Tim De Zarn.
Driven by its mind-blowing final stretch, this horror comedy is often considered better than it is, but if it leaves a good taste in your mouth it’s because its climax – hurried and shorter than you remember in the reviews – is truly a monster mash marvel taken to epic scale.
Director: Scott Derrickson
Cast: Ethan Hawke, James Ransone, Juliet Rylance, Vincent D’Onofrio.
Scott Derrickson continued his estimable ‘The Exorcism of Emily Rose’ (2005) with a resounding reformulation of the bogeyman and pure evil along with modern haunted house codes, achieving one of Blumhouse’s greatest hits, which unfortunately reminds us of better times for the production company.
Lords of Salem’ (2012)
Direction: Rob Zombie
Cast: Sheri Moon Zombie, Christopher Knight, Dee Wallace, Clint Howard, Udo Kier.
Rob Zombie’s best film is this dreamlike exploration of Satanism and witchcraft according to the British house of horror Tigon, the most irreverent Ken Russell or the Fulci of his Eibon trilogy. A controversial work, with production problems that would have shown us a clear precedent of ‘The Witch’ (The Witch, 2015) but that is postulated as one of the most influential of this decade.
Warren File’ (The Conjuring, 2013)
Direction: James Wan
Cast: Lili Taylor, Vera Farmiga, Patrick Wilson, Joey King, Ron Livingston.
We could put the second part as an example of a sequel that changes and improves many of the findings of the original, but the commercial impact of this makes it the key name to contemplate. Perhaps a little more blurred in the end of routine exorcism, the set pieces of the palms and the basement are from anthology, making Wan’s name the only one repeated in the list.
Under the Skin’ (2013)
Direction: Jonathan Glazer
Cast: Scarlett Johansson, Paul Brannigan, Robert J. Goodwin, Krystof Hádek.
The film that outraged the Taro people in search of a complete nude of Scarlett Johansson and they found a silent chronicle of an atmospheric and alien visit to video art. A film that was born modern and is still talked about, its description of black space was shot by ‘Stranger Things’.
Babadook’ (The Babadook, 2014)
Address: Jennifer Kent
Cast: Essie Davis, Noah Wiseman, Daniel Henshall, Hayley McElhinney, Barbara West.
Jennifer Kent’s voice in horror has not lasted long with ‘The Nightingale’ (2019), but her debut was such a marvel that to see her again over the years only makes her more reaffirmed as a modern classic, one of those who raised the horror film pure and simple as a tool with as much value and prestige as the most.
What we do in the shadows’ (2014)
Direction: Taika Waititi, Jemaine Clement
Cast: Jemaine Clement, Taika Waititi, Jonathan Brugh, Cori Gonzales-Macuer.
Terror can also be a comedy. Taka Waititi already had a good handful of films to his credit, but if right now people are talking about ‘Jojo Rabbit’ (2019), it’s because of this hilarious vampire mockumentary that played with all the clichés of the genre and created a magnificent tableau of what a horror comedy should be. And it was a series, of course.
The Witch’ (The VVitch, 2015)
Direction: Robert Eggers
Cast: Anya Taylor-Joy, Ralph Ineson, Kate Dickie, Harvey Scrimshaw, Lucas Dawson.
The Witch’ is a horror film that borders on the dark fairy tale and the religious drama of the time with a feminist subtext, however, it is more valid as an aesthetic exercise and a proposal of terror based on the anachronism of the superstitions of the first colonists. A small jewel that its director has not been able to continue in the disappointing ‘The Lighthouse’ (The Lighthouse, 2019).
The Scarlet Peak’ (Crimson Peak, 2015)
Address: Guillermo del Toro
Cast: Mia Wasikowska, Jessica Chastain, Tom Hiddleston, Charlie Hunnam.
Guillermo del Toro went with all his arsenal of classic and fantastic horror films to recreate in great detail what must be a Gothic drama with supernatural echoes. The result is a very careful work of stylistic jewelry where the archetypal plot of blue beard and Edgar Allan Poe were the least of it.
Last Shift’ (2015)
Director: Anthony DiBlasi
Cast: Juliana Harkavy, Joshua Mikel, J. LaRose, Natalie Victoria, Sarah Sculco.
One of the jewels lost in the untapped VOD market that exploded in this decade. The classic story of a night watchman, here inside a police station, on the last night before it was closed. Like good ghost stories, these are more of a psychological influence on a prone mind from the start.
The Nightmare (2015)
Address: Rodney Ascher
Cast: Yatoya Toy, Siegfried Peters.
The documentary on sleep paralysis that put Rodney Asher, author of the documentary ‘Room 237’, on the map, and that is proposed, from the first moment, as a pure and hardcore horror film. The dramatizations of the stories of the different interviewees make the hair stand on end, but less than connecting the dots between their testimonies.
The Stranger’ (The Wailing, 2016)
Address: Na Hong-jin
Cast: Hwang Jung-min, Kwak Do-won, Chun Woo-hee, Jo Han-Cheol
This tremendous display of Korean genre cinema begins as a version of the typical Eastern crime thriller, but the atmosphere becomes increasingly rarefied as it embraces the supernatural and reaches its incendiary and chilling end. A theosophical nightmare that despite its humor takes very seriously the horror and dilemma of faith it poses.
Address: Can Evrenol.
Cast: Muharrem Bayrak, Mehmet Akif Budak, Fadik Bülbül, Mehmet Cerrahoglu, Elif Dag.
The explosion of Turkish terror in 2010 is a phenomenon that has not yet been assimilated in the West, probably because it has a good number of examples that go to the easy scare, however the name Can Evrenol rises above all his compatriots with a countercurrent story that mixes the textures of torture porn within a matrix of nightmare between Clive Barker and Argento.
The Neon Demon (2016)
Address: Nicolas Winding Refn
Cast: Elle Fanning, Karl Glusman, Jena Malone, Bella Heathcote, Abbey Lee.
The apocryphal remake of ‘Suspiria’ (1977) that improves on the official one. Nicolas Winding Refn had one eye on Argento’s Mothers Trilogy and another on Kenneth Anger when he made this ultra-stylisticated masterpiece of horror art. Despite some necrophiliac excess and gratuitous vampire lubricity, it is iconic with good reason.
The Autopsy of Jane Doe (2016)
Address: André Øvredal
Cast: Emile Hirsch, Brian Cox, Ophelia Lovibond, Michael McElhatton.
A chapter from ‘Tales from the Crypt’ trying new textures and elements of current terror. Following the pattern of ‘El Viy’, the autopsy of a corpse is posed as a night watching a dead woman who hides more than it seems, becoming a detective story and a night of old-school death scares ideal to recover on Halloween.
A Cure for Wellness (2017)
Address: Gore Verbinski
Cast: Dane DeHaan, Jason Isaacs, Mia Goth, Susanne Wuest, Celia Imrie, Lisa Banes.
Gore Vervinski unfolds a whole carousel of Gothic sumptuousness in an apocryphal remake of the French ‘Traitement de choc’ (1973), with a Lovecraftian frame and an aesthetic approach to the Poe de Corman cycle, the Italian horror films of the sixties and the paranoid texture of Polanski’s cinema. An absolute marvel.
The Void (2017)
Direction: Jeremy Gillespie, Steven Kostanski
Cast: Ellen Wong, Kathleen Munroe, Aaron Poole, Kenneth Welsh, Art Hindle.
A modest recreation of the Lovecraftian horrors of John Carpenter and Lucio Fulci that understands better the experience of the cosmic horror of their main characters than most of the official adaptations (perhaps only competing with the own films that it pays homage to and the recent ‘Colour Out of Space’) which is surprising coming from a crowdfunding that, in addition proposes monsters and practical fx hallucinating.
Let me out’ (Get out 2017)
Address: Jordan Peele
Cast: Daniel Kaluuya, Allison Williams, Catherine Keener, Bradley Whitford, Betty Gabriel.
There are films that are, at first glance, nothing more than a thriller with supernatural overtones, but their sociological significance can change the course of culture. And this is what Jordan Peele’s Oscar-winning screenplay achieved, an excellent journey into the heart of made-up racism expressed in a delirium of Mad Doctors and Mental Prisons.
The Evil Within’ (2017)
Address: Andrew Getty
Cast: Frederick Koehler, Sean Patrick Flanery, Brianna Brown, Dina Meyer.
The rarity of the lot is this piece started in 2003 that exemplifies the concept of the cursed film from its very conception. The life project of a descendant of the Gettys, killed by drug abuse, was finished posthumously. A polyhedral, anachronistic, clumsy and fascinating craft nightmare from every angle.
Address: Paco Plaza
Cast: Sandra Escacena, Bruna González, Claudia Placer, Iván Chavero, Ana Torrent.
One of the best horror films in the history of Spanish cinema, in which Paco Plaza manages to mix his manners with a dark initiation story, a metaphor of menstruation, a real paranormal case of Íker Jiménez and the post-James Wan paranormal trend in vogue during the decade.
Address: Ari Aster
Cast: Toni Collette, Gabriel Byrne, Alex Wolff, Milly Shapiro, Ann Dowd
There are not many films from this decade that combine so well the author’s gaze with the masterful use of paranoia and misleading plot without giving up the images of pure horror, gore, esotericism and the look at the classics with a drama coverage. If Scorsese praises her, it is for a reason. If we didn’t follow a chronological order, it would go to number one.
Direction: Matthew Holness
Cast: Sean Harris, Alun Armstrong, Simon Bubb, Andy Blithe.
A simplistic view can see in it a repetitive journey of a man walking down the street with a suitcase in his hand, but within this traumatic nightmare is a complex psychological study of a man who may or may not be a pedophile, who may or may not be pursued by a spider puppet and who captures the oppressive horror of M.R. James’ British adaptations.
Address: Panos Cosmatos
Cast: Nicolas Cage, Andrea Riseborough, Linus Roache, Bill Duke, Richard Brake, Hayley Saywell
Unclassifiable and dreamlike, Panos Cosmatos’ second film has part of ‘Cobra’ (1986), part of ‘Hellraiser’ (1987) and part of the cinema of revenge. A violent psychedelic odyssey that oozes heavy metal aesthetics and surrealist terror, violence, and resampling referential from Tobe Hooper to Larry Cohen. One of the essential experiences of the decade.
Review in Espinof: ‘Mandy’: the consecration of Panos Cosmatos as the total author of the crazy eighty
Doctor Sleep’ (Doctor Sleep, 2019)
Direction: Mike Flanagan
Cast: Ewan McGregor, Rebecca Ferguson, Kyliegh Curran, Zahn McClarnon.
Possibly Mike Flanagan is one of the directors with more than one film in this list, but with ‘Doctor Dream’ he has managed to create a Stephen King adaptation superior to the work on which it is based, a worthy sequel to Kubrick’s film, taking into account the material of the original novel and a work purely his own. Impeccable and elegant, in the 2019 Tarantino top 3.
Mike Flanagan reconciles King and Kubrick, establishing himself as one of the great names in modern-day terror
Daniel isn’t real’ (2019)
Director: Adam Egypt Mortimer.
Cast: Miles Robbins, Sasha Lane, Hannah Marks, Patrick Schwarzenegger, Faith Logan.
This re-reading of the archetypal story of the psychological duality of ‘William Wilson’ or Jeckyll and Hyde is patiently taken to the terrain of modern terror, gathered in classics such as ‘Jacob’s Ladder’ (Jacob’s Ladder, 1990) whose protagonist, Tim Robbins, is not by chance the father of the main actor. More plays like this one are needed.
Director: Andy Muschietti
Cast: Bill Skarsgård, Jaeden Martell, Sophia Lillis, Finn Wolfhard, Wyatt Oleff…
Separating the adaptation of Stephen King’s ‘IT’ into two chapters is a commercial move, but in reality it is a single film that works as a complete story that takes its true meaning when you finish watching its second part. A commercial, bloody, daring, epic and beautiful adaptation of the great American horror novel, with a Pennywise that has permeated popular culture in a surprising way. Inescapable and to be evaluated, it will pass as the ‘Nightmare on Elm Street’ of this decade.


‘Tuesdays With Morrie’ is all about living
The hit stage play based on the best-selling book by Mitch Albom
Staged April 14, 2012, at the California Theatre in San Bernardino
“Tuesdays With Morrie” tells the true story of career-driven journalist and his former college professor Morrie Schwartz, who is dying of a terminal disease and who teaches some important life lessons to his former student.
The stage version of “Tuesdays With Morrie,” co-authored by Albom and Jeffrey Hatcher, premiered at the New York Stage and Film in Poughkeepsie, N.Y., in the summer of 2002. It opened off-Broadway on Nov. 19, 2002 at the Minetta Lane Theatre.
Albom’s story was also adapted into a 1999 TV movie by Thomas Rickman. It starred Jack Lemmon as Morrie and Hank Azaria as Mitch.
Please Call 909-885-8263 to reserve seating prior to show date.
Visit Us Online


So it’s here… Our new addition. 56″ Samsung DLP 1080p HDTV. I’m pretty psyched, I do now understand the fascination with watching HD programming you otherwise wouldn’t care about. I watched 20 minutes of Jay Leno just because I couldn’t get over how big and lifelike his chin was. The HD box from TW comes on saturday, but in the meantime I’m enjoying the HD feeds I can find over the basic wire. That and rewatching alot of my movies. The new TV and the sound system to match have reawakened a love for movies and movie watching again. It’s a good thing it’s cold and there’s no good reason to leave the house.
Archive for December, 2005
December 8, 2005 Comments off


Film Violence In A Women's Prison
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Violence in a Women's Prison (1982) A human rights activist goes undercover in a prison to expose the corrupt officials who are mistreating the inmates. She discovers the abuse, torture and humiliation the prisoners are subjected to, which she also personally receives. Violence in a Women's Prison (Italian: Violenza da un Carcere Femminile) is a 1982 women in prison film directed by Bruno Mattei. VIOLENCE IN A WOMEN'S PRISON a film by Vincent Dawn. Emanuelle decides to conduct an investigation into the maltreatment of a small dictator state. VIOLENCE IN A WOMEN'S PRISON. Bruno Mattei, Italy, 1982, Severin Films, Cult. In an over-the-top career filled with cannibals, zombies, nuns and Nazis, only . Violence in a Women's Prison is a film directed by Bruno Mattei with Laura Gemser, Gabriele Tinti, Maria Romano, Ursula Flores, . Year: 1982. Original title: . Sometime ago Severin Films released the 1988 Bruno Mattei directed Black Emanuelle film Violence in a Women's Prison on blu. I dig most of . Violence in a Women's Prison [DVD]. $18.00. Laura Gemser stars in the ultimate Women In Prison film. Region Free. In stock. Quantity Qty. Add to cart. Violence in a Women's Prison [Blu-ray]. $23.00. Laura Gemser stars in the ultimate Women In Prison film. Region Free. In stock.
Calendrier pirelli 2012. Woman on the run film 1993. Avengers infinity war facilement et. Bug en attente epic games. Logiciel format factory 2012. Fait t on pour musique sur cle usb. Music avec meme intensite de sons. Derniere mise a jour direct x. Tel asus ne pas les applications tournent en boucle. Windows rs6 64 bits francais iso u.


Hamlet (dying) kills the King,
who tried so hard to top him.
We walk on stage, pick up the Prince.
For God's sake do not drop him!
Toby Stephens is the son of Dame Maggie Smith and the actor Sir Robert Stephens. I searched for his name in "google" and read that he is a fully paid-up member of the “aristocracy of British Theatre". A good-looking, well-spoken man with a very strong stage presence. In short, he has all the attributes to be extremely intimidating.
Our first rehearsal scene with him, ironically, is actually the last act of the play. Four of us are to carry his dead body on our shoulders off the stage. We are to lift him as one from the prone position. This would be intimidating in any circumstance, but to know that we are carrying the hopes of the Royal Shakespeare Company just adds to our tension.
We approach his body nervously one positioned at each limb. On the order to lift, we bend and place his arms around our necks. After a day of intense rehearsal, his deodorant has finally broken down and there are huge damp patches under both of his arm-pits. There is a distinct whiff of the “aristocracy of British Theatre".
As one the five of us break-out in laughter, "sorry guys" says Mr Stephens and the ice is broken


Live Die Repeat and Repeat
Directed by Doug Liman. With Tom Cruise, Emily Blunt. Plot unknown. A follow- up to the sci-fi film, 'Edge of Tomorrow'.and for here or to go full movie watch online free bad case of poison ivy
Sign in. The two-time Golden Globe nominee David Oyelowo has an awards-worthy list of must-see shows. See if you're caught up on his picks. Watch now. A soldier fighting aliens gets to relive the same day over and over again, the day restarting every time he dies. Ethan Hunt and his IMF team, along with some familiar allies, race against time after a mission gone wrong. A woman born with a rare genetic mutation which caused her to lose her sight and hearing over time, beat the odds and expectations of her prognosis.
Edge of Tomorrow also known by its marketing tagline Live. The film takes place in a future where most of Europe is invaded by an alien race. Major William Cage Cruise , a public relations officer with no combat experience, is forced by his superiors to join a landing operation against the aliens. Though Cage is killed in combat, he finds himself in a time loop that sends him back to the day preceding the battle every time he dies, with some memory of events. Cage teams up with Special Forces warrior Rita Vrataski Blunt to improve his fighting skills through the repeated days, while looking for a way to defeat the extraterrestrial invaders.
The original Edge Of Tomorrow followed Major William Cage Tom Cruise who is forced to take part in a landing operation against an invading alien force. Cage - having no combat experience - is swiftly killed but finds himself resurrected via a time loop. While Edge Of Tomorrow contained all the thrills and setpieces of a blockbuster, it was the witty script and chemistry between Cruise and Blunt that made it a word of mouth favorite. While the film was something of a financial disappointment, fans craved a follow-up. The original Edge Of Tomorrow ended on a happy note, with Cage defeating the Omega that controlled the aliens and being time-looped back to before the landing operation. The logic of this ending is somewhat murky, which is something co-writer Christopher McQuarrie promises will be addressed in the sequel.
Live, die, repeat, and According to Deadline , Warner Bros. Robinson recently wrote Monster Trucks and apparently had such a good pitch for a sequel that WB hired him on to write the script. The plan remains to bring back director Doug Liman , Cruise, and Blunt, presumably to get caught up in some new time loop drama while blasting plenty of evil critters to smithereens. No word on when the potential follow-up could happen, but since the studio seems to be living, dying, and repeating the project in its own right, this may not even be its final iteration.
After five long years, director Doug Liman has confirmed that Edge of Tomorrow 2 will start production as soon as possible. Although Liman will maintain almost everything that was in the last movie, some drastic changes have been made. -


Kathy has been teaching drama for young people since 1992. She has taught for many schools and organizations including VSA Arts of Michigan, Cranbrook Theater School, The American Academy of Dramatic Arts in NYC and the Reece School in Manhattan. Kathy currently teaches the Youth Program for Second City- Detroit in Novi. She has been an active part of the theatre community having completed the a year and a half run as a principal actress in “Menopause the Musical” at The Gem Theatre in Detroit. Kathy hold a BFA in Theater from DePaul University in Chicago.


LOBSTER FILMS EDITIONS
Since 2002, Lobster Films has been involved in the editing of cinema classics for DVD and Blu-ray. Comedies, dramas, slapsticks, experimental films... there is something for everyone. Today, hundreds of films are available in their restored version. Lobster Films also contributes in the coediting of great classics with its partners and friends from ARTE, the Éditions Montparnasse, MK2, Tamasa and many others.
Our catalog is available at our online shop where you will find our entire collection, but also imported films we have edited abroad.
Méliès, Chaplin, the best Retour de Flamme movies, A Trip to the Moon in colour, L'Enfer by Henri-Georges Clouzot, Les Premiers pas du cinéma, Bowers, Chase, Keaton, great classics of silent and sound films... You haven't seen anything yet!


Played an innocent schoolgirl, a dominatrix in housewife’s clothes, and a flirty abortion nurse in “The Road to Ruin”, produced by the New York Musical Theatre Festival. www.nymf.org. The show ran September 18- October 1 at the 45th Street Theater.
“Played with delicious comic overstatement by Christy McIntosh, Clea is just bristling with injured dignity, compromising positions notwithstanding.” Click here for the full NY Times Review.
Christy spent a summer at Barrington Stage Company’s workshop of Kirsten Child’s (“The Bubbly Black Girl Sheds Her Chameleon Skin”) new musical, “Funked Up Fairy Tales”. Directed by Kevin Del Aguila (“Altar Boyz”) and produced by William Finn (“…Spelling Bee”), the musical offered twisted takes on three classic fairy tales. The show ran from July 31 and was extended to August 18, 2007. More Info: www.barringtonstageco.org
Christy portrayed Natalya Pushkin in the staged reading of Jonathan Leaf’s new play ,”Pushkin”, about the infamous Russian poet. “Radio Golf” star Harry Lennix portrayed the titular role.
Christy appeared off-Broadway in “Evil Dead the Musical” playing dual roles: Annie the Archaeologist and Shelly the ditzy blond girlfriend-turned zombie. www.evildeadthemusical.com
Christy appeared in the off-Broadway comedy “The Truth”, by Clyde Fitch in the Fall of 2006. Christy played the leading role of Becky Warder, a pathological liar who learns her lesson. Think Ibsen’s “A Dolls House” as written by Oscar Wilde. The show ran through Dec 10th @ the Metropolitan Playhouse in the East Village.
Christy starred as Debbie Benton in the San Francisco premiere of “Debbie Does Dallas the Musical” in summer 2006. The show opened August 18th to excellent reviews and ran for three weeks at the Eureka Theatre in downtown San Francisco.
More Info: www.debbiesf.com
Christy recently made her NYC debut alongside comedian Fred Willard!
In the off-Broadway comedy, “Elvis and Juliet”, Christy had audiences howling with her zany portrayal of ‘Little Sister’, Lisa Marie Lesley. She was honored to work alongside comedians Fred Willard (who played her Dad) and David Rasche (who played her Uncle Joey).
More Info: http://www.abingdontheatre.org/index.php
Last winter, Christy appeared in the Jason Robert Brown musical, “The Last 5 Years”. This two-person musical follows the falling in and out of love of a young couple from two very different perspectives. Cathy Hiatt, a struggling actress, begins the show in the present with the end of their marriage and works backward through time to their first date at the end of the show. Jamie Wellerstein, a successful author, begins the show at the end of their first date and works his way linearly to their present-day breakup at the end of the show. They meet once in the middle for their only duet, which happens to be their wedding. Christy played opposite Eli Newsom(www.elinewsom.com), who also played her Bat Boy! The show ran January 5-14 at the Off-Market Theater on 6th & Mission in downtown San Francisco.
More info: http://www.roltheatre.com/lastfiveyears.html
Christy was so thrilled to participate in the West Coast premiere of Louis Sachar’s “Holes”, based on his Newberry Award winning novel. The show ran for 21 performances at San Francisco’s gorgeous Orpheum Theatre for two weeks. She played Kissin’ Kate Barlow, the sweet school teacher turned scorned outlaw. Mr. Sachar worked very closely to the production, and Christy got the chance to speak to him about Kate, whom she later discovered is his favorite character!


This article contains mild spoilers for Episode 6 of The Last of Us, and fair warning, like the title, bad puns.
HBO’s The Last Of Us might need a helping hand inside the editing room after a crew member’s hand could be spotted in the shot during Episode 6, which aired last Sunday on Feb. 19. As highlighted by Twitter user @rejectedhannah, the mistake can be picked up as Ellie approaches Shimmer in the barn.
Hit play on the clip further down to see for yourself. If you look closely, someone’s hand appears beneath the horse from behind the door, seemingly propping up the animal. You could say they were horsing around, but the error seems genuine since the hand disappears beneath the door shortly after.
The hand… who edited this episode 😭 https://t.co/nSPPbD6yga
— Hannah 🐢 (@rejectedhannah) February 22, 2023
If you’ve continued to read this far, you’ve forgiven the awful horse-themed puns, and on we go. This is, however, not the only blunder picked up by eagle-eyed audiences connected to the episode titled ‘Kin’ that picked up the story at Tommy’s settlement in Wyoming. Joel and Ellie cross a bridge before the scene cuts to a wide shot, and if you squint, members of the film crew can be spotted (concealed pretty neatly by the trees, it has to be said), to the left-hand side of the picture.
A screenshot of the mistake can be seen in the Twitter post below, courtesy of user @stjguitarist. “Brilliant episode. Something you might want to fix and reupload though. You can see the film crew in this shot,” they captioned the post. Still, these errors might not be as bad as a stray Starbucks cup slipping the attention of the editors in Game of Thrones.
Brilliant episode. Something you might want to fix and reupload though. You can see the film crew in this shot. pic.twitter.com/GZ9Pp6AknL
— Scott T. Jones Guitarist/Composer (@stjguitarist) February 20, 2023
If you’re hungry for more The Last of Us content, a cinematographer on the show recently revealed that the series had banned the word ‘zombie’ on set. You can also check out our review of the latest episode right here.
Did you spot these errors in The Last of Us? Let us know in the comments below, and keep your eyes on GameLuster for more gaming news.


How Did You Break Into The Industry / Your First Job
I volunteered as a Production Assistant for a short film and a Press Release Writer for Purdue's Marketing and Communication Department. During the time I learned and contributed my skills 100% to each project. As a results it opened up various positions in production. After graduation I began working as a freelance videographer. My work ranges from promotional videos to documentaries.
Long Term Career Goal
Directing films (cinema) is my ultimate goal. I also would like to write/create a television series.


This morning I clicked onto the headlines to see what was happening around the world and was jarred by the sad news that actor Philip Seymour Hoffman had died at 46, apparently from a drug overdose. Hoffman was one of my favorite actors, perhaps one of the finest actors I have ever seen. Each time a new movie would come out staring Philip Seymour Hoffman, we wouldn’t wait for the DVD, we would go to the cinema to watch it. His performance in “The Master” was one of the most powerful pieces of acting I have ever seen. He was brilliant in “Doubt”, electrifying in “Charlie Wilson’s War” and masterful in “Capote”.
Drama as a genre is my favorite. In my DVD’s you’ll find movies starring Philip Seymour Hoffman, Jack Nicholson, Jake Gyllenhaal, Ewan McGregor, Michael Shannon, Robert Di Niro and Al Pacino. My movie collection contains an equally magnificent assortment of films with women like Dame Judy Dench, Kate Winslet, Meryl Streep, Tilda Swinton and Cate Blanchett. I relish great acting, and feel sad at the prospect of never seeing a new film from Philip Seymour Hoffman ever again. All day I’ve been trying to come to grips with the loss, it’s going to take a while to accept.
What makes it harder as a long time fan of Mr Hoffman’s work is speculation he died from a drug overdose, a heroin overdose, and had been separated from his partner since October, and that he was a Father to three middle school aged children. Was it hopelessness? Was it heartbreak? Was it boredom? Was it selfishness? What was it that allowed the dark vines of addiction reach out to such a gifted man and pull him back under? A talented, complex man like Hoffman would be hard to truly figure out based on the body of work he left us. The depth in each of the characters, the intensity, the passion. In “Before The Devil Knows You’re Dead“, Hoffman played Andy Hanson, a man who had been embezzling money from his firm, and was about to coax his younger sibling played by Ethan Hawke into joining him in a scheme to rob his parents business so they could benefit from the insurance money. In the movie there were scenes where Andy would visit a heroin dealer who would inject him. The apartment was a new age, feng shui, high end Manhattan apartment, much like the $10,000 per month abode Mr. Hoffman had been renting since October. These scenes seemed a little out of place in the movie, a little too raw for my own taste. I wonder now if these scenes might have posed a risk of triggering Hoffman. When he died, he had been clean for 23 years.
I will never understand drug addiction. Heroin is a killer. Last week I heard about a new blend of heroin that’s made with Fentanyl, a powerful pain killer, more powerful than morphine. Twenty eight addicts had died in one town in just two weeks. Truly frightening. Heroin scares me. I once started to watch the film “Trainspotting” starring Ewan McGregor, but was so disturbed by the heroin scenes, I had to turn it off. Heroin has killed so many of our most beloved artists and musicians. Drugs in general are killing thousands.
Tonight I am sad for Mr. Hoffman’s family, his little children and the acting community who have lost one of the greatest actors of our generation. It will take me a long time to get over Philip Seymour Hoffman. I am truly gutted.


Greetings from Tassie.
I flew into sunny Hobart on the 24th of January around noon and went straight to the beach to cool off - it was actually pretty hot. After grabbing something to eat at the Salamanca markets and organising a hostel I began to get ready for the following day.
I left Hobart at first light and headed for the north-west where I would attempt to film wild devils. Along the way I collected footage of the some incredible landscapes. My destination wasn’t too far from Wynyard and I was happy to arrive after a long drive. I’d collected a road kill wallaby which I would use as bait for the devils. Setting up took four hours as I dragged the carcass all over to leave scent markings back to its resting point about 15 meters from my hide. My filming location was exactly what I’d needed, a piece of pristine forest on farm fringe. From everyone I had spoken to these were the qualities of prime devil habitat. Not to mention I was in the north-west, an area where the facial tumour disease had not yet reached.
This sequence will play a key part in the film and only wild devils would do. I'd just finished watching an excellent documentary that was filmed about Werner Herzog's film Fitzcarraldo. An American film crew followed him as he made his fictional film about a rubber barron in the Amazon who needed to pull an enormous cruise ship over a mountain. That's more or less the crux and Fitzcarraldo is an excellent film for anyone curious about Werner Herzog. Anyway, during the making of the Fitzcarraldo, Herzog had a cast including Mick Jagger, Klaus Kinski among others, and he insisted on travelling 1000 miles into the depths of the Amazon to film despite the jungle near a major settlement looking almost exactly the same. Filming close by would allow access to airports, food, hotels, hospital, etc. Despite the best advice from funders and government officials, Herzog insisted the film must be filmed as remote as possible because it would bring out qualities in the actors and a feeling in the film that could not be achieved if creature comforts were available. Anyway, although being in the north-west of Tassie is not the same as being 1000 miles inside the Amazon the idea is the same. Filming captive devils and then retreating to my hostel at night would not suffice. I wanted to spend time setting up, being filthy, reeking of dead wallaby, barely sleeping and still not knowing if I would get the shot. This is my escape from the city, from structure and comfort and I love it!
I spent from 7pm to 3:30am alert and ready to shoot and the wait was filled with so much excitement and anticipation. To be sitting in the Tasmanian bush waiting to lure devils out of the scrub and in front of the lens was such a romantic and long-held dream of mine. Did it come true? You’ll have to find out.
I’m back in Hobart today and I spent last night in Mt. Field National Park. I arrived quite late but managed to capture quite a lot of footage along the way. I’m hoping to start meeting up with experts from today to film some interviews. Looking forward to updating again towards the end of trip next Wednesday. Plenty more to do in the meantime. Thanks again for your kind donations which have made this trip possible.


If you represent a seniors' group and would like to learn more about this programme, please contact firstname.lastname@example.org.
Launched in June 2016, our Seniors’ Film Fridays programme is a free half-day experience at TIFF Bell Lightbox that brings local seniors together to watch classic and contemporary films and share their perspectives at post-screening discussions. Through community outreach and engagement, we work to offer an experience that includes free tickets to relevant films and complimentary refreshments at a post-screening talk facilitated by our experienced Volunteers. In-house screenings are scheduled on select Fridays.
For details on upcoming screenings and how to book tickets, please check the IN-HOUSE SCREENINGS tab above. We also organize tailored film screenings in the community space of an organization to redress any barriers that may exist for a group to come to TIFF Bell Lightbox. For more details please visit the OFF-SITE SCREENINGS tab above.
“Gets me out of the house to see movies I don’t see very often, with an added bonus of discussing the movies within a social group.”
“It is wonderful to hear the opinions of others. Please continue, this is a wonderful programme!”
“Looking forward to my next visit.”
Seniors’ Film Fridays is funded in part by the Government of Canada’s New Horizons for Seniors Program.
TIFF offers a free half-day experience for seniors at TIFF Bell Lightbox, located at 350 King Street West. Following the screening, a Volunteer docent will escort patrons to a private space with complimentary refreshments for an exhilarating group discussion about the film. Some examples of films we’ve screened in the past include: The Other Side of Hope, Loving Vincent, Lucky, In the Heat of the Night, Lawrence of Arabia, and It’s a Wonderful Life.
Screenings take place on select Fridays and are booked by season, so please check back to see the most up-to-date screening list.
11am, February 7 – A Mighty Wind – For ticket inquiries about this film, please fill out this form.
11am, February 28 – Bend of the River – For ticket inquiries about this film, please fill out this form.
11am, March 6 – Detour – For ticket inquiries about this film, please fill out this form.
12:40pm, March 13 – Mr. Smith Goes to Washington – For ticket inquiries about this film, please fill out this form.
If you are interested in attending a Seniors’ Film Friday screening and talk, please complete the ticket inquiry form for that film. Please know that by completing this form your ticket is not yet reserved. A member of the Volunteer Office will contact you within 48 hours about your inquiry.
Tickets are available on a first-come, first-served basis. Due to the volume of interest that we receive, we regret that we cannot guarantee tickets. If you have any questions or require assistance completing the ticket inquiry form, please contact us by email at email@example.com or by calling 416-934-5846.
Patrons who have reserved tickets may pick them up on the day of the screening at the Seniors’ Film Fridays registration desk located in the atrium of TIFF Bell Lightbox. Ticket pick up date and time will be communicated to you ahead of the screening.
As part of our programme, we also offer film screenings in an organization’s community space. Our Volunteer Docents will travel to your space with a film that will be followed by a discussion.
Each year we programme three films that are available for off-site screenings. Community groups are then able to select one they would like screened at their facility. Some examples of films we’ve screened in the past are Florence Foster Jenkins, Anomolisa, and The Producers.
If you would like to speak about booking an off-site visit, need more information on the films that we offer, or have questions about the technical requirements, please contact firstname.lastname@example.org or call 416-934-5846.
Interested in our programme, but not sure if you are able to participate?
We've created Facilitator Guides in conjunction with the Volunteer and Learning Departments to provide the tools for individuals to conduct film talks with a film of their choosing. These guides are meant to be used as a resource for engaging critically with film, and provide a space of inclusion and learning. The guide is available for download here.
Looking to learn more about TIFF and TIFF Bell Lightbox? Consider visiting us for a facility tour. These are free public tours which run Saturdays at 1pm. For available dates, please visit Guided Tours of TIFF Bell Lightbox. Interested in booking a private tour? Please contact email@example.com for more information.


In an interview Tuesday, Walt Disney Company CEO Bob Iger said that Disney and LucasFilm will release standalone films to accompany the new trilogy.
“I can confirm to you today that in fact we are working on a few standalone films, Larry Kasdan and Simon Kinberg are both working on films derived from great Star Wars characters that are not part of the overall saga,” Iger said. We still plan to make Star Wars 7, 8, and 9 roughly over a six-year period of time, starting in 2015. But there are going to be a few other films released in that period, too.”
Today wild speculation is traveling all over the net on what those spin-offs could be. First film that seems to be coming forward as a clear contender is a Yoda-centric feature. Others have said that maybe Jabba the Hutt might be a central figure in a film – really? Would anyone want to see 2 hours of hutt blubber? Finally Entertainment Weekly seems somewhat certain that they’re also working on a Han Solo/Boba Fett feature that would presumably be set between “A New Hope” and “The Empire Strikes Back.” I can’t much imagine that a story with Han as the central character between the end of Ep V-VI would be very exciting. Does one dream in Carbonite?
Anyway – they’ll have to cast a new Han Solo and Daniel Logan could easily step into the part as Fett. Sadly, I think Nathan Fillion would be too old, I’m sure that casting call line will stretch from Hollywood to NYC if this rumor is true. If they cast right, I actually will go see this if this is indeed in the works. They’d been saying that possibly there would be just a Fett movie and I would’ve passed on seeing that – I’ve personally never understood the obsession with him. I’d say it’s a guy thing, but I know plenty of girls who think he’s da-bomb.
All we know for certain is that Kasdan and Kinberg are working on scripts. I’m going to assume that these have been fast-tracked since Abrams might need an extra year before he can start working on Ep 7. I’ll keep you posted when we get more concrete news.


The VALID Banyule Peer Action Group would like to invtie you to attend the Fantastic Flicks screenings.
Short films made by and about people with disability.
The screenings will include:
- panel discussion with filmmakers talking about their work
- opportunities to meet film makers and actors
- lunch and afternoon tea.
If you would like to attend please RSVP to [email protected]
If you would like more information call Paul on 0455 477 303 or email [email protected]


Welcome to Scotts Valley Performing Arts (SVPA)
If you have been to one of our previous productions, you can see there have been lots of changes to the facility. Thanks to volunteers who support theater with their time, labor and money, Scotts Valley Performing Arts is well on it’s way to first class performances.
Volunteers and dedication to theatre arts are what SVPA is all about. Many of the actors, young and old, and parents of our young actors participated in the theater renovation project. They also build the sets, make or find the costumes, sell the tickets, find the advertisers and make the program. We are a participatory theatre company in the true sense of the word. It takes many hands to get the job done, and we are proud to have the opportunity to work with every one.
If you are interested in theatre or just thought it might be fun to learn what it is all about, SVPA has opportunities for you both on stage and off. If you know how to sew, use a screw gun, build a web page, wrangle kids, or dial a telephone, now is your opportunity to make something wonderful happen.
Scotts Valley Performing Arts


The Wire has been one of the most important things I've ever watched of film, TV whether documentary or fiction. It is sad that is is over, but this is one series that I would start over from the beginning today if I had the discs. So, I have the second viewing to look forward to.
Instead of trying to say anything that could do the series justice, I'll just point out that it is true, there is television worth watching these days. And I'll also quote David Simon, the series creator, from his own thoughts in his season finale letter:
We are a culture without the will to seriously examine our own problems. We eschew that which is complex, contradictory or confusing. As a culture, we seek simple solutions. We enjoy being provoked and titillated, but resist the rigorous, painstaking examination of issues that might, in the end, bring us to the point of recognizing our problems, which is the essential first step to solving any of them.


TV shows... Star Trek (I love DS9 the most), Stargate (SG-1, SGA & SGU), Battlestar Galactica, Doctor Who (classic & new), Supernatural, Torchwood, Buffy, Angel, Dollhouse, Life on Mars, Ashes to Ashes, Sanctuary, Firefly, Glee, Desperate Housewives, 24, House MD, Private Practice, That 70's Show, The Big Bang Theory.
Movies... Star Wars, Fight Club, Dark City, Dracula, Girl interrupted, Dune, Moulin Rouge, Sleepy Hollow, Contact, Beautiful Mind, Gran Torino, The Prestige, Soylent Green.
Actors/actresses... Mark Sheppard, Misha Collins, John Simm, David Tennant, Joe Flanigan, John Barrowman, Jensen Ackles, Morena Baccarin, Julie Benz, Philip Glenister, Amanda Tapping, Hugh Laurie, Kate Walsh, Kiefer Sutherland.
Feel free to friend me if we have something in common.
Icons & graphics...
I love making icons & graphics. I used to post them in this journal but now you can find them in my community cato_neimoidia.


ако знаете кой е крис дойл ще ви е интересно да прочетете това интервю за списание filmmaker. ако не го познавате вероятно също. става дума и за infernal affairs, на който е оператор и коментира съвсем неласкаво римейка the departed.
I go to see Martin Scorsese, and I say, Don’t you think I should tell you about the lenses? And he says, What do you mean? And I said, Well, you’re remaking my film, which is Infernal Affairs. Infernal Affairs was probably written in one week, we shot it in a month and you’re going to remake it! Ha ha, good luck! What the fuck is this about? I mean, come on. In other words, if you read The Rise and Fall of the Roman Empire, then you’d actually have a very clear idea [laughs] about what’s really happening in the U.S. right now. So what do we do? You tell me.
Come on, you can’t be so naïve that you don’t know that the only thing they do in the U.S. is look at the box office. It’s not a film industry anymore, it’s an accounting department. There’s only two departments in American cinema — the insurance department and the accounting department. There are no filmmakers anymore.


I have just the subjected myself to watching the first romantic comedy that I have seen in what feels like a decade or more, and I was instantly reminded as to why this is my least favorite type of movie genre. The following is a list I have complied to sort my thoughts:
If there is one word that defines romantic comedies it definitely has to “predictable.” The guy gets the girl, then he loses her because either he or she makes an obvious mistake, then the two get back together again. All that begins well ends well. Which brings me to the next point..
Romantic Comedies always have happy endings. No matter what happens throughout the course of the movie, the audience knows that everyone is going to end up happy in the end. Why? Because audiences go to see romantic comedies because THEY want to be happy in the end. It doesn’t matter what ridiculously stupid course events takes place throughout the movie, both the characters and the audience members always end the movie in a state of happiness.
Romantic Comedies are not really comedies, they’re Cheesy. No one really believes the storyline because you would have to be a total nutcase to really think that the events that take place in a romantic comedy actually happen in real life. Romantic comedies are shamelessly cheesy, particularly those that are being made today. You can tell just watching these films that millions of dollars were poured in to making them, and you really just have to wonder why…. And how..?
On another note, I think it would be wrong to group ALL romantic comedies into one generally category. “Pretty Woman” was good because it was unconventional and groundbreaking and actually had something to say. “The Seven Year Inch” was good because it showcased Marylin Monroe at her absolute best. “Annie Hall” was good because in all his quirkiness, Woody Allen really does know what he’s talking about. And the “Wedding Singer” was good because it was actually a romantic COMEDY rather than just a romantic movie with a few unrealistic twists thrown in to make it “funny.”
Romantic comedies today seem to fall flat to me. Everyone knows what will happen in the end, and audiences seem to flock to that kind of cookie cutter, fairy tale conclusion. But not me, I guess I’m just waiting for the next “Sleepless in Seattle.”


Heart of a Tower recieved a support
The production phase of our feature animation by Peter Budinský Heart of a Tower was supported by Slovak Audiovisual Fund. The premiere of this film is planned on 2021.
Freedom in Slovak distribution
Náš nový film Sloboda sa po februárovej premiére v nemeckých kinách predstavil 20. 3. v premiére na festivale MFFK Febiofest a následne v kinách po celom Slovensku.
Our new film Freedom by Jan Speckenbach was after the German premiere, that was held in February, released on March 20 at the festival MFFK Febiofest and after that in Slovak cinemas.
Premiere of Fifi Fatale at Febiofest
Our new animation Fifi Fatale was premiered in the short film competition at MFFK Febiofest in Bratislave and after in the cinemas together with the film Freedom.
FITLHY has Czech Lion Award and is the best film according the Czech film critics
The film Filthy received the Czech Lion Awards for best editing and became the Best Film Award at Czech Film Critics Awards.
UNTRAVEL was released at Berlinale and in Annecy
Our coproduction film Untravel was released in the world premiere at 68th Berlinale in the section Generation and later also at the festival of animated films in Annecy.