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New York Film Review: ‘Spielberg’

New York Film Review: ‘Spielberg’
It’s never been an all-out love-him-or-hate-him thing — though you can always find a cinephile purist or two to grouse about him, with a fervor as irrational as it is intense. That said, there’s an undeniable Beatles-person-vs.-Stones-person quality to the following debate: Either you think that Steven Spielberg is a genius, that he’s created an array of films — not just the early ones — that are suffused with a transporting vision, with a flow of feeling and a camera-eye intuition unique in the history of cinema; or you think that Spielberg is a gifted fabulist trickster with more flash than depth, the kind of brilliant but ultimately facile entertainer who deserves to be called things like “manipulative,” “sentimental,” “crowd-pleasing,” and — yes — “shallow.”

If you’re in the latter camp, then you probably won’t respond much to “Spielberg,” an unabashedly admiring two-hour-and-27-minute documentary portrait of the man and (mostly) his movies that premiered tonight
See full article at Variety - Film News »

Saks Fifth Avenue Announces 2017 Key To The Cure Campaign With Jennifer Lopez And Missoni

Saks Fifth Avenue has teamed up with Women’s Cancer Research Fund (Wcrf) for the 2017 Key To The Cure campaign.

Jennifer Lopez will be the Official Wcrf Ambassador

Now in its 19th year, Key To The Cure is Saks Fifth Avenue’s annual fundraising and charitable initiative to fight cancer. This year, Women’s Cancer Research Ambassador Jennifer Lopez will act as the face of the campaign, and Missoni will design the exclusive, limited edition t-shirt.

“For almost two decades, Key To The Cure has been one of the most iconic and valuable programs that Saks executes each year,” said Marc Metrick, President of Saks Fifth Avenue. “We look forward to raising funds for Wcrf, as well as cancer research and treatment organizations around the country, and are confident that we will be successful, especially with the extraordinary support from both Jennifer Lopez and Missoni.”

The Women’s Cancer Research
See full article at Look to the Stars »

Newswire: Sorry, Skull haters: Steven Spielberg thinks Temple Of Doom is the worst Indiana Jones movie

Defying the fridge-nuke-decrying, Crystal Skull-loathing masses, Steven Spielberg has made it clear that his least favorite Indiana Jones movie is still 1984’s bug-covered, monkey-brain devouring weirdness factory, Indiana Jones And The Temple Of Doom. This is per The New York Daily News, which recently confirmed Spielberg’s hatred of the film in a chat with Susan Lacy, the interviewer/director for HBO’s upcoming doc about the legendary filmmaker, Spielberg.

You’d think Spielberg would have a certain nostalgic fondness for Temple, given that it’s where he met his wife, Kate Capshaw, who played screaming chanteuse Willie Scott. But, as noted by The Playlist, he’s actually derided the film before: “I wasn’t happy with the second film at all,” Spielberg told reporters back in 1989. “It was too dark, too subterranean, and much too horrific. I thought it out-poltered Poltergeist. There’s not an ounce ...
See full article at The AV Club »

The Best Movie Fight Scenes — IndieWire Critics Survey

The Best Movie Fight Scenes — IndieWire Critics Survey
Every week, IndieWire asks a select handful of film and TV critics two questions and publishes the results on Monday. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)

This week’s question: In honor of the bone-crunching “Atomic Blonde,” what is the greatest movie fight scene?

Read More‘Atomic Blonde’: How They Turned One Amazing Action Scene Into a Seven-Minute Long Take Erin Oliver Whitney (@cinemabite), ScreenCrush

I’ve got a soft spot for wuxia so the “best fight scene” immediately evokes Zhang Yimou in my mind. I could list every fight in “Hero,” sequences so spellbindingly beautiful and graceful you forget you’re watching violence. The bamboo forest battle from “House of Flying Daggers” is another all-timer, a mesmerizing fight that almost entirely takes place in the air. And the bone-crunching, table-smashing
See full article at Indiewire »

Win Dreamscape on Blu-ray

We’re continuing our love of the 80s with this exciting new competition. Starring Dennis Quaid and Kate Capshaw, sci-fi adventure Dreamscape is making its way to on demand, download, Blu-ray and DVD 31st July 2017, restored with a bunch of brand new special features. To celebrate we’ve got 2 copies to giveaway on Blu-ray.

Young psychic Alex Gardner (Quaid) is coerced into joining a dream research project in which those with his abilities are trained to enter and affect the dreams of others. What begins as an experiment in remedying nightmares turns into something far more sinister, when a corrupt government official seizes control of the project. Can Alex can stop his diabolical plan?

To be in with a chance of winning, simply answer this question:

Which of these films did Dennis Quaid star in?

Your Answer InterstellarInnerspaceInception

UK entries only. One entry per person. Competition closes 7th August 2017. Terms & Conditions.
See full article at The Cultural Post »

Chris Pine Recalls Wonder Woman’s Most Revealing Scene

Raised on the relatively sheltered island of Themsycira, Diana Prince has much to learn about the outside world by the time Patty JenkinsWonder Woman gets going in earnest – including the anatomy of a man.

It allows for a delightfully innocent exchange between Gal Gadot’s title heroine and Steve Trevor, the Wwi pilot played by Chris Pine who crash lands on Themsycira and becomes the first man to walk alongside the Amazon Warrior. And though it may be considered slightly spoiler-ish, Pine reflected on Wonder Woman‘s most revealing scene in a recent interview with Kabc.

The Star Trek actor, who was partially nude for the bathing scene, recalled the moment in which Diana Prince looks on at his Trevor with curious fascination, before she asks whether he considers himself a typical man. Trevor’s response? “Slightly above average.”

“I actually knew I was going to do the movie because of that.
See full article at We Got This Covered »

What Happened to the Women Directors in Hollywood? Part 4: 1984–1999

Mississippi Masala

by Carrie Rickey

This five-part Truthdig series by Carrie Rickey is published in partnership with Women and Hollywood. The series considers the historic accomplishments of women behind the camera, how they got marginalized, and how they are fighting for equal employment. Specifically, this series asks, why do females make up between 33 and 50 percent of film-school graduates but account for only seven percent of working directors? What happened to the women directors in Hollywood?

While female filmmakers waited for Judge Pamela Rymer to hand down a decision in the 1983 Directors Guild class-action suit against Warner Brothers and Columbia Pictures, alleging discrimination for not hiring women and ethnic minorities represented by the guild, there were positive signs of change in Hollywood.

In 1984, for the first time that almost anyone could remember, one needed two hands to count the number of feature films by women released in the U.S. market. One was Diane Kurys’ “Entre Nous” (1983), nominated for best foreign film at the Academy Awards in April 1984, making Kurys the second female director whose film was so honored.

Between 1950 and 1980, the number of movies directed by women in the Directors Guild of America (DGA) totaled 14. From 1984 to 1985 there were 12.

In 1984 many women were making their second features. Among them were Gillian Armstrong’s period drama “Mrs. Soffel,” Amy Heckerling’s gangster comedy “Johnny Dangerously,” Penelope Spheeris’ teenage-runaway saga “Suburbia,” and Amy Holden Jones’ romantic drama “Love Letters.” Martha Coolidge, beloved for “Valley Girl,” her 1983 debut, was on her third feature, “National Lampoon’s Joy of Sex.” With more women behind the movie camera in the United States than any time since the ’teens, it seemed that Hollywood was reopening the studio gates to women. Their movies featured women in lead roles.

The wave of optimism crested in 1985. Argentine director Maria Luisa Bemberg’s historical romance “Camila” (1984) was in contention for best foreign film. Susan Seidelman, an Nyu film-school grad who made a splash in 1983 with the indie “Smithereens,” released “Desperately Seeking Susan,” starring “It Girl” Rosanna Arquette and Madonna, cast when the latter was a relative unknown. It was a runaway hit. Heckerling and Spheeris each released third features, respectively “National Lampoon’s European Vacation” and “The Boys Next Door.” Coolidge released her fourth: “Real Genius,” a genuinely funny nerd comedy with a fully developed female character — and special effects.

Then came the crash.

In August 1985 Judge Rymer handed down her decision. While the class-action case was important and viable, Rymer ruled, she had to disqualify the DGA from leading the class due to a conflict of interest. White male members also competing for directing jobs dominated the guild, she said. Thus the DGA was in no position to represent the interests of its women and ethnic minority members. Out of exhaustion and lack of money, the Original Six, the group of female filmmakers that had first spurred the DGA to initiate the suit, did not pursue it any further.

As the DGA suit played out during the early 1980s, Hollywood’s business model was in flux. Studios abandoned the one-size-fits-all strategy of advertising a movie in general-interest publications and embraced segmented marketing — that is, making and marketing movies to a specific demographic. Fewer dollars were spent advertising movies in mainstream newspapers and more were spent on ads that ran during TV shows young males were said to watch. More and more, movies starred predominantly men and boys. Because actors had higher-profile roles, they could command higher salaries than actresses.

By dividing the market into sectors, studios divided the audience and the culture. Boys see movies about boys. Older people see movies about older people. Women see movies about women. Those in different demographics no longer watch the same stories.

In 1980, four of the 10 top box office stars were women: Sally Field, Jane Fonda, Sissy Spacek, and Barbra Streisand. In 1990 there was only one: Julia Roberts. According to 1990 statistics from the Screen Actors Guild, not only were actresses underpaid, but they were also “undercast”: 14 percent of the leading roles, and only 29 percent of all roles, went to women.

The “Indiana Jones” trilogy made in the 1980s reflected the progressively diminishing role of females in film during a decade when male action/adventures dominated the multiplex. In “Raiders of the Lost Ark” (1981), the character Marion Ravenwood (Karen Allen) plays Indy’s helpmate. In “Indiana Jones and the Temple of Doom” (1984), the Willie Scott character (Kate Capshaw) is helpless. And in “Indiana Jones and the Last Crusade,” archeologist Elsa Schneider (Alison Doody) is the enemy.

Despite such trends, the late 1980s and 1990s proved to be boom years for female directors in Hollywood and Indiewood, as independent film is known. In 1987, Kathryn Bigelow, a onetime sculptor and graduate of Columbia University’s film program, made her second feature, the “vampire Western” “Near Dark.” And though Elaine May’s studio film “Ishtar” was almost universally panned upon release, it earned belated respect. Richard Brody of The New Yorker correctly described it as “an unjustly derided masterwork.” In 1987, six percent of films were directed by women, higher than at any time since 1916.

The percentage dropped in 1988, but that was a watershed year for female filmmakers. “Big,” a comedy from Penny Marshall (co-written by Anne Spielberg), was universally acclaimed. It was the first movie directed by a woman that surpassed $100 million at the box office. With the romantic comedy “Crossing Delancey,” Joan Micklin Silver returned to making big-screen fare, and her modest hit was well received. Also in 1988, Silver’s daughter, Marisa, made her second feature, “Permanent Record,” about teen suicide. “Salaam, Bombay!”, the first feature from Mira Nair, the India-born, Harvard-educated documentarian, was a best foreign film Oscar nominee.

The following year, “Look Who’s Talking” from Amy Heckerling likewise surpassed the $100 million mark for box office sales in the U.S. and made nearly $300 million worldwide. For the most part, though, heads of studios regarded Marshall’s and Heckerling’s box-office smashes as flukes. Two heads of production told me in 1991 that “movies by women don’t make money.” Nevertheless, it turned out to be a exceptional year for the quality and range of releases from women. And it shaped up to be a year when movies by female filmmakers did make serious money.

Some of the highlights of 1991: Julie Dash’s “Daughters of the Dust,” an evocative portrait of generations of Gullah women off the South Carolina coast circa 1901; Jodie Foster’s “Little Man Tate,” about a child prodigy emotionally torn between his mother and a psychologist for gifted children; and Mira Nair’s “Mississippi Masala,” a sexy romance about a South Asian woman born in Uganda (played by then-newcomer Sarita Choudhry) in love with an African-American man (Denzel Washington). Both Kathryn Bigelow’s action film “Point Break” and Barbra Streisand’s psychological study “Prince of Tides” examined the emotional costs to men who struggle to prove their masculinity. Bigelow’s movie grossed $83 million and Streisand’s $110 million. (Adjusted for inflation, that’s $148 million and $196 million in today’s dollars.)

Not only can female filmmakers make movies that show a different side of men, but they also make movies that show different aspects of women. Penny Marshall’s “A League of Their Own” (1992), about the All-American Girls Baseball Leagues during World War II, celebrates the athleticism (rather than the sexuality) of the female body. Nora Ephron’s “This is My Life,” her 1992 directorial debut about a single mom whose choice of comedy career affects her daughters, shows that career and motherhood need not be in conflict. Like Ephron’s film, Allison Anders’ “Gas Food Lodging” (also 1992) explores what happens when the children of single moms reconnect with biological fathers. Male directors were, and are not, making movies like these.

During the 1990s, almost every year brought a new evergreen made by a female filmmaker. In 1993 there were two. One was Jane Campion’s “The Piano,” a haunting allegory about a mute woman that struck a chord internationally. It earned $62 million at the box office and multiple Oscar nominations, including one for best director, making Campion the third woman to be cited in this category. The other was Nora Ephron’s “Sleepless in Seattle,” the comedic romance between two people who don’t meet in person until the last scene, which scored a $227 million box office.

“Sleepless” additionally introduced the questionable concept of the “chick flick” to a broader audience. This is a non-genre that has come to be defined as any movie that, according to the term’s proponents, women want to see and that men think they don’t want to watch — or any movie directed by a woman. The division between “chick flick” and its corollary, the “dick flick,” is a perhaps unintended consequence of target marketing, implying that movies represent a gender-linked proposition.

Almost overnight, the perception was created that movies predominantly featuring women, or “women’s interests,” or directed by women would shrivel the manhood of the male moviegoer. In 1994 the head of a major studio told me, without irony or shame, that “Women on the screen means no men in the audience.” When I asked him for data to back up his claim, he said he had it, but it was proprietary.

Despite such signs of cultural and corporate sexism, the 1990s were a good time to be a female filmmaker. In 1994, Gillian Armstrong’s “Little Women” was immediately embraced as a classic. Newcomer Darnell Martin’s “I Like it Like That,” an urban comedy about a working mother juggling job, marriage, and parenthood, earned positive reviews. And Rose Troche’s “Go Fish,” the first indie comedy about girl-on-girl courtship, marked a milestone for the burgeoning genre.

The following year, 16 films by women were in U.S. release, setting another record for that era. Many of them were comedies. There was Amy Heckerling’s “Clueless,” a droll version of Jane Austen’s “Emma” set at a Beverly Hills high school. There is Betty Thomas’ “The Brady Bunch Movie,” in which the former actress sets the characters of the 1970s TV hit in the 1990s to great comic effect. Distinctly not a comedy was Kathryn Bigelow’s “Strange Days,” a science-fiction thriller about sex crimes, which lost money but became a cult favorite. At the 1996 Oscar ceremony, with “Antonia’s Line,” Dutch filmmaker Marleen Gorris became the first female filmmaker to direct the award-winning foreign film.

But apart from Bigelow and Mimi Leder, a director of episodic television who in 1997 directed “The Peacemaker” and in 1998 “Deep Impact,” female filmmakers were not making action films. For the most part women made comedies and human stories, movies with no explosions in the opening scene. Veteran filmmaker Martha Coolidge spoke for many women when she noted that the scripts the studios sent her were for comedies or family dramas. “About 90 percent of what comes my way are ten different kinds of breast cancer stories, ten kinds of divorce stories, and ten kinds of women-taking-care-of-their-fathers stories,” she said. “I do those. I care about those deeply. But one does want to do more.”

Female filmmakers were typecast in the way many actors and actresses have been, for the most part pigeonholed in family drama and comedy genres. For example, in 1997 actress Kasi Lemmons made her directorial debut with “Eve’s Bayou,” a haunting family drama, and Betty Thomas returned with the Howard Stern biopic “Private Parts.” In 1998, Ephron returned with the romantic comedy “You’ve Got Mail.” Nancy Meyers, a long-time screenwriter, made her directorial debut with the family-friendly comedy “The Parent Trap,” and Brenda Chapman, a Disney animator, was one of three directors on “Prince of Egypt,” the animated story of Moses.

In 1999, three female filmmakers made rookie features unlike anything in American movies. Two were romantic dramas about teenage sexuality, the other an imaginative Shakespeare adaptation. Sofia Coppola’s “The Virgin Suicides,” based on the novel by Jeffrey Eugenides, looked at how boys look at girls, subversively turning the female gaze on the male gaze. Kimberly Peirce’s “Boys Don’t Cry” dramatized the life story of Teena Brandon, who changed her name and gender to become Brandon Teena and fell victim to a hate crime.

Julie Taymor, the theater director who created “The Lion King” on stage, made her movie debut with “Titus,” an anachronistic version of the Shakespeare history play “Titus Andronicus,” underscoring its parallels to Italy under Mussolini.

At the end of the decade — and century — of the 11,000 filmmakers working both in television and film included in the Directors Guild of America, about 2,300 were women. While women made up 21 percent of the membership, they comprised only 9 percent of the filmmakers working in movies.

Most, including Martha Lauzen, a professor at San Diego State University and the head of the Center for the Study of Women in Film and Television, naturally assumed that in the new century the needle would move toward 50/50.

In addition to writing film reviews and essays for Truthdig, Carrie Rickey has been a film critic at The Philadelphia Inquirer and Village Voice, and an art critic at Artforum and Art in America. Rickey has taught at various institutions, including School of the Art Institute of Chicago and the University of Pennsylvania, and has appeared frequently on NPR’s “Talk of the Nation,” MSNBC, and CNN.

What Happened to the Women Directors in Hollywood? Part 4: 1984–1999 was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
See full article at Women and Hollywood »

Christie Brinkley, Pamela Anderson, Jamie Foxx & More Are the Most A-List Parent Cheering Section Ever at Dolce & Gabbana Show

Christie Brinkley, Pamela Anderson, Jamie Foxx & More Are the Most A-List Parent Cheering Section Ever at Dolce & Gabbana Show
Dolce & Gabbana’s fall 2017 runway show featured more than 140 models of all ages, races and genders, but the large majority of that number was made up of the genetically-blessed offspring of celebrity dynasties. Fashion designers have been featuring more and more kids with famous parents lately (most recently at J.Crew and Chanel’s Métiers d’Art show in December) but Dolce & Gabbana’s was more star-studded than ever. Not only was the runway brimming with famous faces, but the front row was full of beaming parents with cameras trained on their model kids (as Elle‘s Nikki Ogunnaike captured
See full article at PEOPLE.com »

Oscars: "Night Before" Party Sets Star-Studded Host Committee, Hollywood Reporter Returns as Sponsor

The "Night Before," one of the most exclusive events of Hollywood’s awards season, is returning for its 15th year.

Leonardo DiCaprio, George and Amal Clooney, Denzel and Pauletta Washington and Emma Stone are among the A-listers who have signed on as host committee members for this year's event, which benefits the Motion Picture & Television Fund.

The 2017 host committee for the party also includes Amy Adams and Darren Le Gallo, Casey Affleck, Javier Bardem, Jessica Biel and Justin Timberlake, Kate Capshaw and Steven Spielberg, Tanya Haden Black and Jack Black, Jessica Chastain, Tom Cruise, Luciana and Matt Damon, Viola Davis...
See full article at The Hollywood Reporter - Movie News »

Exclusive: Destry Allyn Spielberg Discusses Challenges of Launching a Career in Parents' Shadow

Exclusive: Destry Allyn Spielberg Discusses Challenges of Launching a Career in Parents' Shadow
When your father is literally the person who comes to everyone's mind when they think of "famous directors," it can be hard to make a name for yourself.

That's something Steven Spielberg and actress Kate Capshaw's daughter, Destry Allen, opened up to Et's Denny Directo about while discussing her burgeoning modeling career at Thursday night's "An Unforgettable Evening" benefiting the Women's Cancer Research Fund in Los Angeles.

"I have a stage name, which is Destry Allyn," the 20-year-old model explained. "And as much as I love my name, it is literally, my last name -- like any other person."

Watch: Steven Spielberg's Daughter Destry Lands Modeling Contract

Still, Destry recognizes what carrying the Spielberg name means.

"Unfortunately, and fortunately, it is an iconic name," she said. "When you hear 'Spielberg,' you think of Steven. And, starting to become a woman, and kind of shining light on me, I'm trying
See full article at Entertainment Tonight »

How Kate Middleton Has Celebrated Her Birthday For the Past 10 Years

  • Popsugar
How Kate Middleton Has Celebrated Her Birthday For the Past 10 Years
Image Source: Getty / William West No sooner have the party poppers and champagne corks been cleared away from New Year celebrations than it's time for more merriment over at Anmer Hall. The Duchess of Cambridge turns 35 on Jan. 9, and Prince William, Prince George, and Princess Charlotte are sure to have big plans on how to make her big day special. So how has Kate celebrated in previous years? As she evolved from girl about town to princess-in-waiting and mum of two, the way she's chosen to mark her day is an indication of what else was happening in her life at that time, as well as giving insight into what makes her tick. 2006 On her 24th birthday - around two years into her relationship with William - Kate celebrated with her family, but her prince was nowhere to be seen. William had enrolled at Sandhurst military academy two days earlier,
See full article at Popsugar »


One of the better-remembered ’80s sci-fi horror thrillers is back in an improved Blu-ray, with a pile of extras. Dennis Quaid gets to act with Max von Sydow Christopher Plummer, Eddie Albert and Kate Capshaw, as they deal with a Cronenberg-like device that can invade human dreams.



Scream Factory (Shout! Factory)

1984 / Color /1:85 widescreen / 99 min. / Street Date December 13, 2016 / 29.93

Starring Dennis Quaid, Max von Sydow, Christopher Plummer, Eddie Albert, Kate Capshaw, David Patrick Kelly, George Wendt.

Cinematography Brian Tufano

Film Editor Richard Halsey

Original Music Maurice Jarre

Written by David Loughery, Chuck Russell, Joseph Ruben

Produced by Bruce John Curtis

Directed by Joseph Ruben

Reviewed by Glenn Erickson

I have a previous Blu-ray of 1984’s Dreamscape but this edition is a big improvement, both in the transfer and its extras. Dreamscape is a commercially successful thriller that places a superior star cast in a science fantasy with plenty of potential.
See full article at Trailers from Hell »

Jessica Capshaw Says Her Kids ‘All Just Love Each Other’: ‘We Must Be Doing Something Right’

Jessica Capshaw Says Her Kids ‘All Just Love Each Other’: ‘We Must Be Doing Something Right’
Jessica Capshaw may star on the long-running hit drama Grey’s Anatomy, but her personal life is a little more like Fuller House!

In May, the actress and her husband Christopher Gavigan, co-founder of The Honest Company, welcomed their fourth child: Josephine Kate. The baby girl joined siblings Poppy James, 4, Eve Augusta, 6, and Luke Hudson, 9.

But although Capshaw, 40, and Gavigan have a big brood, there is no sibling rivalry going on in this family.

“They love her. They just love her, love her, love her,” Capshaw told People Monday of her older children’s affection for their new baby sister
See full article at PEOPLE.com »

Blu-ray Review: Dreamscape Collector’s Edition

  • DailyDead
Stop me if you’ve heard this one: a man with special abilities to enter the dreams of sleeping clients and influence their subconsciouses is hired by a high-profile client to investigate his dreams and find out important information, but encounters pushback both external and internal that could lead to him never being able to escape the dream world. I’m talking about Inception, right? Wrong. That’s the plot of 1984’s Dreamscape, an underrated sci-fi horror fantasy that’s coming out on a Collector’s Edition Blu-ray from the good people at Scream Factory.

Dennis Quaid stars as Alex Gardner, a psychic who abandoned a government research project years ago and now gets by as a hustler, making bets on races for which he can foresee the outcomes. He’s recruited by scientists (Max von Sydow and Kate Capshaw) for a new project in which he will be psychically
See full article at DailyDead »

Dreamscape Collector’s Edition Blu-ray Clips & Trailer

  • DailyDead
Before Inception, there was Dreamscape, and fans of the 1984 film can watch Alex Gardner dive into the minds of sleepers like never before when Scream Factory unleashes their Collector's Edition Blu-ray of Dreamscape on December 13th. Ahead of its forthcoming release, get an idea of what to expect in high-def clips and a trailer from the film, including an interview with Dennis Quaid.

Dreamscape Collector's Edition Blu-ray: "Close Your Eyes And The Adventure Begins.

Alex Gardner (Dennis Quaid) is a man with an incredible psychic gift… but for years has used it solely for personal gain. Reuniting with his old mentor, Dr. Novotny (Max von Sydow), Gardner joins a government project in which he learns to channel his abilities in order to enter peoples' subconscious through their dreams. As his powers grow, the young psychic soon finds himself in a living nightmare of conspiracy and murder… and the only way
See full article at DailyDead »

Blu-ray Review: Dreamscape Rocks

In 1984, a weird film called Dreamscape hit theaters. Starring Dennis Quaid as Alex Gardner and Kate Capshaw as Jane DeVries, this film is about a man with extraordinary powers of the mind. He's reluctantly brought in to assist on a secret university and government project --- his task is to enter the dreams of others in Rem sleep. This is akin to lucid dreaming, but with an astral projection twist. The problem is, Alex uncovers a shady conspiracy to assasinate the president and must fight back against the men in black --- or die trying. Upon its release, Dreamscape was a sleeper. It's found a cult following now that it's been out on "home video" forever, and Scream Factory has given this film the royal treatment. Dreamscape was...

[Read the whole post on screenanarchy.com...]
See full article at Screen Anarchy »

Tom Hanks Thinks ‘We Are Going to Be All Right’ With President Donald Trump

  • The Wrap
Tom Hanks Thinks ‘We Are Going to Be All Right’ With President Donald Trump
Tom Hanks has a message for Americans in the wake of Donald Trump’s surprising victory over Hillary Clinton: “We are going to be all right.” “America has been in worse places than we are at right now,” Trump said while speaking at a tribute to his career at the Museum of Modern Art Film Benefit on Tuesday night. The crowd included Hanks’ wife Rita Wilson, Kate Capshaw, Steven Spielberg and Stephen Colbert. “In my own lifetime, our streets were in chaos, our generations were fighting each other tooth and nail, and every dinner table ended up being as close to a.
See full article at The Wrap »

Steven Spielberg’s Daughter Destry Allyn Spielberg Lands Major Modeling Contract

Steven Spielberg’s Daughter Destry Allyn Spielberg Lands Major Modeling Contract
Model kids with famous parents are having a real moment in 2017. Dolce & Gabbana tapped the millennial boys club of Raff Law, Gabriel Kane and Presley Gerber to star in its latest campaign. Lourdes “Lola” Leon and Kenya Kinski-Jones were Stella McCartney’s muses for the fragrance Pop. And least we forget the three top models of the moment who descended from a famous family — Gigi, Bella and Anwar Hadid. Now, there’s one more Hollywood offspring set to join this very exclusive squad — Steven Spielberg and Kate Capshaw’s daughter Destry Allyn Spielberg.

Destry recently signed with Dt Model Management,
See full article at PEOPLE.com »

Full Release Details for Black Christmas (1974) and Dreamscape Collector’s Edition Blu-rays

  • DailyDead
Scream Factory has revealed the full release details of two potential stocking stuffers for horror and fantasy fans this holiday season: their Collector's Edition Blu-ray releases of Black Christmas (1974) and Dreamscape.

Press Release: This December, Scream Factory™ proudly presents two genre favorites as part of a month full of holiday horror and sci-fi season’s greetings. Black Christmas and Dreamscape come to Blu-ray in Scream Factory Collector’s Editions on December 13, 2016, both complete with new 2K scans of the films and hours of new bonus content.

Black Christmas

If this movie doesn’t make your skin crawl…it’s on too tight!

The college town of Bedford is receiving an unwelcome guest this Christmas. As the residents of sorority house Pi Kappa Sig prepare for the festive season, a stranger begins to stalk the house.

A series of obscene phone calls start to plague the residents of the sorority and
See full article at DailyDead »

Bracket Racket: Vote Inception or Big Lebowski in round 1 of our best dream sequence bracket

To vote in this lineup, scroll to the poll at the bottom of the page, then head back to the bracket to see all of round one of The Best Pop Culture Dream Sequence, The A.V. Club’s no-holds-barred competition to see which dream sequence from TV or film deserves the title, “Greatest Of All Time.”

Inception (2010)

The idea of infiltrating another person’s subconscious has been around in Hollywood at least since Dennis Quaid snuck into Kate Capshaw’s dreams for a little nookie in 1984’s Dreamscape. But Christopher Nolan’s mind-bending time-twister Inception takes a nebulous idea and applies a bold upgrade of metaphysical philosophy (and special effects), fitted to the structure of a popcorn thriller. No longer are dreams just the repository for our unspoken fears—in this story of a group of corporate espionage experts tasked with implanting an idea in the mind ...
See full article at The AV Club »
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