Peeping Tom (1960) - News Poster

(1960)

News

Drive-In Dust Offs: Nightmare (1964)

While us horror lovers revelled in the ripped bodices and cobwebbed corridors of another vampire plagued castle, Hammer was busy trying to clear the halls and make their way into the modern world. Take Nightmare (1964), an effective black and white thriller that shows you don’t need fangs to be fearsome.

Released in its native U.K. in April and stateside in June, Nightmare (Aka the amazing Here’s the Knife, Dear: Now Use It) still has a lot of wandering down darkened hallways, but instead of coming up against the undead, our heroine has to do battle with her own brittle mind. Or has the dead come back for her?

Pity poor Janet (Jennie LindenOld Dracula). Our film opens with her hearing a distant voice calling her name. She leaves the comfort of her bed and follows the whispered voice which leads her to a shadowed room where
See full article at DailyDead »

The Sissi Collection

Think, “I Was a Teenage Empress.” A trio of movies tell an optimized version of the life of a 19th century Empress of Austria and Queen of Hungary. It’s fuzzy history designed to prop up German morale, but the film is graced with the incredible presence of a teenaged Romy Schneider, whose beauty and personality became a sensation in the European film world.

The Sissi Collection:

Sissi

Sissi The Young Empress

Sissi The Fateful Years of an Empress

The Story of Vickie

Blu-ray

Film Movement

1955, 1956, 1957 / Color / 1:78 widescreen & 1:33 flat full frame / 102, 107, 109 min. / Street Date November 14, 2017 / 74.95

Starring: Romy Schneider, Karlheinz Böhm, Magda Schneider, Uta Franz, Vilma Degischer, Josef Meinrad, Gustav Knuth.

Cinematography: Bruno Mondi

Film Editor: Alfred Srp

Original Music: Anton Profes

Produced by Karl Erlich, Ernst Marischka

Written and Directed by Ernst Marischka

I’m fascinated by National Epics, movies that individual countries might take as a film
See full article at Trailers from Hell »

Made in England: Three Classics by Powell and Pressburger

  • MUBI
Mubi is showing Michael Powell and Emeric Pressburger's The Small Back Room (1949), The Tales of Hoffmann (1951) and Michael Powell's Peeping Tom (1960) in November and December, 2017 in the United States in the series Powell & Pressburger: Together and Apart.The story goes that when they were casting their first flat-out masterpiece together, The Life and Death of Colonel Blimp (1943), Michael Powell and Emeric Pressburger sent a letter to an actress outlining a manifesto of their production company, called "the Archers." At the time, the Archers was freshly incorporated, with Powell and Pressburger sharing all credit for writing, directing, and producing, and their manifesto had five points. Point one was to ensure that they provided their financial backers with "a profit, not a loss," which may raise eyebrows among those who are used to manifestos burning with anti-capitalist fire—but then, in a system like commercial cinema, profitability buys freedom.
See full article at MUBI »

Video Essay. Psycho Tom

  • MUBI
Michael Powell's Peeping Tom (1960) is playing November 5 - December 5, 2017 on Mubi in the United States as part of the series Powell & Pressburger: Together and Apart.Two films forever changed the careers of friends Michael Powell and Alfred Hitchcock. They were Peeping Tom and Psycho, respectively. Both films were violent, voyeuristic stories about a serial killer. Both came out in 1960, yet one destroyed the career of one director, while the other was his crowning achievement.Psycho was a worldwide phenomenon that challenged the idea of the narrative structure of movies. It wrote a new page in film history, with its dialogue, music, and characters rising front and center in our collective consciousness. The shower scene was Hitchcock’s signature moment. At the time, it was equal in impact to the infamous Lumières film of the arriving train, causing physical distress and panic in the viewers. On the opposite side of the spectrum,
See full article at MUBI »

Hammer Vol. 1 – Fear Warning!

Starting out in 1939 as the little studio that could, Hammer would finally make their reputation in the late fifties reimagining Universal’s black and white horrors as eye-popping Technicolor gothics – their pictorial beauty, thanks to cameramen like Jack Asher and Arthur Ibbetson, was fundamental to the studio’s legacy. So it’s been more than a little frustrating to see such disrespect visited upon these films by home video companies happy to smother the market with grainy prints, incoherent cropping and under-saturated colors. The House of Hammer and the film community in general deserve far better than that.

Thanks to Indicator, the home video arm of Powerhouse films based in the UK, those wrongs are beginning to be righted, starting with their impressive new release of Hammer shockers, Fear Warning! Even better news for stateside fans; the set is region-free, ready to be relished the world over.

Hammer Vol. 1 – Fear Warning!
See full article at Trailers from Hell »

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

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

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

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

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

Severin Films to Bring 1970s Horror Movies to the Holidays with December Release of The Amicus Collection Blu-ray Box Set

  • DailyDead
Severin Films will bring horror to the holidays this December with their box set of three 1970s movies from Amicus Productions, aka "The Studio That Dripped Blood."

Slated for a December 5th release, Severin Films' The Amicus Collection includes Blu-rays of Asylum, And Now the Screaming Starts, The Beast Must Die, and a bonus disc of interviews, trailers, and more.

Each remastered Blu-ray is packed with new special features that offer insights into the making of the movies and the creative minds behind each effort.

The Amicus Collection box set is priced at $54.99, and it's also available in a special bundle that includes a T-shirt, enamel pins, book, and artwork (for an overall price of $129.00). You can also pick up And Now the Screaming Starst and Asylum as individual Blu-rays for $24.99 apiece).

For more information about The Amicus Collection, we have the full release details, cover art images, and
See full article at DailyDead »

The 1970s – The Best Era In Cinema History?

Tom Jolliffe on the 1970s and why it is the best era in cinema history…

There will always be a great deal of debate about the best era for cinema. For my two cents I’ll say with a great deal of assurance that the best period in cinema history was the 1970’s. There was most certainly a transition through that decade which saw the gritty cinema of the late 60’s onward, into the birth of the blockbuster as we know it today.

You could almost split the 70’s into two categories, although I will make some mention of sub-categories like the Blaxploitation period too. On one hand directors were beginning to really move as far from the traditional classic Hollywood production code as they could. Boundaries were being pushed and optimism was being replaced with deeply pessimistic work. It wasn’t all happy endings. Things were getting dark, reflecting
See full article at Flickeringmyth »

Jerry Lewis Returns to the Cosmos

On August 20, 2017, Jerry Lewis took a pratfall off this mortal coil, presumably knocking an unwitting dowager on her keister and sending a surprised cop into an open manhole on his way out. The durable enfant terrible was all of 91 years when he finally left the building though he had been making spirited public appearances as recently as January of this year.

For the inquisitive Jerry fan, Shawn Levy’s 1997 King of Comedy: The Life and Art of Jerry Lewis, remains the first and last stop for the straight scoop on America’s premiere nudnik. Levy, who endured the full fury of the comedian’s legendary wrath to get his story, is as admiring of his subject’s accomplishments as he was repelled by his whiplash mood swings. The hard knock apprenticeship in the Catskills, the Freudian-fueled soap opera of his partnership with Dean Martin, the boastful sex-capades, they’re all there and then some.
See full article at Trailers from Hell »

Hatchet For The Honeymoon: Mario Bava at a Crossroads

As the film that bridges the two decades of Mario Bava’s output as a director, 1970’s Hatchet for the Honeymoon feels strangely trapped between two worlds. It contains the traces of gothic horror with which Bava made his name, as well as elements of the supernatural and the psychosexual leanings of the giallo genre he more or less helped create. At the same time, it’s steeped in dazzling colors and psychedelia—it feels seedier than his usual output even though it’s far less graphic than some of his other works.

Stephen Forsyth plays John Harrington, working at a bridal dress factory managed by his older wife, Mildred (Laura Betti), with whom he shares very little love. He has a proclivity for watching young women wear bridal gowns and then murdering them; one day, however, he meets and gradually falls in love with Helen (Dagmar Lassandar), one of
See full article at DailyDead »

Evil Eye (1963): Mario Bava Invents the Giallo

Though he worked across a number of genres, be it fantasy with Hercules in the Haunted World, science fiction with Planet of the Vampires or the crime thriller with Rabid Dogs, the great Mario Bava will forever be most closely associated with horror. His work in the genre is both groundbreaking and legendary, its influence felt across a wide swath of filmmakers and films. Traces of his gothic horror movies can be seen as recently as 2015’s Crimson Peak, while his 1971 effort A Bay of Blood inspired countless slashers, none more than Friday the 13th. It is his 1963 thriller Evil Eye, however, that would help create a genre both known and beloved by fans of Italian horror: the giallo film.

The “giallo,” as it is commonly known, refers to a style of paperback mysteries sold in Italy beginning in the late 1920s; the title “giallo” refers to the yellow covers adorning these cheap,
See full article at DailyDead »

Obsessions

What a great sales hook — a feature film with a Bernard Herrmann music score that we hadn’t heard of. And one of the writers was Martin Scorsese, before Boxcar Bertha and Mean Streets! But wait, it isn’t as simple as that. The new release is more than a little confusing. Its own ad copy first calls this Dutch production ‘obscure,’ and not four sentences later describes it as a ‘classic exploitation film.’

Obsessions

Blu-ray + DVD

Cult Epics

1969 / Color / 1:37 flat full frame (should be widescreen) / 91 min. / Bezeten – Het gat in de muur / Street Date May 9, 2017 / 34.95

Starring: Alexandra Stewart, Dieter Geissler, Tom van Beek, Donald Jones, Elisabeth Versluys, Marijke Boonstra, Vibeke, Michael Krebs, Hasmig Terveen, Fons Rademakers, Victoria Naelin, Adrian Brine, Sara Heyblom.

Cinematography: Frans Bromet, Hubertus Hagen

Film Editor: Henri Rust

Original Music: Bernard Herrmann

Written by Pim de la Parra, Wim Verstappen, Martin Scorsese

Produced by Pim de la Parra,
See full article at Trailers from Hell »

Crypt of Curiosities: Boundary-Pushing British Psychological Thrillers of the 1960s

When it comes to discussing ’60s British horror, most conversations usually begin and end with Hammer’s gothics and their sleazy derivatives. Mind you, it’s not hard to see why—the studio practically revived the genre in the UK during the late ’50s, and competitors would have to be fools to not want to ride their coattails, creating their own bloody (and occasionally brilliant) gothics chock-full of sex and violence. But the ’60s also saw the rise of a different, darker sub-genre—the modern psychological thriller, birthed from Alfred Hitchcock’s visual vocabulary and directors focused less on the supernatural and more on the depths of human cruelty and depravity. These thrillers are violent, sexual, and no stranger to controversy, and on today’s entry of the Crypt of Curiosities, we’ll be looking at three of the best and most noteworthy films.

The first big British thriller of
See full article at DailyDead »

Martin Scorsese’s World Cinema Project, Ghost World and The Last Word: Jim Hemphill’s Home Video Picks

Martin Scorsese famously considered becoming a priest before taking another path, and he clearly never lost the evangelical impulse. In the 38 years since Scorsese used his influence and finances to restore and rerelease Michael Powell’s Peeping Tom, he has done more to spread the gospel of cinema than any other director in film history, devoting countless hours to film preservation and education while simultaneously amassing a body of work that in its breadth, depth, and quality rivals that of any of the masters his scholarly efforts aspire to honor. In 2007 Scorsese embarked on one of his most important […]
See full article at Filmmaker Magazine »

Film / Notfilm

An experimental film by an Irish playwright, shot in New York with a silent comedian at the twilight of his career? Samuel Beckett’s inquiry into the nature of movies (and existence?) befuddled viewers not versed in film theory; Ross Lipman’s retrospective documentary about its making asks all the questions and gets some good answers.

First there’s the film itself, called just Film from 1965. By that year our high school textbooks had already enshrined Samuel Beckett’s Waiting for Godot as a key item for introducing kids to modern theater, existentialism, etc. … the California school system was pretty progressive in those days. But Beckett had a yen to say something in the film medium, and his publisher Barney Rosset helped him put a movie together. The Milestone Cinematheque presents the UCLA Film & Television Archive’s restoration of Film on its own disc, accompanied by a videotaped TV production
See full article at Trailers from Hell »

The Process of Cinematic Re-Evaluation Explored in New Video Essay

As this year’s awards season comes to an end this weekend, if history has proven anything, it’s that one must not judge a film’s legacy by the amount of trophies or box-office it receives. In fact, it’s often quite the contrary: as the years go on, under-appreciated (or even initially mis-understood) films start to find an audience and are prime for a re-evaluation. A new video essay explores this process, primarily through three paramount examples, and how time is perhaps the only thing that matters.

Coming from Andrew Saladino’s The Royal Ocean Film Society, the five-minute video essay The Story of the Re-Evaluated is a brief overview of this, showing the initial reception of Michael Cimino‘s ambitious flop Heaven’s Gate, Michael Powell‘s dark character study Peeping Tom, and Eric von Stroheim‘s studio-mangled Greed, and how these films have been re-embraced.

In the end,
See full article at The Film Stage »

Trevor Reviews Rainer Werner Fassbinder’s Fox and His Friends [Criterion Collection Blu-Ray Review]

Early in Rainer Werner Fassbinder’s 1975 film Fox and His Friends, the naive protagonist Franz Biberkopf (played by Fassbinder himself) shows he’s not quite as naive or, at least, not quite as innocent as we may be led to believe through the remainder of the film. Biberkopf, who goes by the nickname Fox, plays the lottery as if it’s some religious ritual, filled with hope and faith that his fortunes will change quickly when change sees it’s fit to come his way. Fretful because he doesn’t have the money to purchase his ticket, Fox carries out a swindle so naturally that he’s surely done it before. Or perhaps Fassbinder is saying this is natural because this is just how humans behave. In either case, Fox enters a flower shop, flirts lightly with the gay florist in order to gain trust and instill desire, and then
See full article at CriterionCast »

Split review

James McAvoy adopts a variety of personas in Split, a thriller best watched for Anya Taylor-Joy's hypnotic performance, Ryan writes...

After 2015‘s The Visit, writer-director-producer M Night Shyamalan again teams with indie studio Blumhouse to make another lean genre piece, albeit rather less sinewy than that twisty, blackly comic found-footage flick. In Split, James McAvoy wears a variety outfits as Kevin a sufferer of dissociative personality disorder whose 23 other personalities all vie for their time “in the light”, to borrow a phrase from his psychiatrist, Dr Karen Fletcher (Betty Buckley).

See related Power Rangers, boob armour, and impractical costumes

We don’t get to see every one of the fractured people tucked away in Kevin’s mind, but the ones we do meet include overbearing mother figure, Patricia; Hedwig, a nine-year-old kid who likes hip-hop; and Dennis, a chap who leers through huge spectacles like his namesake, Dennis Nilsen.
See full article at Den of Geek »

M Night Shyamalan interview: Split, non-conformity, creative freedom

Ryan Lambie Jan 17, 2017

Writer-director M Night Shyamalan talks about his new film, Split, its making, themes and lots more...

Following the expensive Will Smith sci-fi vehicle After Earth in 2013, M Night Shyamalan returned two years later with lean, found-footage horror thriller, The Visit. Made for a tiny fraction of After Earth's investment, it marked something of a turning point for the writer-director: tense, quirky and at times blackly amusing, it was Shyamalan's lowest-budget film since the 90s, and also his most warmly received piece since 2002's Signs.

See related  Peter Ramsey interview: revisiting Rise Of The Guardians

The partnership between Shyamalan and prolific indie producer Jason Blum - who's also taken such filmmakers as Barry Levinson, James DeMonaco and Damien Chazelle under his creative wing - is clearly an effective one, since the two have reunited for another movie, Split.

Starring James McAvoy as an unpredictable kidnapper suffering from dissociative identity disorder,
See full article at Den of Geek »

Thelma Schoonmaker interview: editing Silence, Scorsese, Michael Powell

Ryan Lambie Dec 23, 2016

Editor Thelma Schoonmaker talks to us about Martin Scorsese’s new film, Silence, taking risks in filmmaking and lots more...

Name a great Scorsese movie, and it’ll almost certainly have been edited by Thelma Schoonmaker. From 1980 onwards, the pair have been inseparable, with Schoonmaker cutting such classics as Raging Bull, The King Of Comedy, After Hours, Goodfellas, Casino and Gangs Of New York. Scorsese’s latest film is Silence, a powerful, heartfelt period piece about the limits of faith. Starring Andrew Garfield and Adam Driver as a pair of Jesuit priests who witness the torture and execution of Christians in 17th century Japan, the movie is a stark tonal contrast to The Wolf Of Wall Street, Scorsese’s wilfully gaudy, giddy account of drug-addled millionaire corporate crook Jordan Belfort.

See related John Carney interview: Sing Street, X-Men, Hitchcock & more Den Of Geek films of the year:
See full article at Den of Geek »
loading
An error has occured. Please try again.

See also

Showtimes | External Sites