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Drive-In Dust Offs: Thirst (1979)

How terrible to be the solitary vampire; cursed to walk the earth alone, sleepless nights interrupted by an insatiable blood lust, no one to go shopping with. It just doesn’t seem like the most sociable of lifestyle choices. This would be the case for most of horror’s filmdom until Thirst (1979), a quirky Australian blend of political satire and nightmarish imagery that presents a society of bloodsuckers intent on branding long before it entered the consciousness.

Released by New Line Cinema in late September, Thirst traipsed its way through the market place of grindhouse and drive-ins before popping up on VHS, where a young horror fiend (me) eagerly lapped up everything coming out by the nascent home video realm. What did the ten year old think? Well, not much at the time; he found it well made but slow. The man-child before you has the same thoughts, except time has brought me patience,
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Drive-In Dust Offs: A Blade In The Dark (1983)

To live under the shadow of a famous father must be very hard, especially so if you choose to follow in his footsteps; the fact that you’re born unto him is beyond your control, but to take the same path will bring a lifetime of comparisons, unjust or not. Such is the case with Lamberto Bava; toiling on some of Mario’s films as assistant director (and a couple of Argento’s as well) gave him the confidence to fly solo, and his second feature A Blade in the Dark (1983) is brimming with that confidence – and a bit of blood, too.

Released in its native Italy in August, Blade arrived stateside through Ascot Films, but not until ’86; perhaps this was done to capitalize on Bava’s success with the Argento-produced Demons from the previous year. Regardless of the reasoning, Blade holds its own as an impressive giallo from a
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False Memories and Fearful Feminism: The Cinema of Dario Argento

  • MUBI
Suspiria. Courtesy of Tk.Cinematographer Vittorio Storaro, who shot Dario Argento’s debut The Bird with the Crystal Plumage (1970), believes it to be “the blueprint for all Argento movies.” It first introduced the gloved hands and the knives. It displayed a tendency towards strange supporting characters and underlying fetishes. As a film about seeing and memory, Argento would essentially remake the film in 1975 as Deep Red, but would incorporate these fractured images and wounded pasts into nearly all his characters and the films that would follow. His cinema is one of convoluted gender roles and impotence. Argento’s films evolve and progress over time, but always keep traveling back to these same questions, essentially using the framework of The Bird with the Crystal Plumage in various settings and situations in his attempts to dig deeper into these issues. It is an investigation that begins two years prior to Argento’s directorial debut,
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Murder, Glorious Murder: Dario Argento

  • MUBI
Deep Red. Image courtesy of Tk.A hand, sheathed in black leather, fingers wrapped around a razor—or maybe a meat cleaver—rises dramatically. It alone occupies the screen. The glinting blade pauses briefly at its apex, then plummets, slashing pale flesh, the blood a garish shade of red pouring in runnels, spraying walls and floors. A woman’s face contorts into a look of anguish—eyes wide, mouth agape, white teeth bared. Maybe she raises weakly a hand in futile protest, maybe she gets out a pitiable call for help before falling dead to the floor. Maybe the killer photographs her. Flashes of eyeballs, or palpitant gray matter, appear on screen, a suggestion of the ubiquity of danger, of psychological turmoil. The body lays supine, limbs protruding at awkward angles. The head might have smashed through a pane of glass. It’s all theatrical, orchestrated with a cruel and terrific deftness.
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Dario Argento’s Deep Red Screens Midnights This Weekend at The Tivoli

“I can feel death in this room! I feel a presence, a twisted mind sending me thoughts! Perverted, murderous thoughts… Go away! You have killed! And you will kill again!”

Dario Argent’s Deep Red (1975) screens midnights this weekend (May 11th and 12th ) at the Tivoli Theater (6350 Delmar Boulevard) as part of their Reel Late at the Tivoli Midnight series.

Like all Dario Argento’s films, you have to be ready for completely off-kilter characters and plot machinations. Once you have excepted those eccentricities, though, Deep Red is one of the most rewarding experiences you can have watching a horror film and I think it’s Argento’s best. I saw the 90 minutes cut of Deep Red at least a half dozen times (mostly at the Drive-in under its alternate title The Hatchet Murders) before I saw the full, 127-minute version when it was finally restored by Anchor Bay on VHS in the ‘90s.
See full article at WeAreMovieGeeks.com »

April 10th Blu-ray & DVD Releases Include Dario Argento’s Deep Red, Mohawk, Full Moon High, The Psychopath (1966)

April 10th is going to be a momentous day to be a cult genre fan, as we have a bevy of home media releases that folks are surely going to want to add to their Blu-ray and DVD collections. Arrow Video’s two-disc limited edition set for Dario Argento’s Deep Red looks absolutely incredible, and Scream Factory is keeping busy with a few releases of their own, including Larry Cohen’s Full Moon High, Crucible of Horror, and Superbeast. And as if all that wasn’t enough, Kino Classics is resurrecting The Psychopath in HD as well (which I personally cannot wait to revisit myself).

We also have several new genre-related movies coming our way, too: Ted Geoghegan’s Mohawk, My Friend Dahmer, Are We Not Cats, and Us & Them. Other notable releases for Tuesday, April 10th include Braven, Grindsploitation Trilogy, Disembodied and Enigma Rosso/Red Rings of Fear.
See full article at DailyDead »

Dario Argento’s Deep Red on Blu-ray From Arrow Video April 10th

Dario Argento’s Deep Red will be available on Blu-ray From Arrow Video April 10th

From Dario Argento, maestro of the macabre and the man behind some of the greatest excursions in Italian horror (Suspiria, The Bird with the Crystal Plumage), comes Deep Red the ultimate giallo movie.

One night, musician Marcus Daly (David Hemmings, Blow Up), looking up from the street below, witnesses the brutal axe murder of a woman in her apartment. Racing to the scene, Marcus just manages to miss the perpetrator… or does he? As he takes on the role of amateur sleuth, Marcus finds himself ensnared in a bizarre web of murder and mystery where nothing is what it seems…

Aided by a throbbing score from regular Argento collaborators Goblin, Deep Red (aka Profondo Rosso and The Hatchet Murders) is a hallucinatory fever dream of a giallo punctuated by some of the most astonishing set-pieces the sub-genre has to offer.
See full article at WeAreMovieGeeks.com »

Dario Argento’s Deep Red 4K Restoration Coming to Blu-ray This April from Arrow Video

  • DailyDead
After teasing an upcoming Blu-ray release of Elvira, Mistress of the Dark, Arrow Video now has another Blu-ray release for horror fans to get excited about: a 4K restoration of Dario Argento's Deep Red.

Due out on April 10th in the Us and Canada, the Deep Red Blu-ray comes packed with bonus features and displays new cover art that you can view below. In case you missed it, read our own Scott Drebit's Drive-In Dust Offs feature on Deep Red, and stay tuned to Daily Dead for details on other Arrow Video releases.

From Arrow Video: "New Us / Canada Title: Deep Red (Limited Edition Blu-ray)

From Dario Argento comes Deep Red – the ultimate giallo movie.

Pre-order in the Us via DiabolikDVD: http://bit.ly/2DEpPhN

Release date: 10th April 2018

From Dario Argento, maestro of the macabre and the man behind some of the greatest excursions in Italian horror (Suspiria,
See full article at DailyDead »

Movie Poster of the Week: Michelangelo Antonioni’s "Blow-Up"

Michelangelo Antonioni’s Blow-Up—which opens today in a new restoration at New York’s Film Forum—is a film about images, photographs especially (a film whose obsession with film grain makes a hi-def digital restoration seem almost perverse). But if ever a film has been reduced to a single image in the public mind it is Antonioni’s mod masterpiece, whose shot of David Hemmings straddling super-model Veruschka at the climactic moment of an orgasmic photo shoot has become the movie’s money shot, endlessly parodied since. Veruschka (a.k.a. Countess Vera von Lehndorff-Steinort) appears for only five minutes at the beginning of the film but she, more than top-billed star Vanessa Redgrave, became the face, or rather the body, of Blow-Up.The shot was used for both the French grande (painted by Georges Kerfyser) and the Japanese poster, above, as well as for a wonderful series of green,
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Geeks Vs Loneliness: alcohol, depression and film

Robb Sheppard Jul 7, 2017

Robb takes us through the impact that alcohol had on his life,

Once again, for this week's Geeks Vs Loneliness, we're eschewing our usual introduction, that you can find on the 100+ other posts in this series (some links can be found further down the page). Instead, we're handing over to Robb, who asked us if he could write a piece entitled 'alchohol, depression and movies: the trilogy of my 20s'). With a fair smattering of film quotes - just in case the context isn't clear - here it is. Huge thanks to you, Robb...

See related Don Hahn interview: The Lion King, Disney, Pixar, Frankenweenie and the future of animation The Lion King: writer hired for live action movie

It’s 5pm and to the untrained eye, I’m itching. Jonesing. Crawling up the walls.

My life is fantastic. I hate my job, obvs, but I
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Episode 183 – Michelangelo Antonioni’s Blow-Up

This time on the podcast, Scott Nye, David Blakeslee, and Trevor Berrett discuss Michelangelo Antonioni’s Blow-Up.

In 1966, Michelangelo Antonioni transplanted his existentialist ennui to the streets of swinging London for this international sensation, the Italian filmmaker’s first English-language feature. A countercultural masterpiece about the act of seeing and the art of image making, Blow-Up takes the form of a psychological mystery, starring David Hemmings as a fashion photographer who unknowingly captures a death on film after following two lovers in a park. Antonioni’s meticulous aesthetic control and intoxicating color palette breathe life into every frame, and the jazzy sounds of Herbie Hancock, a beautifully evasive performance by Vanessa Redgrave, and a cameo by the Yardbirds make the film a transporting time capsule from a bygone era. Blow-Up is a seductive immersion into creative passion, and a brilliant film by one of cinema’s greatest artists.

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Lgbt Pride Month: TCM Showcases Gay and Lesbian Actors and Directors

Considering everything that's been happening on the planet in the last several months, you'd have thought we're already in November or December – of 2117. But no. It's only June. 2017. And in some parts of the world, that's the month of brides, fathers, graduates, gays, and climate change denial. Beginning this evening, Thursday, June 1, Turner Classic Movies will be focusing on one of these June groups: Lgbt people, specifically those in the American film industry. Following the presentation of about 10 movies featuring Frank Morgan, who would have turned 127 years old today, TCM will set its cinematic sights on the likes of William Haines, James Whale, George Cukor, Mitchell Leisen, Dorothy Arzner, Patsy Kelly, and Ramon Novarro. In addition to, whether or not intentionally, Claudette Colbert, Colin Clive, Katharine Hepburn, Douglass Montgomery (a.k.a. Kent Douglass), Marjorie Main, and Billie Burke, among others. But this is ridiculous! Why should TCM present a
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20 Conspiracy Theory Movies That Came After the Assassination of JFK (Photos)

  • The Wrap
20 Conspiracy Theory Movies That Came After the Assassination of JFK (Photos)
The belief that a conspiracy of sinister forces was behind the assassination of President John F. still provides the basis for many Hollywood films. JFK would have been 100 today, and while these films are not JFK conspiracy theory films, they do reflect viewers’ more suspicious attitudes since his assassination. Blow-Up (1966) This Michelangelo Antonioni film starred David Hemmings as a photographer who discovers the clues to a potential murder in the photos he took of a beautiful woman. Soylent Green (1973) In a dystopian future, Charlton Heston discovers that the new and vital food supply from the government isn’t what they claim.
See full article at The Wrap »

The Best Movies to Ever Win Cannes’ Palme d’Or — IndieWire Critic Survey

The Best Movies to Ever Win Cannes’ Palme d’Or  — IndieWire Critic 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 Cannes Film Festival, the 70th edition of which starts this week, what is the best film to ever win the coveted Palme d’Or?

For a complete list of Palme d’Or winners, click here.

Erin Whitney (@Cinemabite), ScreenCrush

This question is impossible because I clearly haven’t seen all 40 Palme d’Or winners (it’s on my to do list, I swear). But I could easily say “Apocalypse Now,” “Paris, Texas,” “Taxi Driver,” “Amour,” or even “Pulp Fiction.” But since this is a personal question, I have to say “The Tree of Life.” No film has moved me
See full article at Indiewire »

Play it again Cannes! by Richard Mowe - 2017-05-03 15:49:22

In focus: David Hemmings in Antonioni’s trip around swinging London, part of Cannes Classics Photo: Cannes Film Festival

The Cannes Film Festival organisers have put the accent on heritage cinema with a particular connection to the Festival itself in the 70th edition.

The selection of some 24 titles and five documentaries, mainly in brand new copies, covers the years from 1946 to 1992 and includes René Clément’s The Battle Of The Rails, shown at the very first event, where it won an international jury award and a best director award.

Danielle Darrieux who has celebrated her 100th birthday, as she appears in Max Ophüls’ Madame De… in 1953. Photo: Cannes Film Festival

Other landmark titles announced today (3 May) are The Wages Of Fear by Henri-Georges Clouzot (shown in 1953); 1967’s Palme d’Or winner Blow-Up, Michelangelo Antonioni’s take on swinging London with David Hemmings, and the highly controversial (at the time in
See full article at eyeforfilm.co.uk »

‘The Survivor’ Blu-ray Review (Severin)

Stars: Robert Powell, Jenny Agutter, Joseph Cotten, Angela Punch McGregor, Peter Sumner, Lorna Lesley, Ralph Cotterill, Adrian Wright, Tyler Coppin | Written by David Ambrose | Directed by David Hemmings

When I was younger I was a big James Herbert fan, so watching The Survivor was something I just had to do. Confusing and slow, I’ll admit I was not ready for what I found with the film, but now with its new release on Blu-ray, is it about time to give the film another chance?

When a 747 crash lands in a Sydney suburb the only other survivor is David Keller (Robert Powell). Unable to remember what happened to make the plane crash, he starts his own investigation into what happened. With the help of local psychic Hobbs (Jenny Agutter) he discovers not only why the plane crashed, but also why some of the dead refuse to be at peace.

The Survivor
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Rushes. Wes Anderson, Chicago's Crime Culture, Nicole Kidman, Walter Hill

  • MUBI
Get in touch to send in cinephile news and discoveriesNEWSRadley Metzger's The Lickerish QuartetRadley Metzger, whose groundbreaking erotic films helped set standards of style for both mainstream and arthouse cinema, has died at 88. His classics Camille 2000 (1969) and The Lickerish Quartet (1970) were featured on Mubi last year. Critic and programmer Steve Macfarlane interviewed the director at Slant Magazine for the Film Society of Lincoln Center's 2014 retrospective devoted to Metzger.Recommended VIEWINGThe Cinémathèque française has been on a roll uploading video discussions that have taken place at their Paris cinema. This 34 minute talk is between Wes Anderson and director/producer Barbet Schroeder.The Criterion Collection has recently released a new edition of Michelangelo Antonioni's masterpiece Blow-Up, and has uploaded this stellar clip of actor David Hemmings speaking on a talk show about making the film.Recommended READINGHoward Hawks' ScarfaceHow does Chicago intertwine itself with crime and the culture created in the mix of the two?
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Elle / Blow Up



Sony Pictures Home Entertainment

2017 / Color / 2.40:1 widescreen / Street Date March 14, 2017

Starring: Isabelle Huppert, Laurent Lafitte, Anne Consigny, Charles Berling.

Cinematography: Stéphane Fontaine

Film Editor: Job Ter Burg

Written by David Birke

Produced by Saïd Ben Saïd and Michel Merkt

Directed by Paul Verhoeven

Michèle Leblanc, glamorous entrepreneur of a successful video game company, is the calm at the center of many storms. Her son’s girlfriend has given birth to another man’s child, an employee is stalking her with anime porn and her botox-ridden mother is betrothed to a male prostitute.

In the face of all this outrageous fortune, Michèle remains cool, calm and collected, even in the aftermath of her own harrowing sexual assault.

Elle, the new film from the Dutch provocateur Paul Verhoeven, begins with that already infamous assault, our heroine struggling under the weight of her attacker while an unblinking cat perches nearby, watching.
See full article at Trailers from Hell »

Review: Antonioni's "Blowup" (1966) Starring Vanessa Redgrave And David Hemmings; Criterion Blu-ray Special Edition

  • CinemaRetro
“A Mod Murder Mystery”

By Raymond Benson

Michelangelo Antonioni’s Blowup (it’s spelled this way in the film credits, but on theatrical posters and advertising it was called Blow-Up) was a landmark, envelope-pushing film that caused quite a stir. For one thing, it was one of the nails in the coffin of the U.S. Production Code, paving the way for the elimination of cinematic censorship and the eventual creation of the movie ratings. Its depiction of nudity, sexual attitudes, and recreational drugs crossed the line for late 1966. Nevertheless, newspaper ads got away with simply proclaiming that the picture was “Recommended for Mature Audiences,” since this was prior to the ratings themselves.

Blowup also stands as a cultural landmark in that it captures that moment of time called “Swinging London.” Everything was “mod”—music, fashion, art... even groups of youths were called “mods.” Antonioni’s film could serve as
See full article at CinemaRetro »

21 of cinema’s worst elevators

Kirsten Howard Mar 31, 2017

From The Shining to I Origins, these are just some of the worst offenders when it comes to moving between floors...

This article contains spoilers for just about every film on its list.

I don’t know when it started exactly.

When I was very young, it was fine. I maybe even enjoyed getting on an elevator and being whisked off, but somewhere in the timeline of my life, something changed. I began to dread stepping onto one. My heart would pound, a cold sweat would creep down my neck and my breath would quicken.

“What’s wrong?” a bemused acquaintance would ask as we were about to embark.

“Oh! Nothing, really,” I’d respond as casually as I could for someone suddenly about to lose control of their bowels. “I just thought I might take the stairs. Bit of exercise, you know.”

“But it…it’s 18 flights,
See full article at Den of Geek »
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