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Robert Englund interview: The Last Showing, Freddy Krueger and horror

Horror legend Robert Englund talks about his new film The Last Showing, what was wrong with the Nightmare On Elm St remake, and more...

Sitting with Robert Englund deep in the bowels of a gilded London hotel, it becomes obvious just what a great storyteller he is. As he reminisces about his early acting career in such films as Five Easy Pieces or Hustle, or goes even further back to his childhood brushes with the horror genre, he talks in a soothing, sonorous voice that is a million miles away from his signature role of Freddy Krueger.

Then again, Englund doesn't look or sound like the character in his latest movie, either. In The Last Showing, a psychological horror thriller written and directed by the UK's Phil Hawkins, Englund plays Stuart, a once proud projectionist who, thanks to the advent of digital cinema, finds himself busted down to the lowly
See full article at Den of Geek »

DVD Playhouse--June 2012

By Allen Gardner

Harold And Maude (Criterion) Hal Ashby’s masterpiece of black humor centers on a wealthy young man (Bud Cort) who’s obsessed with death and the septuagenarian (Ruth Gordon) with whom he finds true love. As unabashedly romantic as it is quirky, with Cat Stevens supplying one of the great film scores of all-time. Fine support from Vivian Pickles, Cyril Cusack, Charles Tyner, and Ellen Geer. Fine screenplay by Colin Higgins. Also available on Blu-ray disc. Bonuses: Commentary by Hal Ashby biographer Nick Dawson, producer Charles Mulvehill; Illustrated audio excerpts from seminars by Ashby and Higgins; Interview with Cat Stevens. Widescreen. Dolby 2.0 stereo.

In Darkness (Sony) Agnieszka Holland’s Ww II epic tells the true story of a sewer worker and petty thief in Nazi-occupied Poland who single-handedly helped hide a group of Jews in the city’s labyrinthine sewer system for the duration of the war.
See full article at The Hollywood Interview »

9 Great Cop Movies You’ve Probably Never Seen

As happened for so many other genres, the 1960s/1970s saw a tremendous creative expansion in crime and cop thrillers. The old Hollywood moguls had died off or retired, most of the major studios were bleeding red ink, attendance had gone off a cliff since the end of Ww II, and a new breed of young, creatively adventurous production executives had been tasked with trying to save their business by coming up with movies which could hook a new, young, cinema-literate audience.

It also happened to be one of the most socially turbulent times in American history. Even before the American public grew restive over the growing disaster in Vietnam, the social fabric was unraveling with self-examination and doubt. The Cold War; a certain inner emptiness that went with a period of great material prosperity; once invisible fault lines on matters of race and gender discrimination beginning to crack – all
See full article at SoundOnSight »

The Time Traveler’S Wife — The Starlog Review

  • Starlog
While writing this review, I became unstuck in time. Suddenly, I was seeing stars on Halloween 1988 in New York City, then shooting off to Australia to meet people in February 1993 followed by Christmas caroling edged with snowflakes in 1974 West Virginia. Before I knew what I was doing, I was watching The Hunger in a Manhattan screening room in 1983. And then Chicago, briefly, in the 1990s, don’t know exactly when—July something. The women kept changing. But they were the same in that they all married someone else, not me. What’s up with that?

Was it something I said?

Or more likely done (or maybe not done or will yet do)? I blame time travel. You see, in studying time travel romance (as presented in this movie), I have discovered/will discover that going missing at (in)convenient times can stress a relationship. “Honey, can you take out the trash?
See full article at Starlog »

[DVD Review] Primal Fear

Back in the day before every award season became seemingly bogged down with somber, serious holocaust dramas and the Oscar-baiting music industry biopic, the quickest way to the top of the prestige ladder circa mid-nineties was via the courtroom drama. There was no surer way to garner critical acclaim and mass audience swooning than a fist pounding "objection" on a mahogany legal bench. As Nicholson famously espoused, we "can't handle the truth," but as an audience, before syndicated cable TV beat the concept to death, we were suckers for it. Enter: Primal Fear.

High-class Chicago attorney Martin Vail (Richard Gere) believes in the letter and the spirit of the law. It doesn't matter to him if his defendant is a mob racketeer suing the state on a trumped up police brutality beef, it's all about the principle (and 40% of any settlement, of course). A Catholic Archbishop is brutally hacked to death in his mansion,
See full article at JustPressPlay »

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