January 18, 2014 |
Referring to a movie or filmmaker as “genre” is often a subtle way to undermine them, placing them in a specific, confined box and leaving them there. This, of course, overlooks the ways in which many of the greatest filmmakers, from Howard Hawks to John Carpenter, have specifically grappled with genre-based storytelling to render something surprising from the seemingly familiar. When filmmaker Jim Mickle's new “Cold In July” premieres Saturday evening as part of the dramatic competition category at Sundance it will mark an unusual move, as just last year Mickle was in Sundance's midnight section with his cannibal horror/family drama hybrid “We Are What We Are.” It is a rare leap for a filmmaker from the confines of the midnight section to the prestige of the festival's competition.
October 19, 2008 |
FOR SWEDISH director Tomas Alfredson, the eyes have it -- that scary quality just right for horror. So when Alfredson set out to make the eerie film "Let the Right One In," about the friendship that develops between two adolescents -- one of whom happens to be a vampire -- he didn't watch any horror movies for inspiration. Instead, he studied paintings to see how they used "eye-to-eye contact," he says.
June 24, 1989
I am offended by Atkinson's characterization of the music of Mel Powell. According to Atkinson, "Powell writes the sort of horribly dissonant music that should be confined to bad horror films." In my opinion, a critic who writes that sort of horribly ignorant review should himself be confined--to musical matters that will not unduly tax his meager mind and minimalist ears. DAVID RAKSIN Adjunct Professor Music and Public Administration USC
September 19, 2006 |
Call it fright on demand. Lions Gate Entertainment, Sony Pictures Television and Comcast Corp. plan to launch a video channel on Halloween devoted entirely to horror programs. The new channel, called Fearnet, is to be available on cable as video on demand. It also is to be available on the Internet and through wireless systems. The channel's target audience is men and boys from 14 to 29 years old.
February 19, 2009 |
Billionaire Carl Icahn bought about 1.61 million shares of Lions Gate Entertainment Corp., increasing his stake in Hollywood's largest independent movie studio to 12%. The purchase, reported in a regulatory filing, boosted Icahn's stake from about 11% reported on Feb. 10. Shares of Lions Gate, based in Vancouver, Canada, but run from Santa Monica, rose 29 cents, or 6.9%, to $4.48. Icahn is increasing his ownership of Lions Gate, maker of the "Saw" horror films, as the studio's parent pares movie production to reduce costs.
September 26, 2012 |
When actress-director-producer Penny Marshall was a child, she wanted nothing more than to go outside and play with the neighborhood kids. A tomboy, she envisioned becoming an athlete one day. Her mother had something else in mind. With a dance school in the cellar of her Bronx apartment building, Marjorie Marshall tried to fashion young Penny into a tap dancer. It didn't take. What did stick was a little of the craziness and humor that filled their household, which included big brother, and now filmmaker, Garry Marshall ("Pretty Woman")
January 22, 1989 |
Ozzy Osbourne hosting horror films? Cannon Home Video has hired the heavy metal madman to perform two-minute introductions to each of eight horror films. The first four--"Dracula's Last Rights," "Crucible of Horror," "Beast in the Cellar" and "Blood on Satan's Cloth"--are due on video shelves April 26. Kristina Hamm, assistant to the director of Cannon Home Video, told us Osbourne will provide a plot summary and "tell a couple of jokes."
April 9, 2012 |
Julie Adams nearly turned down the role that has made her a legend among sci-fi and horror films fans: Kay Lawrence in 1954's "Creature From the Black Lagoon. " But who could blame her? As a contract player at Universal six decades ago, she had played opposite Arthur Kennedy in 1951's "Bright Victory," Jimmy Stewart in the 1952 western "Bend of the River" and heartthrob Tyrone Power in 1953's "Mississippi Gambler. " And now the studio wanted her for a black-and-white 3-D horror film that was sort of a fishy version of "Beauty and the Beast.
October 24, 2013 |
By 1980, John Landis had a string of successes under his belt - including "The Kentucky Fried Movie," "Animal House" and "The Blues Brothers" - but the writer-director had long been unable to get his script for "An American Werewolf in London" off the ground. Landis had written the script in 1969 as a teenager. The screenplay earned him a number of writing jobs in the ensuing years, Landis recalled this week, but "everyone, literally unanimously, had the same response, which was either 'this is too funny to be frightening' or 'this is too frightening to be funny.' And I kept saying, 'it's both.'" Finally, Universal, home to many horror classics, released the $10-million picture in 1981, and it took in more than $30 million at the domestic box office (about $86 million in today's dollars)