pk彩票|pk彩票网|pk彩票官网|&We Are Movie Geeks http://www. All things movies... as noted by geeks. Mon, 01 Jun pk彩票 11:19:10 +0000 en-US hourly 1 http://wordpress.org/?v=5.2.5 pk彩票|pk彩票网|pk彩票官网|&THE VAST OF NIGHT – Review http://www./pk彩票/06/the-vast-of-night-review/ http://www./pk彩票/06/the-vast-of-night-review/#respond Mon, 01 Jun pk彩票 11:19:04 +0000 http://www./?p=274449 A 1950s black-and-white television in a living room typical of the era plays the intro to a “Twilight Zone” like TV show. While the Rod Serling-sounding narrator intones, “Tonight’s episode: The Vast of Night,” the camera slowly moves closer to the flickering screen until the image on the screen fills our view. The flickering fades […]

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Jake Horowitz as Everett and Sierra McCormick as Fay, in THE VAST OF NIGHT. Courtesy of Amazon Studios.

A 1950s black-and-white television in a living room typical of the era plays the intro to a “Twilight Zone” like TV show. While the Rod Serling-sounding narrator intones, “Tonight’s episode: The Vast of Night,” the camera slowly moves closer to the flickering screen until the image on the screen fills our view. The flickering fades and the view transforms to a sepia-tinted color scene of a rural high school gym in little Cayuga, New Mexico. Two young friends, the sharp-witted Everett (Jake Horowitz), the overnight DJ at the local radio show, and spunky teenager Fay (Sierra McCormick), the night switchboard operator for the local police, team up to solve the mystery of a strange thumping source that invades the airwaves.

The clever TV show opening immediately draws us in, to what we expect to be an homage to that TV classic but, in his debut film, writer/director Andrew Patterson gives us a deeper, more interesting tale, one that becomes darker as it unfolds. The New Mexico setting is significant, as there are references to CLOSE ENCOUNTERS OF THE FIRST KIND and ’50s sci-fi classics but also tales of flying saucers, off-world visits, military cover-ups and Area 54.

Jake Horowitz and Sierra McCormick couldn’t be more perfect as the lead characters – nerdy smart, resourceful and determined, they both sporting heavy-framed glasses and an insatiable curiosity, with a taste for solving mysteries. The film features plenty of period tech – radio equipment, tape recorders, switchboards – and period cultural touch points – Elvis, Modern Science magazines, Sputnik and worries about Soviet spies. Like a Twilight Zone episode, the mix of sci-fi, mystery and adventure gives way to something else, something unexpected.

At first, the film is a light and fun retro homage, seeming like a standard adventure focused on a pair of teens searching for clues to solve a mystery. But deeper elements begin to emerge, about human longing, society’s flaws, the overlooked, and ignored, all skillfully woven into a haunting subtext to the unfolding story.

The mystery centers on an odd sound, which first seeps into Everett’s radio broadcast, then hums through one of Fay’s phone lines. Puzzled, Everett plays the recorded sound on air and asks listeners to call in if they know what the sound is. Then he gets a call from a man named Billy (Bruce Davis) who tells a fantastic tale of secret military missions and something more ominous and stranger.

The film’s visual style is striking. The whole story takes place at night, in shadowy scenes packed with those references. Images are often shadowy, with reverse key lighting, which suits the mystery and retro tone well, and also suggests film noir. Long takes and beautifully framed, half lit shots lend an eerie tension and suspense to the film. .

McCormick and Horowitz are both charismatic and appealing, with a good chemistry between them, and their strong performances add greatly to the film. Bruce Davis is very effective as the unseen caller, raising social touch points like race which we do not expect in this tale. Gail Cronauer is moving as an older woman who adds a new layer to the deepening story.

When the caller begins to tell his tale, the screen periodically goes black, a very effective technique to force us to concentrate on his critical words. It is one of several cinematic techniques the director and cinematographer Miguel I. Littin Menz use. Periodically, the visual style shifts back to flickering black and white, to remind us of the “Twilight Zone” framing device. Patterson uses this repeated reminder, shifted back and forth between sepia-shaded color and flickering black-and-white a little too often, creating a distraction, but then it settles down to storytelling before the film’s emotionally powerful end. The story is set in New Mexico but it really looks more like Texas Hill Country, where it was actually shot. The location works for the film but the mismatch creates another unnecessary distraction. However, these are minor flaws in an otherwise admirable, thought-provoking film.

THE VAST OF NIGHT is a striking film, as well as an impressive debut for writer/director Andrew Patterson. If you are a fan of TWILIGHT ZONE, have a taste for old technology, and are intrigued by “what-if” tales at the crossroads of science and myth, this one should strike a chord, and leave you, like me, looking forward to Patterson’s next film.

THE VAST OF NIGHT is available on Amazon Prime.

RATING: 3 1/2 out of 4 stars

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pk彩票|pk彩票网|pk彩票官网|&Gonna Need a Bigger Board! OUIJA SHARK Available Now On Demand and DVD http://www./pk彩票/05/gonna-need-a-bigger-board-ouija-shark-available-now-on-demand-and-dvd/ http://www./pk彩票/05/gonna-need-a-bigger-board-ouija-shark-available-now-on-demand-and-dvd/#respond Sun, 31 May pk彩票 22:51:21 +0000 http://www./?p=274441 From Wild Eye Pictures and director Scott Patrick comes Ouija Shark, now taking a bite out of VOD and DVD. Check out the trailer: A group of teenage girls summon an ancient man-eating shark after messing with a spirit board that washes up on the beach. An occult specialist must enter the shark’s realm to rid […]

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From Wild Eye Pictures and director Scott Patrick comes Ouija Shark, now taking a bite out of VOD and DVD. Check out the trailer:

A group of teenage girls summon an ancient man-eating shark after messing with a spirit board that washes up on the beach. An occult specialist must enter the shark’s realm to rid this world of the deadly spirit ghost once and for all.

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John Migliore, Robin Hodge, Christina Roman and Zoe Towne star in the best possessed shark film of the year!

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pk彩票|pk彩票网|pk彩票官网|&Happy 90th Birthday Clint Eastwood! Here Are His Ten Best Films as a Director http://www./pk彩票/05/happy-90th-birthday-clint-eastwood-here-are-his-ten-best-films-as-a-director/ http://www./pk彩票/05/happy-90th-birthday-clint-eastwood-here-are-his-ten-best-films-as-a-director/#respond Sun, 31 May pk彩票 20:20:11 +0000 http://www./?p=274424 Happy Birthday to one of We Are Movie Geeks favorite stars. Clint Eastwood was born on this day in 1930, making him 90 years old today. Last year’s RICHARD JEWELL proved that he actor and two-time Oscar winning director hasn’t let his age slow him down a bit. We posted a list of his ten best films […]

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Happy Birthday to one of We Are Movie Geeks favorite stars. Clint Eastwood was born on this day in 1930, making him 90 years old today. Last year’s RICHARD JEWELL proved that he actor and two-time Oscar winning director hasn’t let his age slow him down a bit.

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We posted a list of his ten best films as an actor on his last birthday, but this list is what the Geeks at We Are Movie Geeks think are his best out of 38 feature films as a director.

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10. MYSTIC RIVER

MYSTIC RIVER (2003) told the story of three childhood friends, Jimmy, Dan & Sean, who drifted apart after a terrible tragedy & grew up in the same city. Destiny pitted them again & it’s brutal tragedy again. Jimmy’s 19 year old daughter murdered & Dave is the strong suspect. Sean is a cop trying to solve the crime before something unusual done by uncontrollable with situational fix. Its superb script & screen play & I must praise Dennis Lehane for it. But the real laudable act is done by old macho cowboy named Clint Eastwood. This is Clint Eastwood’s finest achievement as a director along with his other Oscar winning nuggets like Unforgiven & Million Dollar Baby. With awesome cast & finest performances of Sean Penn, Tim Robbins &Kevin Bacon he shapes a master crime thriller. Robbins and Penn both recieved Oscars for their roles. Marcia Gay Harden has done amazing justice to her role as psychologically confused wife of Tim Robbins. A must-see modern Greek tragedy.

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9. A PERFECT WORLD

A PERFECT WORLD (1993)was Eastwood’s follow-up to his Oscar-winning UNFORGIVEN and was a complex, fascinating essay on the irreconcilable tension between being drawn to someone with charisma and being repulsed by someone, sometimes the same person, who is evil. Clint took a back seat to star Kevin Costner who played smart and charming as an escaped con/kidnapper. The little boy who he snatches grows to like his abductor, but the guy is a violent criminal. The ending was tough, because the movie is showing us the nastiness the guy is capable of and it’s hard to take. But it’s true to the lesson here: we admire people for their charms not their morals.

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8. RICHARD JEWELL

Hard to believe Clint Eastwood at age 88, brought the kind of drama and emotion to the big screen so well with last year’s RICHARD JEWELL (2019). It was based on the real events of the 1996 Olympic games bombing in Atlanta, GA which involved Jewell (likably played by Paul Walter Hauser) who first was a lifesaving hero only to later be looked at upon by the media and government as a possible suspect. Overall RICHARD JEWELL is heartfelt with emotion and drama showing how courage came to a common man and how will and determination put his name in the clear as the doubters didn’t destroy him. One of Clint’s best works in years.

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7. HIGH PLAINS DRIFTER

HIGH PLAINS DRIFTER (1973) is probably Clint Eastwood’s darkest western and that’s saying a lot. The hero is a mysterious, ghost-like figure and he fights against the evil and corruption that infests a small town in the middle of nowhere. Eastwood is fighting a lone battle , and his only sidekick is the midget Mordecai, while almost all other inhabitants of the town of Lago are corrupted or/and cowardly. This is Clint Eastwood’s first Western film that he directed, and it’s clear and evident that the guy not only loves the genre that made his name, but he also knows what makes it work. When working for Sergio Leone, Eastwood was obviously taking notes because HIGH PLAINS DRIFTER oozes the mythical aura of many of Leone’s finest genre offerings.

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6. THE MULE

Written by Nick Schenk and directed by and starring Clint Eastwood, THE MULE (2018) was inspired by a New York Times article “The Sinaloa Cartel’s 90-Year Old Drug Mule” The Mule uses true events to frame a much more compelling story. THE MULE is a rich tapestry of triumph and tragedy, humor and sadness, and guilt and forgiveness. It’s difficult not to compare THE MULE with GRAN TORINO. We don’t see many elderly protagonists on screen anymore, and Eastwood seems to have carved a new niche for himself late in his career. Like the character of Walt Kowalski, Leo Sharp is an emotionally reserved and politically-incorrect elderly white man having a difficult time adjusting to the modern world. Both are Korean War veterans, and both experience the loss of a spouse. With what might be his last film, 88-year-old Clint Eastwood cements his place as one of the greatest actors and directors of our time.

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5. MILLION DOLLAR BABY

One of the great qualities of Clint Eastwood’s directing career is his way of surprising moviegoers. A case in point can be found in MILLION DOLLAR BABY (2004). The screenplay by Paul Haggis based on the short stories of F.X. Toole seems to be the standard rags to riches sports flix this time set in the world of woman’s boxing. Clint gets some terrific performances out of Hilary Swank as the plucky, determined boxer Maggie Fitzgerald and Morgan Freeman as wise, world-weary ex- boxer Eddie “Scrap Iron” Dupris. Both actors were awarded Oscars for their work. Even with his great work behind the camera, Clint gives one of the best acting performances as Maggie’s tough, grizzled coach Frankie Dunn. Maggie works hard to finally convince Frankie that’s she worthy of his mentoring. After Frankie finally agrees there’s the expected grueling training sequences inter-cut with scenes of the two getting to know and respect each other. It’s shown that Frankie is estranged from his own children while Maggie’s family is un-supportive and highly dysfunctional. Soon Frankie and Maggie’s relationship grows into a father-daughter bond. As the film builds to the boxing movie cliche finale of the win at the big championship bout it takes a completely unexpected tragic turn and the bond between Frankie and Maggie is put to the ultimate test. MILLION DOLLAR BABY takes the sports movie and turns it into a tender, family drama and is one of Clint Eastwood all-time great cinema triumphs. BABY joined THE UNFORGIVEN as an Oscar winning Best Picture and another well deserved Best Director award winner for Eastwood.

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4. THE OUTLAW JOSEY WALES

“Well, you gonna pull those pistols or stand there whistling Dixie?” Eastwood starred in and directed, THE OUTLAW JOSEY WALES (1978) and his direction shows him at a sort of tipping point between Sergio Leone and Eastwood’s own later films. Gigantic close ups of wet faces and glistening teeth alternate with grandiose high shots of galloping horses. Eastwood’s Josey Wales is his familiar Western figure, taciturn, slightly mean, given to spitting tobacco juice on dogs, full of provocative lines; Bounty Hunter: “A man’s got to make a livin” Josey: “Dying ain’t much of a living, boy”. When he tries to speak in ritualized and poetic English to the Comanches, while making a peace proposal, he fails. Perfumed speech is not his forte. And when he rides off into the sunset, it’s without any suggestion of remorse for the hundred or so dead bodies he’s left in his wake.

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3. GRAN TORINO

“Get me another beer, dragon lady. This one’s empty!” is my favorite of many great lines from GRAN TORINO and the one that I growl at my wife daily. GRAN TORINO manages to list seemingly every slang word for every ethnic group that there is (it avoids the N-word, choosing “Spooks” instead). It has themes similar to Clint’s THE OUTLAW JOSEY WALES in that both movies deal with an angry, lonely man gradually allowing people back into his life after bottling up his emotions for a long time following a trauma (both characters also spit beef jerky constantly and have to deal with a cantankerous old woman who doesn’t like them very much). It’s also a kind of urban Western update of THE SHOOTIST (directed by Clint’s old friend and mentor Don Siegel and John Wayne’s last movie) in that Clint’s dying character Walt Kowalski picks a fight with the evil local gang in the hope he’ll catch a bullet and go out in a blaze of glory rather than succumb to the slow agony of cancer (just like John Wayne did). If it’s his last acting role, like he’s said, Clint will have gone out with a blaze of glory himself.

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2. LETTERS FROM IWO JIMA

When Clint Eastwood announced that while he would be making the film version of FLAGS OF OUR FATHERS by James Bradley and Ron Powers he then stated that he would also be working on a film which would tell the story of the battle from the Japanese side called LETTERS FROM IWO JIMA (2006). this news caught many film-goers by surprise. This major World War II battle would be brought to the screens twice and the great All-American director Clint Eastwood would devote one version showing the view of our Pacific enemy. Not many thought he could pull this off, but FLAGS and LETTERS opened within months of each other in 2006 and while both enjoyed terrific notices, some critics and academy members thought that LETTERS was the superior film. LETTERS FROM IWO JIMA focuses on the weeks leading up to and the days after the allied forces invading the island occupied by the Japanese forces. The conflict is seen primarily through the eyes of lonely soldier named Saigo (Kazunari Ninomiya) who just wants to return to his life at pk彩票 as a baker and commanding officer General Kuribayashi (Ken Watanabe) who spent time in the United States. The General has been given the hopeless task of defending the island after his superiors inform him that no food, or troops will be sent to help. He and his men are expected to die for the honor of Japan. The film shows the great importance of honor to these people. The soldiers are taught that being captured alive would bring shame to their family. In a horrific scene several soldiers discharge grenades they are holding rather than be taken. While sending letters back to his family, the General tries to stop some of the brutal measures inflicted on the foot soldiers from the other officers. As the end nears, Saigo will do anything to survive while the General reflects on the happy times he spent with the people who are now his enemy. This is a rare film about World War II told from a perspective not often presented and Clint Eastwood showcases his superb filmmaking skills in telling this engrossing story.

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1. UNFORGIVEN

In many interviews Clint Eastwood has said that UNFORGIVEN is his Western swan song, and it’s that’s the the case heâ’s left the genre with an all time classic. Clint plays an outlaw named Bill Munny who has given up that life for his late wife and is struggling to make a go out of farming and raising his two children.When a group of prostitutes in the town of Big Whiskey offer a bounty on a cowboy who cut up one of their own, Bill feels he must take up his guns again. Picking up his old partner Ned Logan (Morgan Freeman) rides into the town, meets a young upstart named The Schofield Kid (Jaimz Woolett), and incurs the ire of the town sheriff Little Bill Dagget (an Oscar winning performance by Gene Hackman). “Little” Bill has no tolerance for bounty hunters and demonstrates by brutally beating English Bob in the town square. The script by David Webb Peoples is a thoughtful meditation on the consequences of revenge and violence. In one memorable scene Munny and the Kid have gunned down several of the thugs from the brothel incident. Gasping and shaking the Kid says,”They had it comin!” to which Munny soberly replies, “We all got it comin’, kid.” At the end of the movie, Clint dedicates the film to his two cinema mentors, Sergio Leone (FISTFUL OF DOLLARS) and Don Siegel (DIRTY HARRY). The Motion Picture Academy thought this film was in the same class as the films of those two great directors and awarded Clint a well deserved directing Oscar along with Best Picture.

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pk彩票|pk彩票网|pk彩票官网|&Blumhouse Television and UCP Adapting Leigh Whannell’s 2018 Sci-Fi, Thriller UPGRADE Into TV Series http://www./pk彩票/05/blumhouse-television-and-ucp-adapting-leigh-whannells-2018-sci-fi-thriller-upgrade-into-tv-series/ http://www./pk彩票/05/blumhouse-television-and-ucp-adapting-leigh-whannells-2018-sci-fi-thriller-upgrade-into-tv-series/#respond Fri, 29 May pk彩票 19:56:45 +0000 http://www./?p=274417 Blumhouse Television and UCP, a division of NBCUniversal Content Studios, are adapting Leigh Whannell’s 2018 sci-fi, thriller Upgrade into a television series for Whannell to direct. The series, which Whannell co-created and will executive produce along with showrunner Tim Walsh (Treadstone, Chicago P.D., Shooter), picks up a few years after the events of the film […]

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Blumhouse Television and UCP, a division of NBCUniversal Content Studios, are adapting Leigh Whannell’s 2018 sci-fi, thriller Upgrade into a television series for Whannell to direct.

The series, which Whannell co-created and will executive produce along with showrunner Tim Walsh (Treadstone, Chicago P.D., Shooter), picks up a few years after the events of the film and broadens the universe with an evolved version of STEM and a new host – imaging a world in which the government repurposes STEM to help curb criminal activity.

A writer’s room has commenced to write and adapt the series’ first season. Krystal Ziv Houghton and James Roland, who ran the second season of The Purge, have joined Whannell and Walsh.

The film, which Whannell wrote and directed, starred Logan Marshall-Green, Betty Gabriel and Harrison Gilbertson. In the film, after his wife is killed during a brutal mugging that also leaves him paralyzed, Grey Trace (Marshall-Green) is approached by a billionaire inventor with an experimental cure in the form of a computer chip implant called STEM. The implant provides its host with heightened physical abilities, allowing Grey to exact revenge on those responsible for his wife’s death. (review)

The film was produced for $5 million and grossed more than $16 million at the global box office. It was also the recipient of the 2018 SXSW Audience Award.

Leigh Whannell most recently directed The Invisible Man starring Elisabeth Moss for Blumhouse and Universal. The box office smash grossed over $122 million globally and is Certified Fresh by Rotten Tomatoes with a 91%.

Previously, he wrote the first three Saw films, co-creating the lucrative horror franchise with director James Wan. Whannell recently signed a first look deal with Blumhouse for both film and television, after successful collaborations with the studio on the Insidious franchise, Upgrade and The Invisible Man. The Upgrade series is the first project to be developed under that deal.

Jason Blum (Halloween, The Good Lord Bird) and Brian Kavanaugh-Jones from Automatik will executive produce alongside Whannell and Walsh. Whannell and Walsh co-created the series. The series is a co-production between Blumhouse Television and UCP.

Blumhouse Television and UCP previously co-produced USA Network’s The Purge series as well as the upcoming The Wilderness of Error for FX.

Leigh Whannell is represented by CAA and Myman, Greenspan, Fox, Rosenberg, Mobasser, Younger & Light.

Tim Walsh is represented by Paradigm and Pacific View Management.

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pk彩票|pk彩票网|pk彩票官网|&13th Annual CINEMA ST. LOUIS QFest Runs Virtually From June 19-28 to Help Celebrate Pride Month http://www./pk彩票/05/13th-annual-cinema-st-louis-qfest-runs-virtually-from-june-19-28-to-help-celebrate-pride-month/ http://www./pk彩票/05/13th-annual-cinema-st-louis-qfest-runs-virtually-from-june-19-28-to-help-celebrate-pride-month/#respond Fri, 29 May pk彩票 16:15:53 +0000 http://www./?p=274408 Stay pk彩票 and still get your Q on! To help celebrate Pride Month, the 13th Annual QFest St. Louis — presented by Cinema St. Louis (CSL) — will take place from June 19-28. Because of the Covid-19 pandemic, CSL will offer all programs virtually, protecting the health of patrons. Programs can be streamed at any […]

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Stay pk彩票 and still get your Q on!

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To help celebrate Pride Month, the 13th Annual QFest St. Louis — presented by Cinema St. Louis (CSL) — will take place from June 19-28. Because of the Covid-19 pandemic, CSL will offer all programs virtually, protecting the health of patrons. Programs can be streamed at any time during the festival’s dates. Recorded and live introductions and Q&As will be available for most film programs.

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The St. Louis-based LGBTQ film festival, QFest will present a record number of 40 films (28 shorts, six narrative features, and six documentary features). The participating filmmakers represent a wide variety of voices in contemporary queer world cinema. The mission of the film festival is to use the art of contemporary gay cinema to spotlight the lives of LGBTQ people and to celebrate queer culture.

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The fest is especially pleased to host the St. Louis premiere of the new bio-doc “The Capote Tapes,” about renowned novelist, playwright, and social butterfly Truman Capote (“In Cold Blood,” Breakfast at Tiffany’s”). Among the other QFest highlights is this year’s Q Classic, the 20th anniversary of Del Shore’s “Sordid Lives,” which first screened locally at the 2000 St. Louis International Film Festival.

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wo films were directed by alums of QFest. Cindy Abel (“Breaking Through”) returns with the doc feature “Surviving the Silence,” about two closeted military women who were involved in the ultimate dismissal of Army Col. Margarethe Cammermeyer for admitting she was a lesbian. Two-time alum Wendy Jo Carlton (“Hannah Free,” “Jamie and Jessie Are Not Together”) directed the romantic dramedy “Good Kisser” and produced the narrative short that precedes it, “Carol Support Group.”

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Several films this year have strong local connections, including a trio of projects featuring former St. Louisans: writer/co-star Gretchen Wylder’s hilarious new YouTube web series, “These Thems”; writer/co-star Kevin Spirtas’ award-winning and moving dramatic web series, “After Forever”; and the dramatic short “Bill & Robert,” which stars Brandon Smith.

Thanks to several generous sponsors, CSL is able to make the festival more accessible to all by offering five shows that will be free and open to the public for the duration of the event: all four shorts programs and the web series “These Thems.”

For the full schedule of screenings and events, including trailers and descriptions of the films, visit the festival website at .

The pk彩票QFest St. Louis begins on Friday, June 19, and runs through Sunday, June 28. Tickets go on sale June 1. Tickets are $10 each or $8 for Cinema St. Louis members, students with valid and current IDs, and ARTS Card holders. An all-access festival pass is available for $75. All screenings will be held virtually for residents of Missouri and Illinois via Eventive, CSL’s ticketing and online presentation partner. Direct ticket links are available on the QFest website.

QFest St. Louis is sponsored by AARP in St. Louis, Arts & Education Council, CheapTRX, Grizzell & Co., Missouri Arts Council, Panera Bread, Bob Pohrer & Donnie Engle, Regional Arts Commission, Deb Salls, St. Louis Public Radio, Cindy Walker, and Webster U. Film Series.

The festival is underwritten in part through a grant from the Creative Impact Fund for Diversifying the Arts, a partnership between the Arts & Education Council and local community leaders.

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pk彩票|pk彩票网|pk彩票官网|&WAMG Giveaway – Win the Zombie Comedy ONE CUT OF THE DEAD on Blu-ray/DVD Steelbook http://www./pk彩票/05/wamg-giveaway-win-the-zombie-comedy-one-cut-of-the-dead-on-blu-ray-dvd-steelbook/ http://www./pk彩票/05/wamg-giveaway-win-the-zombie-comedy-one-cut-of-the-dead-on-blu-ray-dvd-steelbook/#respond Fri, 29 May pk彩票 15:39:13 +0000 http://www./?p=274384 LJE Films, a business unit of AMC Networks, has picked up select rights to Shudder’s, AMC Networks’ streaming service for horror, thriller and the supernatural, ONE CUT OF THE DEAD, which will be released on June 2, pk彩票 on DVD and DVD/Blu-ray SteelBook.   Written and directed by Shin’ichirô Ueda (Special Actors), the horror/comedy stars Harumi Shuhama (Ichigo no uta), Takayuki Hamatsu […]

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LJE Films, a business unit of AMC Networks, has picked up select rights to Shudder’s, AMC Networks’ streaming service for horror, thriller and the supernatural, ONE CUT OF THE DEAD, which will be released on June 2, pk彩票 on DVD and DVD/Blu-ray SteelBook.  

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Written and directed by Shin’ichirô Ueda (Special Actors), the horror/comedy stars Harumi Shuhama (Ichigo no uta), Takayuki Hamatsu (“Followers”),  and Yuzuki Akiyama (“Kamen raidâ Jiô”). The film is based on the play, “Ghost in the Box!” written by Ryoichi Wada.  RLJE Films will release ONE CUT OF THE DEAD on DVD for an SRP of $27.97 and on DVD/Blu-ray SteelBook for an SRP of $34.97.

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Now you can win the Win the Blu-ray/DVD Steelbook of ONE CUT OF THE DEAD. We Are Movie Geeks has two copies to give away. Just leave a comment below telling us what your favorite movie with the word ‘Dead’ in the title is. (mine’s NIGHT OF THE LIVING DEAD). It’s so easy!

1. YOU MUST BE A US RESIDENT. PRIZE WILL ONLY BE SHIPPED TO US ADDRESSES.  NO P.O. BOXES.  NO DUPLICATE ADDRESSES.

2. WINNER WILL BE CHOSEN FROM ALL QUALIFYING ENTRIES.

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In ONE CUT OF THE DEAD, while shooting a low-budget zombie film in an abandoned warehouse, the crew find themselves caught between actual zombies and a mad director who won’t stop rolling. If you think you know what happens next, think again. Filmmaker Shinichiro Ueda turns the film on its head more than once for one of the wildest, funniest, and most surprising zombie movies of all time. Check Out the trailer:

ONE CUT OF THE DEAD DVD as well as DVD/Blu-ray SteelBook include the following bonus features:

·      Outtakes

·      POM! Instructional Video

·      Photo Gallery

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The DVD/Blu-ray SteelBook also includes the Go-Pro Version of the film.

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pk彩票|pk彩票网|pk彩票官网|&THE HIGH NOTE – Review http://www./pk彩票/05/the-high-note-review/ http://www./pk彩票/05/the-high-note-review/#respond Fri, 29 May pk彩票 00:43:45 +0000 http://www./?p=274392 So this weekend brings another new film that’s set in the world of “things we could do three months ago”. Last week it was world travel with Steve and Rob in THE TRIP TO GREECE along with Kristin and Sharon singing in a choral group in MILITARY WIVES. This week the “now verboten” activity in […]

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So this weekend brings another new film that’s set in the world of “things we could do three months ago”. Last week it was world travel with Steve and Rob in THE TRIP TO GREECE along with Kristin and Sharon singing in a choral group in MILITARY WIVES. This week the “now verboten” activity in concert-going. Well, that’s really just a part of the flick’s story, but it’s a big part. There are several scenes with one of the characters filling big stadiums and amphitheaters, usually for “one-night-only” shows, and often not knowing the locale (“Good evening…um..where are we?”). Now the story’s main focus is not the chart-bustin’, seat-fillin’ superstar, but their lowly assistant, the “errand-runner” actually. We saw a bit of that in the recent A STAR IS BORN remake, to a lesser degree in the indie drama THE ASSISTANT, and as fodder for TV comedies like “Entourage” and “30 Rock”. And there was LATE NIGHT from last year, which, oddly enough, was from the same director as this flick. So, in this current effort, does she hit THE HIGH NOTE?

Much like the central character, this movie hits the ground running as we observe “star aide” Maggie (Dakota Johnson) embarking on several “morning missions” for her boss, pop diva Grace Davis (Tracee Ellis Ross). “Pick up this” “Grab that” until her now packed to the roof “seen better days” car arrives at the Davis mansion somewhere in Hollywood. In addition to the “pop diva”, Maggie must also deal with long-time, usually surly (oh, can he give the “stink-eye”) talent manager Jack (Ice Cube) and the “dim bulb” housekeeping supervisor Gail (June Diane Raphael), who seems to think that she’s a font of wisdom. Grace is at somewhat of a career “crossroad”. Should she keep playing big arenas around the globe, doing “one-nighters” and belting out the old familiar hits, or should she go with Jack’s idea to hook up with a Vegas casino to be an “artist in residence” and croon the same tunes in the same showroom for several months (maybe a year or two). But Maggie hopes to offer another alternate. In her precious “downtime” she’s been using new software and apps to give her standards a bold “new” sound without “drowning out” her still sharp vocals. Soon she’s got another “side gig” when she “meets cute” the owner of a produce chain, David Cliff (Kelvin Harrison Jr.) who is also quite the pop balladeer. Maybe Maggie can produce some songs with him, if she can keep things “professional” (a big challenge with the charming Cliff). But will this interfere with her work with Grace? Could she make “beautiful music” with both of them?

In a big break from the FIFTY SHADES trilogy, Johnson brings a low-key charm to her “everywoman” role as the often unappreciated Maggie. Her aide role is close to the classic “plate-spinner” act as she tries to keep track of Grace’s itinerary while trying to predict her abrupt mood changes while brushing aside those who would curry favor or exploit her. Johnson gives us the “vibe” that Maggie is forming a “hard shell”, putting on armor, while fretting over losing her own sense of empathy for others. Unfortunately her character is not as compelling or complex as Grace, played with a dramatic flourish by the commanding Ellis-Ross. Sure the comparisons to her famous mother Diana are evident, but Ellis-Ross resists the notion of turning her into a petulant, campy primadonna. The film only comes alive when she switches personas on a dime, from demanding dictator (at a party Maggie spits out a drink when caught in Grace’s icy stare), to gossipy gal pal, to the uncertain artiste, showing her vulnerability as she regrets past choices and faces an uncertain future, being a minority singer of a “certain age”. She’s paired with a great sparring partner, as Cube struts and growls as he presents his talent, but makes sure to get in every photo or video. At times they behave like an endearing but often bickering old married couple. Though he grumbles we know that Jack would do anything for his Grace. Like Johnson, Harrison tackles another real “change of pace” role, coming off his superb dramatic 2019 “one-two-punch” of LUCE and WAVES. His Davis is pure silky-smooth laid-back charm as he flits into Maggie’s orbit. And when he gets to the mike stand, she (and many others) will almost swoon at his charisma wrapped in some powerful “pipes”. As for the rest of the comic support team, Raphael is underutilized as the daft Gail, while Zoe Chao is a very funny encouraging roomie to Maggie. On the male side, veteran Bill Pullman strides in for the final act, while real-life tech music guru Diplo appears to be having a great time skewering his hipster image.

The aforementioned director, Nisha Ganatra, ably conveys the twirling hectic life of a professional “go-fer” in the opening scenes giving us a sparkling “city of dreams” in the often familiar California backdrops (plus Catalina Island looks idyllic in the final moments). And when we’re following in the bedazzling footsteps of Grace, the glow of superstardom is mesmerizing. Unfortunately, the script, from newcomer Flora Greeson, cuts away to the rather limp romantic subplot, along with lots of “sound mix” collages. The Maggie and David courtship fizzles (some chemistry clashes), as we wait…and wait… to get back to Grace and (gone for most of the middle hour) Jack. In the last half, much of the comedy lands with a clunk (and there are some very funny people on screen). And then, in the last few minutes, a twist/curve is sprung on the audience that’s both ludicrous (not in a comic sense) and frustrating, with characters making “off-kilter’ decisions just in order to provide some dramatic conflict. And despite tossing off bits of pop music trivia, and kissing pics of superstars that adorn the hallways of Capitol Records, Maggie never seems plausible as a musical mastermind. Ellis-Ross, on the other hand, feels like the “real deal” although we’re cheated on any full vocals until the near fade-out. Oh, her wardrobe from Jenny Eagan is worthy of a pop queen. Ultimately though, THE HIGH NOTE is one off-key backstage tune. And here comes the hook…

2 Out of 4

THE HIGH NOTE opens in select theatres and drive-ins. It is also available as a Video On Demand on most cable and satellite systems and is streaming on demand via most apps and platforms

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pk彩票|pk彩票网|pk彩票官网|&VOLITION starring Adrian Glynn McMorran Releasing July 10th – Check Out the Trailer http://www./pk彩票/05/volition-starring-adrian-glynn-mcmorran-releasing-july-10th-check-out-the-trailer/ http://www./pk彩票/05/volition-starring-adrian-glynn-mcmorran-releasing-july-10th-check-out-the-trailer/#respond Thu, 28 May pk彩票 17:45:52 +0000 http://www./?p=274373 A man afflicted with clairvoyance tries to change his fate when a series of events leads to a vision of his own imminent murder in VOLITION. Check out the trailer: From the Smith Brothers and Director Tony Dean Smith comes VOLITION — a mind-bending science-fiction thriller, where the line between fate and free-will blurs. When […]

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A man afflicted with clairvoyance tries to change his fate when a series of events leads to a vision of his own imminent murder in VOLITION. Check out the trailer:

From the Smith Brothers and Director Tony Dean Smith comes VOLITION — a mind-bending science-fiction thriller, where the line between fate and free-will blurs.

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When you know your world is predetermined, it’s hard to care about your choices. This is true for James Odin. On a rain-soaked night in 1991, two cars collide, leaving all drivers dead on the scene, including the mother of the lone survivor — a child — James Odin. It’s a tragedy. But what’s more tragic is that seven-year-old James foresaw the accident happening two months prior. He tried to prevent it, but who’s going to believe a kid who claims to see the future? Twenty-plus years later, James is a product of the failed foster care system. Knowing that the events of his future are predestined, he’s getting by, using his ability for petty crime and cheap thrills. But when a pre-sentient vision reveals to him his own imminent murder, James must go on the run. Together with a new friend, Angela, he must change the fate he knows is fixed.

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VOLITION is directed by Tony Dean Smith, written and produced by Tony Dean Smith & Ryan W. Smith, and executive produced by Paly Productions Inc. in association with Smith Brothers Film pk彩票. The film stars Adrian Glynn McMorran, Magda Apanowicz, John Cassini, Frank Cassini, Aleks Paunovic, and Bill Marchant

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pk彩票|pk彩票网|pk彩票官网|&Happy 109th Birthday Vincent Price! Here Are His Ten Best Films http://www./pk彩票/05/happy-109th-birthday-vincent-price-here-are-his-ten-best-films/ http://www./pk彩票/05/happy-109th-birthday-vincent-price-here-are-his-ten-best-films/#respond Wed, 27 May pk彩票 23:50:20 +0000 http://www./?p=274379    Born in St. Louis on May 27, 1911, iconic actor Vincent Price retained a special fondness for his place of origin, and that love was reciprocated with Vincentennial, a celebration of his 100th birthday in his pk彩票town back in May of 2011 (for summary of all the Vincentennial activities go HERE). In 2011, we […]

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   Born in St. Louis on May 27, 1911, iconic actor Vincent Price retained a special fondness for his place of origin, and that love was reciprocated with Vincentennial, a celebration of his 100th birthday in his pk彩票town back in May of 2011 (for summary of all the Vincentennial activities go HERE).

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In 2011, we asked Vincent Price’s daughter, Victoria Price, to write a testimonial about her famous father toasting him on the centennial of his birth, and here’s what she wrote:

When I was a little girl, I believed that to come from St. Louis made you a member of a very desirable club.

I got this impression because whenever my dad met someone from his pk彩票town, he greeted him or her as though he had just found a long-lost friend. Immediately they would discuss where they had “gone to school,” which I later learned did not mean college, as it did everywhere else in America, but rather high school. They would then talk about all the places they loved – Forest Park, the Muny, the St. Louis Art Museum, the Arch, Cahokia Mounds, the Mississippi – and, finally, of course, each would wax nostalgic, for what seemed an inordinately long time, about the food! When the reminiscences came to end, they would part, friends for life. And all because they both came from St. Louis.

Growing up in Los Angeles, no one – least of all me – expressed this kind of pride of place. And I never heard people who came from other places ramble on with this kind of rapture about their pk彩票towns. St. Louisans always seemed to find one another, which stood in marked contrast to most of the transplanted Los Angelenos I knew, who would go to great lengths not to be associated in any way with Peoria or Dubuque or wherever it was from whence they hailed.

The bottom line was that my dad loved being from St. Louis. He couldn’t have been prouder to be a pk彩票town boy who made good. He always remembered his youth with joy – whether it was discovering arrowheads at the Cahokia Mounds, rooting for the perpetual underdog Browns, or buying his first piece of art at age 12 (a Rembrandt etching) from a local gallery. He was a proud alum of Country Day, and remained friends with many of his schoolmates for life – most notably, fellow art collector Buster May. He loved returning pk彩票 to visit his parents, to perform at the Muny, to chat with Country Day students – and mostly to eat the food! Certainly my father’s love of food, which would lead him to author a cookbook Saveur Magazine would call “one of the 100 most important culinary events of the 20th century,” was nurtured in St. Louis.

So, it goes without saying, that he would have been overjoyed and deeply touched by the fact that St. Louis is throwing him his 100th birthday party. (And he was a man who loved to celebrate his birthday!) I am so grateful to everyone for putting on this wonderful Vincentennial! And I hope that, in celebrating his 100th, his fellow St. Louisans can discover not only more about Vincent Price, but also experience some of my dad’s joy in being from what he considered the best pk彩票town in the world!

For fun, we at We Are Movie Geeks though we’d share our Top Ten “The Best of Vincent Price” article that we originally posted back in May of 2011 for the Vincentennial

Top Ten list written by Jim Batts, Dana Jung, and Tom Stockman

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10. LAURA (1944)
“I shall never forget the weekend Laura died”, is the first line, intoned by a somber Clifton Webb, of LAURA (1944), a glossy and gripping story of murder among the elite. Vincent Price often said that his favorite of the films in which he appeared was director Otto Preminger’s 1944 film noir, and most movie buffs who don’t like horror are quick to agree. As noirs go, it’s less a dark and dirty crime drama than most, more reliant on character and script, but it really is a classic and Price’s oily supporting performance is nothing short of sublime. The film pits gruff police detective, Mark McPhereson (Dana Andrews) against smug and cultured columnist, Waldo Lydecker (Clifton Webb). McPherson has been assigned to investigate the murder of Laura Hunt (a simmering Gene Tierney). Through a series of interviews conducted with potential suspects, McPherson builds his profile of the dead girl – all the while falling under the spell of her striking portrait. But the puzzle unravels when the murder victim materializes in a bizarre twist of fate that forces McPhereson to re-think his entire case. Vincent Price plays Laura’s fiancee, silver-tongued do-nothing gigolo Shelby Carpenter who gets mixed up in the mystery and is too charming for his own good. LAURA has an incredible adult script (the screenplay was nominated for an Oscar) with a fascinating story filled with unnerving plot angles, twists galore and hints of necrophilia and homosexuality. The film’s dialogue is particularly well done: intelligent, humorous at times, and enhanced by the snappy delivery and exchanges between all the actors. David Raksin’s grand musical theme has become a standard.

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9. THE TINGLER (1958)
During the 50’s and 60’s one man was known in Hollywood for gimmicks that made his thrillers unique. That man was producer/director William Castle. He was a master of promotion refer to as ‘ballyhoo’. Castle began his career making low budget ‘B’ pictures for Columbia. In 1958 he left the studio to make MACABRE. Castle came up with a gimmick to attract people to the theatre. Each person who purchased a ticket was issued an insurance policy for $1000 against death by fright. And for good measure he hired ‘nurse’ to patrol the lobby. For his next picture he cast Vincent Price in 1959’s THE HOUSE ON HAUNTED HILL. Of course Castle needed a different gimmick, Instead of insurance, he presented this film in ‘Emergo’. At one point in the film a skeleton would swoop over the audience. Columbia was aware of the big box grosses for these inexpensive films and welcomed Castle back . For his return he came up with ‘Percepto’ to hype THE TINGLER. Once again Price starred, this time as Dr. Warren Chapin who’s studying the effects of fear on human beings. He believes a creature he dubs ‘The Tingler’ emerges from the spine at times of extreme terror. Only a scream would suppress it. Also in the cast as his aide David was Daryl Hickman, whose brother Dwayne ( TV’s Dobie Gillis ) would costar with Price in DR. GOLDFOOT AND THE BIKINI MACHINES in 1965. For most of the film Price plays the role of a kindly physician until he conducts a fear experiment on his cheating spouse. Later Price has a wild, crazed scene during an experiment on himself. In order to experience pure fear he injects LSD that David Picked up at a pharmacy! Later he must wrestle with a slithering Tingler that he had extracted from a deceased woman. The highlight of the film is near the finale when that Tingler gets loose in a film showing an old silent film (perhaps inspired by the real Silent Movie Theatre on Fairfax in L.A. ). The screen goes blank as the shadow of the creature crawls past while Price implores the audience to scream for their lives. Then ‘Percepto’ begins as patrons in certain wired seats get a slight electric jolt. In 1993 Joe Dante directed MATINEE, a lovely tribute to these popcorn flicks featuring St. Louisian John Goodman as a Castle-inspired character. If that peaked your interest, don’t miss a chance to experience this bit of showbiz history. And you’ll have even more admiration for Price as he delivers this loopy dialogue with a straight face.

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8. THEATRE OF BLOOD (1972)
In the early 1970’s Vincent Price’s career was at a high point. The Doctor Phibes films were unexpected hits. How would he capitalize on these? In 1973 he took on a role in a film with a similar plot structure. In fact, many fright film fans consider THEATRE OF BLOOD an unofficial finale in a Phibes trilogy. Produced by United Artists rather then American International, BLOOD differed from the Phibes film in that it was set in modern times and boasted one of the most prestigious casts that Price ever worked with. Price portrays Edward Lionheart , a stage actor thought to be dead, who returns to murder the critics that denied him a thespian award. Many of Britain’s finest stage and screen actors appear to be having a blast as the victims. The members of the Critic’s Circle are Michael Hordern, Robert Coote, Jack Hawkins, Arthur Lowe, Robert Morley, Dennis Price, Harry Andrews, Coral Browne, and Ian Hendry (his character is the only critic who has some sympathy for Lionheart ). Diana Rigg plays Lionheart’s daughter Edwina, a movie make up artist. Hendry and Rigg were both part of the TV series ‘The Avengers’, he in the first episodes as Dr. David Keel, and she achieving worldwide fame later as Emma Peel. Speaking of TV, in 1989 Ms. Rigg would take over hosting duties from Mr. Price on the PBS ‘Mystery!’ series. In later years Price would refer to BLOOD as his favorite horror film for several reasons. The ingenious script has Edward dispatching the critics in murder scenes inspired by deaths in Shakespeare’s plays. This gave Price a chance to recreate several of the classic roles. He also gets to assume several disguises: a bobby, French chef, swishy hairdresser, and a masseuse who tricks Hawkins into believing his wife ( played by the British Marilyn Monroe, Diana Dors ) is having an affair a la ‘Othello’. Price may also have had a soft spot for this film as he met the woman who would be his last wife, Coral Browne. The film has some great comic relief from Milo O’Shea and Eric Sykes as investigating officers who seem always two steps behind Edward. The film has great location work ( nothing was shot on studio sets ), brisk direction, and a witty script that blends suspense and humor. Vincent Price is a delight in this, perhaps, his last great horror film.

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7. THE LAST MAN ON EARTH (1964)
Even though Richard Matheson’s novel I AM LEGEND has been filmed three times (officially), only one of the film versions worked with a script by Matheson himself (though billed as -‘Logan Swanson’). Originally a Hammer Film property (how great would that have been?), Matheson’s script was eventually sold to Lippert Productions and made cheaply in Italy with an Italian cast and crew, as THE LAST MAN ON EARTH (1964). For its bankable American star, Vincent Price was cast as the lead. Price was at the peak of his popularity from a series of brilliant Edgar Allan Poe adaptations directed by Roger Corman (the producers wisely emphasized the horrific elements of Matheson’s story with Price’s image in the advertising). But in LAST MAN Price delivers one of his best performances as the only ‘human’ left after a biological plague has decimated the population. Whether he’s dealing with feelings of loneliness and grief, or simply displaying human pettiness, Price imbues the film with a sense of quiet despair. Price appears in nearly every frame of the film, and dominates the story with his great persona. Today, despite its low budget and black & white cinematography, with its remarkable opening scenes of death and desolation, and of Price nightly withstanding the siege of ‘vampires’, the film is viewed as a highly influential (George Romero cites it as an inspiration) and memorable version of the famous tale.

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6. THE ABOMINABLE DR. PHIBES (1971)
The unique touch of cult director Robert Fuest is evident throughout THE ABOMINABLE DR. PHIBES (1971) and its equally entertaining sequel DR. PHIBES RISES AGAIN (1972). The bizarre, absurdist set design, the operatic musical score, and the grand performance by star Vincent Price all combine to create a truly surreal horror masterpiece. It is a testament to Price’s epic screen presence that he dominates the film without uttering a single word of dialogue! (Neither does his assistant, the beautiful Vulnavia). It’s true that he does speak offscreen through a microphone, but he carries both films by expressing his character mostly through action and facial features. Whether he’s playing his pipe organ with great flourish, displaying his whimsical glee at the fate of his enemies, or grimly resigning himself to the burning obsession which drives him, Price, even hidden underneath HOUSE OF WAX-inspired makeup–showcases yet again his ability to dominate a film. He is also obviously having great fun here under the guidance of Fuest, whom Price called “one of the best directors I’ve ever worked with.” A further multitude of riches await the fan in DR. PHIBES as well. Caroline Munro, in what must surely be her briefest film role ever, plays Phibe’s dead wife, and is shown only in still photos wearing snazzy 1920s outfits or as a lifeless body. The SAW film series owes DR. PHIBES a great debt, as several of the death sequences (especially the climactic ones) are very intricate mechanisms in which the victim decides his own fate. The film was also the only screen pairing of Price and the great Joseph Cotten, even though the men were lifelong friends from their days in Orson Welles’ Mercury Theatre pk彩票.

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5. CHAMPAGNE FOR CAESAR (1950)
Many works of fiction have been said to be ahead of their time. In the world of motion pictures, few are more prophetic than the 1950 comedy classic CHAMPAGNE FOR CAESAR. By that year, mind you, quiz shows were popular on radio and that young upstart television, but by the end of the decade, these programs would inspire a national craze ( and a scandal later depicted in Robert Redford’s film QUIZ SHOW ). CAESAR foreshadows all this while showcasing some delightful performances by actors generally not known for big-screen comedies. The plot centers on an unemployed genius Beauregard Bottomley played by one of Hollywood’s most celebrated leading men, Ronald Colman. He was best known then for roles in THE PRISONER OF ZENDA, LOST HORIZON, and RANDOM HARVEST, but today he may be remembered as the vocal inspiration for cereal pitchman ( er..bird ) Toucan Sam. Beauregard shares a modest LA bungalow with his sister Gwenn played by Barbara Britton ( who later co-starred in TV’s Mr. and Mrs. North) who teaches piano and the film’s title character Caesar, a parrot with a taste for booze (his exclamations, such as “get loaded!”, and “How about a short one?” are provided Looney Tunes’ man of a thousand voices Mel Blanc ). One evening the Bottomleys view a few minutes of a game show on a TV in a store’s window display. It’s “Masquerade for Money” sponsored by My Lady Soap ( the soap that sanctifies ) and hosted by Happy Hogan ( Hmmm wonder if Stan Lee saw this? That name was given to Tony Stark’s driver/bodyguard in his Iron Man comic book stories a decade after) played by Art Linkletter who would soon have a huge TV hit with his transplanted radio show People Are Funny. Beauregard dismisses it until the unemployment office sends him to the My Lady Soap headquarters for a job interview with the company president Burnbridge Waters played by Vincent Price. Price had been making movies for twelve years, but this film shows a zany, comic style not yet seen on screen. When Waters concentrates he goes into a trance and almost becomes a wax figure. He’s arrogant, pompous, and dismissive especially with his squad of yes men ( which include Ed Wood regular Lyle Talbot, who played Lex Luthor in the serial ATOM MAN VS. SUPERMAN and Commissioner Gordon in the serial BATMAN AND ROBIN, and John Hart who would replace Clayton Moore as TV’s Lone Ranger for one season). Leaving Waters’s office after losing out on the job and being insulted, Beauregard decides to go on the My Lady sponsored quiz show. There he easily answers the questions but refuses the prize money. He wants to return on the next show and go double or nothing. Waters is delighted when this turns into a ratings (and soap sales) bonanza but is horrified when his questions cannot stump Beauregard, who intends to keep earning money until he owns the company. A rattled Waters sends Hogan out to romance info from Gwenn and he hires intellectual femme fatale Flame Neill played by Celeste Holm (the original Ado Annie in Oklahoma had won a supporting Oscar for GENTLEMAN’S AGREEMENT three years ago and was about to be seen in ALL ABOUT EVE) to distract Bottomley. I don’t wish to reveal much more or spoil the film’s great humor and surprises. The main reason to see is the delightful performance of Mr. Price. His droll wit would come through in his later works, but here he’s a whirling dervish of mirth…an inspired comic villain. A few years later Price and Colman would spar again in Irwin Allen’s campy THE STORY OF MANKIND, but here in CHAMPAGNE FOR CAESAR, the laughs are intentional., and very, very plentiful.

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4. THE MASQUE OF THE RED DEATH (1964)

The famous AIP Corman-Poe series of films concluded with a great one-two punch: THE MASQUE OF THE RED DEATH and THE TOMB OF LIGEIA, both released in 1964. Corman had wanted to do RED DEATH immediately after the success of the first film in the series, HOUSE OF USHER. However, he had second thoughts when he realized the similarities between the story elements for RED DEATH and Ingmar Bergman’s THE SEVENTH SEAL, which had just been released a few years earlier. Since he did not want to appear to be copying Bergman, he decided to delay the project. This was a fortuitous choice, as THE MASQUE OF THE RED DEATH benefited from the wait by acquiring a larger budget, location shooting in England, and Corman’s experience on the previous Poe pictures. Drawing not only on Bergman, but also on the work of Hitchcock and German expressionist films, Corman created one of his greatest cinematic works of art. Working with the outstanding cinematographer Nicolas Roeg (later a unique & talented director in his own right), Corman used subdued primary colors (blue, yellow, white) to create a nightmarish quality that permeates the film. The color red does not appear until later, which makes its use all the more shocking. The sets (allegedly left over from bigger productions like BECKET and A MAN FOR ALL SEASONS) are amazing, and enhance the atmosphere even further. Shooting in England also allowed Corman to draw on the talented pool of actors there, such as Jane Asher, Patrick Magee, and Hazel Court. The real star of RED DEATH is, of course, Vincent Price, portraying the personification of evil, Prospero. Aside from the grand and sometimes witty dialogue, Price imbues Prospero with subtle shades of character. We can sometimes glimpse the depths of depravity lurking just underneath the urbane princely exterior, or the nearly hidden stirrings of conscience that he constantly subjugates to the power and corruption of his devil-worshipping personality. Of all the Corman-Poe films, RED DEATH was not Price’s favorite (he liked LIGEIA more), because he felt the story strayed too far from the original Poe material (even though it also contained elements from Poe’s Hop Frog). But in terms of sheer cinematic perfection, with its tone of impending dread, use of color, great performances, and visual style, THE MASQUE OF THE RED DEATH remains Corman’s masterpiece.

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3. THE TOMB OF LIGEIA (1964)
The final entry in Roger Corman & Vincent Price’s six-film cycle of Edgar Allen Poe adaptations, THE TOMB OF LIGEIA was never a favorite to kids because of its lack of overt horror elements and its focus on gothic romance. The years have been very good to LIGEIA, now considered to be the most ambitious and mature film in the series and Price himself is on record as saying it was the best of his eight Corman collaborations. Price played British aristocrat Verden Fell, who believes his wife Ligeia, who’d committed suicide, will return from the grave and that her spirit has entered a cat. He meets Lady Rowena (Elizabeth Shepherd), her spitting image, and the two marry, opening the doorway for Ligeia’s revenge. Corman and crew returned to England after filming the previous entry, MASQUE OF THE RED DEATH there, filming LIGEIA at the crumbling Castle Acre Priory in Norfolk, and the film benefits from the lack of stagy, claustrophobic studio sets that marked the rest of the series. In fact, the first twenty minutes takes place in the bright outdoors and that Fell has a medical aversion to sunlight seems appropriate, almost like they were cleverly building on what had gone on in the previous films. Elizabeth Shepherd was a beautiful and talented actress who had been hired to replace Honor Blackman on “The Avengers” TV series as the first Emma Peel but was fired and replaced with Diana Rigg before audiences were able to see her in action. Her Rowena is more fleshed out than any female character in the Price/Corman/Poe series. Unlike the morose, downcast women of the earlier films, Ms Shepherd wears a smile throughout much of the proceedings that grows more sinister as the story progresses, though her character isn’t immune from the same fate as most Poe women. It’s mostly a two-person drama and Ms Shepherd holds her own against Price, who’s at his most anguished. Screenwriter Robert Towne, who would go on to win an Oscar nine years later for CHINATOWN, provided a genuine, if suggestive, ghost story with a sense of realism missing from the earlier Poe films. Corman employed Arthur Grant, longtime director of photography for many Hammer horror films, including THE CURSE OF THE WEREWOLF and FRANKENSTEIN MUST BE DESTROYED and Grant utilizes the English countryside in ways he did not for Hammer.

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2. WITCHFINDER GENERAL (1968)
It’s likely that Vincent Price never delivered a better performance than the one he gave in WITCHFINDER GENERAL (1968), the fact-based story of infamous witchhunter Matthew Hopkins and the barbaric acts he practiced in mid-17th century England. Price completely jettisoned his usual campy theatrics in favor of an appropriately low-key, sinister, and menacing depiction of a purely evil man who hides behind a mask of religious allegiance. Price plays Hopkins as an unmerciful fiend with a genteel manner and an appetite for torture, especially burning. The movie is cruel in its violence but also intelligent and effective and Price is relatively restrained in a complex role as a man who whose mission is to achieve confessions and take the lives of those marked as Satan’s helpers. Price regarded his performance here as the finest of his horror movie career. Director Michael Reeves and Price famously battled on set over the actor’s approach to playing Hopkins, and Price eventually agreed that Reeves was a genius and his insistence that Price subdue his performance was the right one. Reeves was just 25 when he directed WITCHFINDER GENERAL, his fourth film, but was no stranger to working with major horror stars. He previously had helmed CASTLE OF THE LIVING DEAD (1964) with Christopher Lee, THE SHE-BEAST (1966) with Barbara Steele, and THE SORCERERS (1967) with Boris Karloff. Price and Reeves were scheduled to re-team the following year for THE OBLONG BOX but Reeves was found dead of a barbiturate overdose in February of 1969 (some sources claim it was suicide). WITCHFINDER GENERAL is an extremely sadistic movie, but its details are based on fact. The Civil War in 17th century Britain was horrific and left people hungry and desperate. Accusing a neighbor of witchcraft had the instant benefit of claiming the property they left behind. Locals were eager to help Hopkins, even when he asks that the daughters of the men he imprisoned be brought to his bedchamber. The real-life Hopkins lived a long life and died of natural causes but the film gives him a bloody death, even though it’s unsatisfying to its young hero (played by Reeves regular Ian Ogilvy) who ends the film with the haunted refrain “You took him from me!”. When American International released this film in the U.S. in 1968 they changed the title to CONQUEROR WORM and tried to pass it off as one from their Edgar Allen Poe series by adding a few lines from the author’s abstract poem of that title. WITCHFINDER GENERAL is not only one of Vincent Price’s very best films but the black-hearted Mathew Hopkins is one of cinema’s most frightening villains.

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1. THE PIT AND THE PENDULUM (1962)
Not much of Edgar Allen Poe’s short story which shares its title is on screen besides the eponymous torture device, but thanks to a deft screenplay by Richard Matheson, a pitch-perfect performance by Vincent Price, sure handed direction by Roger Corman, and the inspired casting of Barbara Steele, THE PIT AND THE PENDULUM is an epic helping of gothic grand guignol that deserves its place on the top of this list. Vincent Price’s Don Medina is a much more lively than his Roderick Usher form the previous year. Price was often accused of overacting, but his frantic scenery-chewing was the correct style for this material. The casting of the otherworldly Barbara Steele shows that American International was properly impressed with her horror debut in the previous year’s BLACK SUNDAY (as they should have been), the Italian film they distributed and this was her stateside debut. Steele is something to behold in THE PIT AND THE PENDULUM, slinking and smirking like a deranged cat around the torture chamber, driving Price and the audience to delirium. Steele wasn’t long for Hollywood though. She fled the set of an Elvis film the next year and returned to Europe where she starred in a string of unparalleled gothic horrors. Corman’s camera stays in time to the berserk performances of his two horror stars, as he experiments with odd lens techniques and hallucinatory framing and you’d never guess that THE PIT AND THE PENDULUM was shot on for only $200,000 as it is consistently dazzling to look at with spooky color camerawork by Floyd Crosby and imposing art design by Daniel Haller. Stock footage of the climactic torture sequence would later find its way into the 1966 spy spoof DR. GOLDFOOT AND THE BIKINI MACHINE, which also starred Vincent Price as well as GHOST IN THE INVISIBLE BIKINI (also 1966). THE PIT AND THE PENDULUM is a fantastic and fascinating viewing experience that just keeps getting better with age.

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pk彩票|pk彩票网|pk彩票官网|&Stephen McHattie and Henry Rollins in DREAMLAND in Theaters, On Demand and Digital on June 5th http://www./pk彩票/05/stephen-mchattie-and-henry-rollins-in-dreamland-in-theaters-on-demand-and-digital-on-june-5th/ http://www./pk彩票/05/stephen-mchattie-and-henry-rollins-in-dreamland-in-theaters-on-demand-and-digital-on-june-5th/#respond Wed, 27 May pk彩票 23:01:30 +0000 http://www./?p=274335 Uncork’d Entertainment and Dark Star Pictures will release the horror/crime/thriller DREAMLAND in theaters, On Demand and Digital on June 5, pk彩票. Check out the trailer: DREAMLAND is directed by visionary filmmaker Bruce McDonald (Pontypool, Weirdos, Roadkill, Hard Core Logo) from a script co-written by Tony Burgess (The Hoard, Saturn’s Rings) and Patrick Whistler (“Cardinal”).  The film stars Stephen McHattie (Watchmen, The Fountain), musician/actor Henry Rollins (frontman of Black Flag, Feast, Lost Highway), Juliette Lewis (Natural Born Killers, Cape […]

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Uncork’d Entertainment and Dark Star Pictures will release the horror/crime/thriller DREAMLAND in theaters, On Demand and Digital on June 5, pk彩票.

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Check out the trailer:

DREAMLAND is directed by visionary filmmaker Bruce McDonald (Pontypool, Weirdos, Roadkill, Hard Core Logo) from a script co-written by Tony Burgess (The Hoard, Saturn’s Rings) and Patrick Whistler (“Cardinal”).  The film stars Stephen McHattie (Watchmen, The Fountain), musician/actor Henry Rollins (frontman of Black Flag, Feast, Lost Highway), Juliette Lewis (Natural Born Killers, Cape Fear) and Tomis Lemarquis (Blade Runner 2049, Snowpiercer). 

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On the night of the strangest weddings in cinema history, a grotesque gang boss hires a stone cold killer to bring him the finger of a fading, drug-addicted jazz legend.

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pk彩票|pk彩票网|pk彩票官网|&Four Steven Spielberg Movies (and Gru) Playing at Two St. Louis Area Drive-ins This Weekend http://www./pk彩票/05/four-steven-spielberg-movies-and-gru-playing-at-two-st-louis-area-drive-ins-this-weekend/ http://www./pk彩票/05/four-steven-spielberg-movies-and-gru-playing-at-two-st-louis-area-drive-ins-this-weekend/#respond Wed, 27 May pk彩票 17:58:23 +0000 http://www./?p=274366 ” You’re gonna need a bigger boat.” The Skyview Drive-in in Belleville (5700 N Belt W, Belleville, IL 62226) will present an all Steven Spielberg program beginning My 29th with ET and Close Encounters of the Third Kind on screen 1 and Jaws and Jurassic Park on screen 2. The Skyview is open 7 nights […]

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” You’re gonna need a bigger boat.”

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The Skyview Drive-in in Belleville (5700 N Belt W, Belleville, IL 62226) will present an all Steven Spielberg program beginning My 29th with ET and Close Encounters of the Third Kind on screen 1 and Jaws and Jurassic Park on screen 2. The Skyview is open 7 nights a week. For more information, check out their website

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Meanwhile, The Starlite Drive-in in Cadet, MO (15605 N State Highway 21, Cadet MO 63630 about an hour southwest of St. Louis) ET and DESPICABLE ME on screen 1 and Jaws and Jurassic Park on screen 2. The Starlite sells tickets

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pk彩票|pk彩票网|pk彩票官网|&1986 BMX Cult Classic RAD Now Available For the First Time on Blu-ray http://www./pk彩票/05/1986-bmx-cult-classic-rad-now-available-for-the-first-time-on-dvd/ http://www./pk彩票/05/1986-bmx-cult-classic-rad-now-available-for-the-first-time-on-dvd/#respond Wed, 27 May pk彩票 17:27:03 +0000 http://www./?p=274358 Utopia announced today that the company will be re-releasing the 1986BMX cult classic RAD for the first time on DVD and On Demand this summer.  The film, which was scheduled to have a 4K Restoration World Premiere at the pk彩票 SXSW Film Festival, will launch across all TVOD and On Demand platforms on Friday, July 24th, with a ‘special […]

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Utopia announced today that the company will be re-releasing the 1986BMX cult classic RAD for the first time on DVD and On Demand this summer.  The film, which was scheduled to have a 4K Restoration World Premiere at the pk彩票 SXSW Film Festival, will launch across all TVOD and On Demand platforms on Friday, July 24th, with a ‘special edition’ premiere on new digital  on Friday, July 10th and now available on Blu-ray directly through .

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Originally released in 1986 during the rise of the BMX bike craze, this powerful piece of pop cultural nostalgia is finally coming to disc, newly restored in 4K from its original negative by Fotokem. The film follows Cru Jones (Bill Allen), a small town kid determined to win an infamous BMX race set on a nearly impossible course known as Helltrack. A sleeper hit upon its initial release, RAD has become one of the iconic cult films of the 1980s and amongst BMX professionals, spawning fan clubs and repertory film screenings for decades.

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“This is a very personal project for me. My Father produced the film, my brother John filmed the opening and closing credits, my Mother plays Cru’s Mom; my family grew up in and around the film and my Father passed away before the film reached this phase of its release cycle,” says Utopia co-founder Robert Schwartzman. “It’s taken time to get things in order and reach this point, we’re extremely grateful to all the fans for waiting all these years and for all the support we’ve received from our partners.”

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RAD, presented by Jack Schwartzman and Schwartzman Pictures Inc., stars Bill Allen, Lori Laughlin, Talia Shire, Bart Conner, Jack Weston and Ray Walston.  The film was directed by Hal Needham (Smokey And The Bandit, The Cannonball Run), written by Sam Bernard and Geoffrey Edwards, produced by Robert L. Levy (Wedding Crashers) and executive produced by Jack Schwartzman (Being There, Never Say Never Again). Additional release plans for RAD in 2021, more updates announcing soon.

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For additional information, please visit 

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]]> http://www./pk彩票/05/1986-bmx-cult-classic-rad-now-available-for-the-first-time-on-dvd/feed/ 0 pk彩票|pk彩票网|pk彩票官网|&Happy Birthday CHRISTOPHER LEE! Here Are His Ten Best Roles http://www./pk彩票/05/happy-birthday-christopher-lee-here-are-his-ten-best-roles/ http://www./pk彩票/05/happy-birthday-christopher-lee-here-are-his-ten-best-roles/#respond Wed, 27 May pk彩票 16:53:58 +0000 http://www./?p=274352 Christopher Lee, born on this day in 1922, had an amazing career of fantastic performances and remains the greatest villain actor in film history. He was the last classic horror star and WAMG thanks him for all the monster memories. Christopher Lee was married to his wife Birgit (Gitte) for 54 years. Here, according to […]

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Christopher Lee, born on this day in 1922, had an amazing career of fantastic performances and remains the greatest villain actor in film history. He was the last classic horror star and WAMG thanks him for all the monster memories.

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Christopher Lee was married to his wife Birgit (Gitte) for 54 years.

Here, according to Movie Geeks Jim Batts, Dana Jung, Sam Moffitt, and myself, are Christopher Lee’s ten best roles.

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10. FRANKENSTEIN

It’s only fitting that THE CURSE OF FRANKENSTEIN, the film that truly began England’s Hammer Studios’ theatrical run of full color gothic horror epics, should team (well, they’re both in the 1948 HAMLET, but have no scenes together) their greatest stars, Peter Cushing as Baron Victor Frankenstein and Christopher Lee as his monster (or, as he’s referred to in the credits,”the Creature”). This was the first big screen incarnation of the monster after Universal’s 30’s and 40’s classics with Lon Chaney Jr., Bela Lugosi, Glenn Strange, and, of course, Boris Karloff. Because the Jack Pierce make-up is owned by that studio, Hammer’s make-up man Phil Leakey had to create an original look for Mr. Lee. When the camera zoomed in for the big unveiling (or unwrapping, as he was covered with bandages from head to toe) audiences gasped in terror at his gruesome visage. He truly looked like something from the grave with stringy mop-like black hair (Hmm, maybe it inspired those Liverpool lads), glazed-over white right eye, and flayed, scarred flesh (it’s mentioned that birds had gotten to the body before it went to the lab). Victor has given him the brain of a brilliant medical mentor, but later damage to it had left the creature a murderous near mute. After he’s outfitted with a jet black coat and pants, the monster is left chained in a locked room next to the lab, all alone until Victor needs the creature to eliminate a problem: the Baron’s chambermaid mistress (played by Valerie Gaunt, who would be cast as Lee’s vampire bride in HORROR OF DRACULA a year later). This version of the doctor’s experiment is truly pathetic and nearly elicits the same sympathy as Karloff until we see its brutality in an attack on a blind man in the forest (no soup and cigars this time!). This viciousness is rewarded with a bullet to the eye (a shocking bit of gore for the time), then it’s back to the slab where he’s made to look more revolting and wretched! When Hammer continued the series they decided to concentrate on Victor (perhaps the true monster), but none of the succeeding patchwork people had the impact of the marvelous Mr. Lee.

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9. RASPUTIN

RASPUTIN THE MAD MONK (1966)  is one strange film and has one of the best villains Lee ever got to play, in a resume teeming with evil and scurrilous bastards.  The  movie exists because Hammer films had access to footage shot for ANASTASIA, a 1956 film about the phony daughter of Nicholas and Alexandra, the last Czar of Russia.  The footage was in Cinemascope which resulted in Hammer shooting Rasputin in that process which was  already outmoded and replaced by Panavision. We meet Rasputin in a monastery, follow him all over Russia as he eats, drinks and fornicates way too much, causing carnage and havoc everywhere he goes.  Eventually, if you know your history, he ends up way too close to the Czar and his family.  Claiming to be a healer Rasputin almost gains control of Russia.  Interestingly this movie actually shows him healing people “with these two hands” as Lee ominously proclaims. In Lee’s talents Rasputin becomes  an elemental force of nature, he roars through the movie, frightening women and children and causing all manner of scandals and bullying anybody who gets in his way.  It is one of the best performances Lee gave at Hammer which was not in any way supernatural.  Even that could be argued, Rasputin seems to have hypnotic as well as healing powers. In one of the most prolonged murder scenes committed to film, (historically accurate by the way) Rasputin is poisoned, shot, stabbed, strangled, stabbed again, beaten senseless, thrown out a window and drowned in an icy river!  And the movie hints that he might still be alive!  Unlike Dracula there was no sequel to Rasputin.  And this is one son of a bitch that we are glad to see the last of, Rasputin is the embodiment of pure evil, no redeeming qualities what so ever.

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8. ROCHEFORT

THE THREE MUSKETEERS (1973) and THE FOUR MUSKETEERS (1974) are easily the best version of Dumas’ classic adventure novel.  An ensemble film, where every one of the actors, and the director,  are at the very top of their form and obviously having a blast.  Any film that would include Michael York, Faye Dunaway, Oliver Reed, Christopher Lee, Charlton Heston and many others as well as Spike Milligan and Raquel Welch has some kind of record for great casting!  In what has to be an in joke Spike Milligan and Raquel Welch are a married couple!  Michael York’s D’artagnan changes that. In a great cast and a wonderful story Lee brings a great deal to the main villain, Rochefort, described as Cardinal Richelieu’s living sword blade.  Lee looks absolutely killer with his eye patch,(“You Sir!  Without the eye!” yells young D’artaganan at one point) long hair and scarlet uniform, worn by all the Cardinal’s guards, the main group out to thwart the Musketeer’s who are sworn to protect the King, a complete idiot (not far from the truth, most crowned heads of Europe in those days were, but that is another story.) It is Lee and M’Lady DeWinter (Faye Dunaway) who cause all the action to proceed, at the instigation of Cardinal Richelieu, involving missing diamonds belonging to the Queen.  In any adventure story it is the villain who makes things happen and Rochefort, in Lee’s capable hands is quite a piece of work.  Lee has fenced his whole life and in an interview with Filmfax said that all the swords and knives in the film were absolutely real and sharp.  Lee and all the other actors were wounded at some point.  In an effort to make the sword fighting look real they made every effort to do some damage and very often did!  The sword fighting in these films is some of the best ever captured on camera. Without a word of dialog indicating Rochefort’s feelings Lee lets us know, with facial expressions and body language that Rochefort is one world weary and bone tired son of a bitch.  In one key scene with Heston Lee lets us know that Rochefort is sick and tired of the Cardinal’s nefarious machinations.  Damn I like that phrase!   I’ll write it again, Rochefort is sick and tired of the Cardinal’s nefarious machinations!  But he has pledged his talents to supporting the Cardinal and not the King and has to play out his hand to the bitter end.  It’s his job after all! You get the notion, especially in the second film, that poor old Rochefort might like to put the swords away and have a drink with the Musketeers, join them in some wenching and hell raising, give a little fatherly advice to D’Artaganan, and relax a little.  In the climactic showdown we are seriously sorry to see Rochefort get his payback.  In the Three and Four Musketeers Lee gives us something more interesting and complex than a tragic hero, a tragic villain.

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7. KHARIS THE MUMMY

In 1959, Hammer Films completed remaking the Universal monster “big three” of Dracula, Frankenstein’s monster, and this last, the Mummy.  Amazingly, Christopher Lee  played the monster in all three—the first (and possibly only) person to perform this feat.  Made at the height of the studio’s popularity, THE MUMMY is one of the best  films Hammer ever produced.  Co-starring Peter Cushing and the beautiful Yvonne Furneaux as the Ananka lookalike Isobel, and directed by Hammer’s ace Terence Fisher, THE MUMMY is dominated by Lee’s towering performance of vengeance unleashed.  Wearing heavy bandages, driving his large body forward with choppy but powerful steps, Lee uses his physical presence to convey the menace of the monster.  With only his eyes visible through the makeup,  Lee also expresses an intensity that other movie mummys have lacked.  And notice how his eyes change to a softer appearance when he sees Furneaux’s Isobel/ Ananka character.  And if this wasn’t enough to cement this classic portrayal, we are treated to a long flashback sequence of Lee as the Egyptian priest Kharis conducting the burial ritual of Ananka in his most hypnotic tones.  Lee himself had mixed feelings about THE MUMMY; on one hand, he admired the handsome production values and regarded it as one of his favorite Hammer films.  However, the shoot proved to be a grueling physical challenge for the actor, and he suffered several injuries during production.  For example, Lee had to not only maneuver through a muddy bog in full makeup, but do it carrying Furneaux.  He later claimed that he pulled every muscle in his back during this scene.  But, like all exceptional actors, Lee made the pain work for him through his performance, and the result is a memorable portrait that rivals the best films in the canon of the Egyptian undead myth.

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6. COUNT DOOKU

No one really likes the three Star Wars prequels. They were sort of popular when new and it was okay to like them then, but they’ve aged so horribly that geekdom is investing their hopes in Disney to get it right next time. Light sabers are cool. Yoda is cool. Chewbacca is cool.But everyone can agree that the coolest thing about STAR WARS EPISODE II: ATTACK OF THE CLONES (2002), and STAR WARS EPISODE III: REVENGE OF THE SITH (2005) was the casting of Christopher Lee as Count Dooku, a Jedi Master who fell to the dark side of the Force and became a Dark Lord of the Sith, known as Darth Tyranus. It has been said that George Lucas is not a great director of actors, yet that couldn’t slow down Lee,the only actor in the series to exude real menace. Whenever he was on screen, those movies came alive. He made audiences cheer when he and Yoda squared off for their big battle and when he gleefully escaped from the Jedi Master on an intergalactic jet ski. As for the overblown trilogy as a whole, it was all too clearly a product of George Lucas’s production giant Industrial Light and Magic. No magic, little light, but an awful lot of industry.

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5. LORD SUMMERISLE

“Come. It is time to keep your appointment with the Wicker Man”. Christopher Lee, who agreed to appear in THE WICKER MAN (1973) for free has claimed it was the greatest film he was ever part of. For good reasons, as this is one of the most unusual and original cinematic masterpieces ever brought to screen and an absolute must-see for everybody interested in movies. The unique greatness of THE WICKER MAN combines elements from a variety of genres; Horror, Thriller, Mystery, Fantasy, Drama, and even Musical, but it cannot really be limited to one particular genre. Scottish police sergeant Howie (Edward Woodward) is called by an anonymous letter to investigate the disappearance of a young girl on the remote Scottish island Summerisle. Upon his arrival, nobody seems to have ever heard of the girl. The deeply religious Sergeant Howie, however, is shocked to find out that the residents of the island, above all the sophisticated but mysterious Lord Summerisle (Christopher Lee), are practicing pagan customs and free sexuality as they await their next human sacrifice…… The final moments of THE WICKER MAN must rank amongst the finest ever committed to film. As Christopher Lee leads the crazed inhabitants of Summerisle in a chorus of ‘Summer Is A Comin’ In,’ Edward Woodward’s cries of anguish and frantic prayers are intermingled with the death throes of the sacrificed animals. The moment when Woodward first casts eyes on the giant Wicker Man of the title never fails to send a chill down the spine.

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4. FU MANCHU

The character of Fu Manchu was first created by British author Sax Rohmer in 1912. Boris Karloff played the Chinese villain in 1932’s MASK OF FU MANCHU but after the 1940 serial Drums of Fu Manchu, film adaptations ceased.  In 1965 movie producer Harry Alan Towers saw the novels as well- known enough to provide name recognition and signed Christopher Lee to the title role with a six-film deal. Despite being a 6’5” Brit, the actor seemed somehow perfectly suited to the role of the evil Chinapk彩票man (Karloff was English as well, though 6 inches shorter than Lee) and the make-up man simply taped up his eyelids for that slanty Asian look. The first film, FACE OF FU MANCHU (1965) directed by Hammer vet Don Sharp was a lively mix of Sherlock Holmes and James Bond concerning the kidnapping of a German scientist who Fu Manchu forces to develop a super weapon. FACE underperformed financially so the next two installments, BRIDES OF FU MANCHU (1966) and VENGEANCE OF FU MANCHU (1967) were filmed with considerably lower budgets, though Towers did take the crew to Hong Kong for some location flavor. In 1968 Towers met Spanish cult director Jess Franco and hired him to film the fourth entry BLOOD OF FU MANCHU (1968) in Brazil, which marked the beginning of the series’ decline. By the next year, Franco and Towers were working on elaborate erotica and sleazy women-in-prison films, and the Fu Manchu series was a dead weight. The final film in the series, CASTLE OF FU MANCHU (1969), was a dismal affair, bringing the series to a premature halt.

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3. SARUMAN

When casting was announced for the first LORD OF THE RINGS film, Christopher Lee fans were both excited and a little apprehensive.  The character of Saruman, like many a character in Tolkien’s books, is referred to often, but has very few “active” storylines.  RINGS director Peter Jackson recognized that one of the weakest parts of the RINGS saga was its lack of a strong visual villain.  Sure, Sauron is the Big Bad that pervades every page of the books and every scene of the films, but audiences also need something or someone to focus on as the personification of that evil.  Fortunately for both readers and cinephiles alike, Jackson knew how to make use of Lee’s commanding screen persona.    With his steely gaze and resonant voice, Lee imbues Saruman with all the self-righteous ego and persuasive yet treacherous charm that is only hinted at in the books.  With a more expanded and enhanced role, Lee also has at least one pivotal sequence in each of the three RINGS films.  In FELLOWSHIP OF THE RING, the wizard’s duel between Saruman and Gandalf is a key reveal as to who is the embodiment of the evil Sauron.  The sequence also emphasizes the sheer physical presence Lee  has, which is sometimes overlooked when compared to his magnificent vocal delivery.  In TWO TOWERS, Saruman’s storyline adheres fairly closely to the book, as Lee organizes and directs the war machine he has helped create as Sauron’s advocate.  And in RETURN OF THE KING, although some fans disliked the new resolution for Saruman that Jackson’s team came up with–which differs quite a bit from the book– Jackson probably made the correct decision, as the book’s ending does seem to drag on unnecessarily.  Unfortunately, Saruman’s ending was cut from the initial release print of RETURN OF THE KING, but is available on the Extended Edition DVD/Blu-Ray release.  It is difficult to understand Jackson’s reasons for leaving out this sequence, because it is quite spectacular—even by RINGS standards—and gives closure to Lee’s perfect depiction of corrupted power.

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2. SCARAMANGA

In 1974, the James Bond movie series was a dozen years old. For Roger Moore’s second outing as 007, the producers wanted to find a foe that could be his very equal. While recent tiles were comic riffs on well-known adages (YOU ONLY LIVE TWICE, LIVE AND LET DIE, etc.) the new film’s title, like two of the early classics (DR. NO and GOLDFINGER) refers to the villain, the master assassin Francisco Scaramanga, THE MAN WITH THE GOLDEN GUN. While Bond kills for Queen and country, Scaramanga’s does it for the cash (“a million a shot” as the opening song says). Sure he’s got a load of henchmen on his gorgeous island hideaway, but no need for any muscled leg-breakers like Oddjob and Jaws. Mr. S is deadly enough (although his manservant Nick Nack played Herve Villachaize, yep it’s TV’s Tatoo, helps and sometimes taunts his boss). As the 1970’s began Lee was expanding beyond the horror genre and appearing in bigger budgeted studio fare such as JULIUS CAESAR, THE PRIVATE LIFE OF SHERLOCK HOLMES, and THE THREE MUSKETEERS. This film was a wonderful showcase for his talents and introduced him to an even larger audience (hey, we monster fans already knew he was wonderful!). For the film’s pre-title sequence we see his physical side as he turns the tables on a ruthless American gangster (the great Marc Lawrence). Later the romantic Mr. Lee appears as he beds (but no biting!) the alluring Maud Adams (back to that song, “Love is required, whenever he’s hired…”). In the final showdown Moore faces his greatest (up to that point) screen battle as the two engage in a deadly duel to the death. It’s was a wonder that producers Saltzman and Broccoli waited so long to cast him (Lee is the step-cousin of Bond creator Ian Fleming!), but Christopher Lee elevates this, the ninth 007 epic, with his cultured deep baritone and imposing presence, and makes this high-priced hired gun one of the most memorable adversaries in the fifty-plus years of the greatest film franchise ever.

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1. DRACULA

Christopher Lee, with is deep, commanding voice and six-foot, five-inch frame was the perfect choice for the role of Dracula. His Count is an imposing presence, stately and cool, with the gentlemanly manner that belies a lurking, evil presence. He is able to imbue his character with both erotic charm and animalistic fury at the same time and was much more terrifying than Bela Lugosi’s romantic seducer. After the international box-office success of THE CURSE OF FRANKENSTEIN, Hammer Studios decided to reunite its two key actors from that film, Peter Cushing and Lee. Hammer turned to another Universal Studios staple, Dracula which by then Universal Studios had little use for, last using him for a role in ABBOTT AND COSTELLO MEET FRANKENSTEIN.  While only fitfully faithful to Stoker’s novel, Hammer Studios first version of Dracula, known in the U.S. as HORROR OF DRACULA (1958), remains the epitome of the English gothic horror film, complete with lavishly dressed sets, a vivid use of color, art and production design that effectively used Technicolor’s oversaturated color scheme, fluid, but never obtrusive camerawork, and compelling characters. Ironically enough, Lee is only on the screen a total of seven minutes in HORROR OF DRACULA yet his frightening presence is felt through the film. It would be seven more years before Lee would reprise the role for DRACULA, PRINCE OF DARKNESS, but his screen time in the series for Hammer never got any longer. Playing the role of Count Dracula for the second time, Christopher Lee was superbly menacing even though he does not utter a single word. The resurrection sequence in DRACULA, PRINCE OF DARKNESS, in which Dracula’s creepy manservant slashes one of the guests at Dracula’s castle and uses his blood to revive the long-dead Count still retains its shock value. DRACULA HAS RISEN FROM THE GRAVE (1968) saw Oscar winning cinematographer Freddie Francis taking over the directorial reins from Terence Fisher and put an unusually strong emphasis on religion. Christopher Lee delivered another memorable performance as the man in the red-lined black cape.  In TASTE THE BLOOD OF DRACULA (1970), the Count is revived by a Devil worshiper and three middle-aged men making a thrill-seeking pact. Chris Lee’s screen time is again brief, and he’s not given much to do except be the orchestrator for revenge as he makes the children of the businessmen kill their parents for him. SCARS OF DRACULA (1970) focused more on the actions of Dracula himself and affords Christopher Lee more screen time than in any other Hammer Dracula film. It was filmed on a lower budget, and while this shows, it does not prevent this from being one of the most memorable and unfairly derided of the long-running vampire series. DRACULA, A.D. 1972 (1972) found the Count in (then) modern day. Hippy kids “out for kicks” dabble in the Black Mass summon the great Count back to swinging London. The swinging ‘70s scene was dated when the film was released but its aged well and marked the return of Peter Cushing to the series. SATANIC RITES OF DRACULA (1973), the final installment of the Hammer Dracula saga, is different because it uses Lee’s scant appearances to its advantage, keeping Dracula aloof and mysterious, concerning itself with the disease of vampirism, which is compared to a plague. Because of its science fiction overtones, SATANIC RITES OF DRACULA felt more like an installment of The Avengers than a typical Hammer film. Lee played Dracula several times outside of Hammer studios. In COUNT DRACULA (1970) Lee looked just like the description of the Count in Bram Stoker’s novel and even he considered it his most accurate performance as the Count. He’s given more of a human side that is missing in the Hammer films, and delivers a good deal of dialog. COUNT DRACULA benefited from superior atmosphere and direction by Spanish cult figure Jess Franco and a deranged Klaus Kinski as the insane Renfield! Lee cameoed as the Count in the Peter Sellers comedy THE MAGIC CHRISTIAN (1969) and the Jerry Lewis directed ONE MORE TIME (1970) starring Sammy Davis Jr. Lee played Dracula for the last time in DRACULA AND SON (1976) a comedic take on the legend shot in France and Yugoslavia in French which ended up having Lee’s distinctive voice dubbed by another actor for the English-language dub. Christopher Lee has played many roles in his career but it will Dracula for which he will always be best remembered.

Rest in peace, Sir Christopher Lee. Your talent and professionalism will never be forgotten.

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pk彩票|pk彩票网|pk彩票官网|&Happy Birthday to Peter Cushing! Here Are His Ten Best Roles http://www./pk彩票/05/happy-birthday-to-peter-cushing-here-are-his-ten-best-roles/ http://www./pk彩票/05/happy-birthday-to-peter-cushing-here-are-his-ten-best-roles/#respond Wed, 27 May pk彩票 00:15:52 +0000 http://www./?p=274338 Article by Jim Batts, Dana Jung, Michael Haffner, Sam Moffitt, and Tom Stockman Peter Cushing, born on this day in 1913, was one of the most respected and important actors in the horror and fantasy film genres. To his many fans, the British star, who died in 1994, was known as ‘The Gentle Man of Horror’ […]

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Article by Jim Batts, Dana Jung, Michael Haffner, Sam Moffitt, and Tom Stockman

Peter Cushing, born on this day in 1913, was one of the most respected and important actors in the horror and fantasy film genres. To his many fans, the British star, who died in 1994, was known as ‘The Gentle Man of Horror’ and is recognized for his work with Hammer Films which began in the late 1950’s, but he had numerous memorable roles outside of Hammer. A topnotch actor who was able to deliver superb performances on a consistent basis, Peter Cushing also had range.  He could play both the hero and the villain with ease.

Here, according to We Are Movie Geeks, are Peter Cushing’s ten best roles:

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  • 10. Dr. Maitland

During the 1960s, Amicus Studios had a knack for borrowing from the pool of Hammer Studios actors and filmmakers to make their own Hammer-inspired films.  While these movies (some would call them rip-offs) were usually inferior to the original Hammer signature productions, with THE SKULL in 1965, they hit all aces.  Based on a Robert Bloch (PSYCHO) story, THE SKULL got a Hammer director in Freddie Francis (EVIL OF FRANKENSTEIN, DRACULA HAS RISEN…), plus the classic duo of Hammer Films actors, Christopher Lee and Peter Cushing.   With Lee in solid support, Cushing essays one of his best roles as Dr. Maitland, a seemingly mild-mannered collector of occult objects.  Unfortunately for Dr. Maitland, when his latest acquisition is the possessed skull of the Marquis de Sade, he gets much more than he bargained for.  THE SKULL is a superior supernatural thriller shot with flair and imagination by Francis.  The visual style is dark and foreboding, and some sequences are shot from the point of view of the skull, giving us a “skulls-eye view” if you will.  This technique is used to great effect in the latter stages of the movie, as the evil spirit tries to exert its influence on Dr. Maitland.  Cushing is excellent as a man of science and genteel nature being torn apart by forces he can neither understand nor control.  The entire second half of the film is essentially a battle of wills between Maitland and the demonic skull, embodying all of de Sade’s “cruelty and savagery.”  Many of these scenes have a nightmarish quality, such as when Maitland is forced to play Russian roulette.  Here Cushing displays such simple desperation that we identify with him completely.  By the film’s end, when the final struggle for Maitland’s soul is reaching a climax, Cushing expresses emotions by letting all the bewilderment, fear, and relief play across his face in various degrees.  Even those of us most comfortable in our knowledge and beliefs can be undone when faced with the unknown.

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  • 9. Harry Fordyce

CASH ON DEMAND  (1962) is a film that shows how versatile Peter Cushing could be.  In a part with no fantastic or supernatural elements Cushing simply owns the movie, along with Andre Morrell who has a basically fool proof scheme to rob the bank (on Christmas Eve on less) which Cushing’s Harry Fordyce manages.  Fordyce is the original horrible boss, brow beating and talking down to his employees, threatening their careers and throwing temper tantrums over ink pens and minute amounts of money. Morrell is holding Fordyce’ family hostage and threatens to kill them unless the vault is cleaned out by the end of the day.  Fordyce has to help him or risk losing his wife and children who are “all he’s got”.  In a heartbreaking scene he admits as much to an employee whose help he needs to insure the robbery goes as planned and that he “has no friends.”  Cushing takes us from despising this little martinet to hoping he can somehow keep his family and his job.  Shot and edited to more or less real time Cash on Demand is as suspenseful as the best Hitchcock films, and Cushing helps make it work beautifully as a thriller.  He gives Fordyce a set of nervous mannerisms including, standing up on his tip toes and rocking back on his heels, straightening his tie, cocking his head to one side, adjusting his eyeglasses, smoothing his hair and by the film’s end he is doing them all at once bringing the tension to an excruciating level.  And there is a double twist ending that is incredible and I would not reveal to anyone, watch it and see!

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     8. Dr. Who

DR. WHO AND THE DALEKS (1965) was the first taste of the Doctor Who name for the American market (the TV show had yet to air stateside). It was not a success here though Cushing was cast instead of William Hartnell (the TV Doctor at the time) because he would have been more familiar to American audiences. Cushing’s Doctor in the film, and its sequel DALEKS INVASION EARTH 2150, is not a 900-year old nameless Timelord from the planet Gallifrey as in the show, but simply a daffy old human scientist named Dr. Who who’s invented a machine to travel through space and time. These changes are probably the reason why these films aren’t really recognized as proper Doctor Who amongst the show’s die-hard fans. Cushing plays the character as a kindly, absent-minded grandfather, similar to the character he would later play in AT THE EARTH’S CORE and a lighter portrayal than what the TV actors were known for. The story had Dr. Who and his companions encountering the metal monsters known as the Daleks on the lost planet of Skaro and was aimed squarely at the family adventure crowd. It was fun and colorful, yet never campy. Still, the show’s fans hated it at the time, though their opinion has softened over the years. DALEKS INVASION EARTH 2150, released the following year, was darker and a bit more serious, and is considered to be a superior sequel.

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       7. Reverend Blyss

In Hammer’s NIGHT CREATURES (1962) we get a look at how well Peter Cushing could play a part portrayed by another good actor around the same time period.  About a year after Night Creatures was released to theaters Walt Disney broadcast The Scarecrow, an early miniseries, on Disney’s Wonderful World of Color.  Both productions tell essentially the same story, a tale of smuggling, secret identities and piracy based on stories written by Russell Thorndyke. Cushing is simply terrific as Dr. Blyss, the British title of Hammer’s production, a smarmy, self absorbed vicar in the tiny hamlet of Romney Marsh (he admits at one point his favorite topic of conversation is himself!)  The vicar has a secret, he is really Captain Clegg a notorious pirate and now smuggler and many of the small town’s men are his own pirate crew.  Patrick McGoohan played the same character in Disney’s beloved production under the character’s original name, Dr Syn.  Both versions are excellent and are fine examples that show there is more than one way for good actors to play an engaging part.  Just for more contrast there is a version from the 30s called Dr. Syn, with George Arliss, which is also a nice production.

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  • 6. Arthur Grimsdyke

When the great Mr. Cushing wasn’t haunting the hallowed halls of Hammer Studios he was often found at nearby Amicus Studios lending his considerable talents to their line of horror anthology features. In their biggest box office hit TALES FROM THE CRYPT, based on the much beloved EC comics line of the 1950’s, Peter was cast not as a demented doctor or an intrepid investigator, but finally got the full make-up treatment and played a monster, albeit a very sympathetic one. Comics originators Bill Gaines and Al Feldstein always said that the dead rising from the grave to exact revenge on their tormentors in life was their favorite type of spook story and such is the tale of Arthur Grimsdyke (a much better moniker than Abner from the original 1952 “Haunt of Fear” page-turner). For much of this segment (one of five in the 1972 flick) Cushing played a kindly, gentle character which, by many accounts, was much like the actor himself. Arthur rescues broken toys from the trash (he’s a long-time city worker), repairs them and gifts them to the neighborhood kids when not taking in stray dogs. This helps fill his days after the passing of his beloved wife. The fact that Cushing himself had lost his dear Helen after nearly 30 years of marriage (this was the first film he had done after a several month break to mourn) gives the scene of Arthur trying to talk to his wife via a “spirit board” an extra emotional heft. Unfortunately, the across the street neighbor lusts after his property and begins a campaign  to get Arthur to vacate. The sequences of him losing his dog, his job, and his young “mates” (the helpful neighbor invited the local “mums” to tea and warn them about that “filthy old man”) are wrenching. The final straw is on Valentines Day as Arthur is stunned to receive a bundle of cards from the postman. But each one contains a cruel, taunting poem, courtesy of said neighbor. Your veins may be full of ice water if you aren’t moved by Cushing’s excellent work here. He goes from euphoric to bewildered to deflated in just a few seconds of screen time as he reads them aloud. This pushes him over the edge and sets up one of the film’s greatest images after a flash forward as the year-old corpse of Grimsdyke claws out of the grave. Kudos to make-up master Roy Ashton in giving us a ghoul worthy of original comic artist “Ghastly” Graham Ingles. Arthur’s sublime rhyme crime (couldn’t resist) is a memorable capper to the segment. Prior to this film we knew that Cushing could shiver our spines, but with this superb performance he proved he could also touch our hearts.

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  • 5. Sherlock Holmes

In 1959, riding high with their successes reviving Frankenstein and Dracula, Hammer Studios turned to one of the greatest detective stories ever written, A. Conan Doyle’s THE HOUND OF THE BASKERVILLES.  It is said that the Sherlock Holmes character has been filmed more than any other, so it probably seemed like a grand idea to employ the formidable resources of Hammer to bring arguably the best Holmes story to life.  The result was not only one of the best Hammer films, but also one of the best Sherlock Holmes movies of all time.  Hammer brought their A-team to film the tale; director Terrence Fisher had already helmed Hammer’s reboots of Dracula and Frankenstein, with the Mummy soon to follow.  Hammer’s dynamic duo of Cushing and Christopher Lee signed on to play Holmes and Sir Henry Baskerville, respectively.  Add to these credits Hammer’s stable of production personnel, and the result is a prime example of the studio in its glory days, with a sumptuous musical score, outstanding sets and costumes, and atmospheric cinematography—the first Holmes story ever filmed in color.  While some of the original book’s details were modified to augment the more Gothic and horrific elements of the story, the movie as a whole is a faithful adaptation.  For his part, Lee was given the rare opportunity to play a romantic lead, which he relished—especially given the beauty of his costar, Marla Landi.   Lee also once remarked that a difference between he and Cushing—and perhaps a key to their onscreen chemistry—was that he used a more economical style of acting, whereas Cushing was more energetic.  Lee never moved or made an action unless it was necessary to the performance, while Cushing utilized constant motion and activity to enhance his portrayals.  This quality serves Cushing well as Holmes, whether he is gesturing or walking about a room, he is in constant motion to show that a brilliant mind is capable of attending to both physical and mental chores with equal acuity.  Cushing also uses his physical presence to display Holmes’ sometimes aggressive nature, by standing a bit too close to other characters when interrogating them.  Cushing is so immersed in the portrayal that he doesn’t need to resort to disguises and subterfuge to gain an advantage in this investigation.  Cushing is at times rude, reticent, or overbearing to not only accentuate the eccentricity of the classic character, but also to fool the audience into believing a character trait when the opposite is true.  Unfortunately, audiences at the time were possibly oversaturated with Holmes, and the film fared poorly at the box office (the classic Basil Rathbone portrayals of Holmes were still relatively fresh, with the last Rathbone Holmes  film released just a dozen years before Hammer’s version, to say nothing of the numerous 1950s television portrayals by Rathbone and others).  As a result, a planned series of Holmes films starring Cushing never materialized.  This is sad news for movie lovers, because with his precise diction, hat, and pipe, it’s elementary that Cushing was one of the very best incarnations of the world’s greatest detective.

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  • 4. Gustav Weil

“The Gentleman of Horror” may be best known to fright fans as Baron Von Frankenstein or Dracula’s nemesis Van Helsing, but Cushing created just as memorable of a character with the terrifying Gustav Weil. The Hammer film TWINS OF EVIL arrived later in the British studio’s run of classic horror films. It’s considered the first in a loose trilogy of films called The Karnstein Trilogy; all of which stem from the erotic vampire novel CARMILLA. The family of vampires featured in the series is known for their ability to be able to walk around in the daylight and for their insatiable lust for the female flesh. Eliminating lesbian vampires is no easy task, but Gustav Weil’s main objective in TWINS OF EVIL is precisely that. In all seriousness though, Cushing plays the puritanical leader of a religious order called “The Brotherhood” with maniacal zeal and brutal intensity.  You would hate the character all the more if it weren’t for a few scenes where you see that he may actually have a heart underneath his questionable ‘rule with an iron fist’ demeanor.  He says to his wife in one scene, “I have tried always to be a good man.”  Her response speaks to the essence of the character: Yes . . . you have tried. The character of Gustav Weil only appeared in TWINS OF EVIL. Cushing was meant to play a different vampire killer in all three of the Karnstein films but had to bow out of LUST FOR A VAMPIRE due to his wife’s illness and subsequent passing.  It’s been widely discussed by some of his costars that Cushing was nothing more than a kind gentleman on the set between scenes.  That kindness is nowhere to be found on-screen in Cushing’s take on the evilness that can reside in religious fervor.

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  • 3. Grand Moff Tarkin

A long time ago in a galaxy far, far away . . . . Peter Cushing portrayed one of the most intimidating figures in the galactic universe. Not just anybody can raise his or her voice to the supremely evil Darth Vader and scold him for force-choking someone. But that is exactly what Grand Moff Tarkin does in his very first scene in George Lucas’ original sci-fi classic. With his never changing stern expression and icy stare, Cushing commands every scene he’s in, which is actually only a handful of short scenes in the entire 121 minute film. Lucas was originally thinking that Cushing would play the part of Obi -Wan Kenobi – a part eventually given to Sir Alec Guinness – before having him play the small but integral role of a General in the Galactic Empire and commander of the Death Star. His prescience is felt on the Death Star as he plays a central part in the interrogation of Princess Leia. The character has become so popular with fans of the STAR WARS series that a younger version of him can be seen in EPISODE III- REVENGE OF THE SITH and for THE CLONE WARS animated tv series. Outside of his horror films with Hammer Studios, many remember Cushing the most for this small but pivotal role.  Who needs more than 10 minutes of actual screen time when you get to deliver such juicy lines as, “We will then crush the rebellion with one swift stroke.”

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  • 2. Professor Van Helsing

Peter Cushing’s signature role aside from the obsessed corpse-stealing Baron (who was really more of a monster than any of his experiments) was this horror hero created by Bram Stoker. Cushing essayed some version of vampire slayer Van Helsing in five films, as opposed to his six outings as the demented doctor. Let’s start with the first and best outing, 1958’s HORROR OF DRACULA. This is a more dynamic slayer than Edward Van Sloan’s slow-moving professor who faced Bela Lugosi in the 1931 DRACULA. Cushing gives us a determined crusader who’s not intimidated by the locals as he searches for Harker in 1885. Later we get a bit of whimsy as his servant is confused by Van Helsing’s use of an early version of a dictaphone (“I thought you were talking to someone” “Yes, I was talking to m’self”). But he’s all business as he meets the Holmwoods and see that Harker’s fiancée Lucy has been visited by the Count. Later the doctor is in full action hero mode as he swoops in to save Arthur and his little daughter Tania from a deadly kiss from his undead sister (love the cross searing into her forehead!). Then there’s the softer side of our hero as he gently comforts the shaken child ( Giving her a cross necklace “Will you wear this pretty thing?’ and bundling her up in his coat “You look like a Teddy bear”). But his best (and most physical) work is saved for the film’s fabulous finale. After a furious horse carriage chase, Van Helsing finds Count Dracula (Christopher Lee) attempting to hide from the approaching dawn. The two struggle and the doctor appears to pass out from the Count’s vise-like grip. But as the vampire leans in, fangs ready to strike, Van Helsing’s eyes burst open (ah, playing possum!). He’s able to push the fiend off of him, hop on to a long table, and leap to a curtain (like a classic film swashbuckler), ripping it away to reveal the streaming sunlight. But that’s not all! As Dracula tries to crawl away from those killing rays, Van Helsing stops him in his tracks by grabbing a pair of candlestick holders and using them as a cross to keep him at bay. Supposedly Cushing himself came up with many of the stunts, making for one of Hammer’s most thrilling hits (I saw it while pk彩票 from school sick, catching it on the local TV morning move. I was practically bouncing off the walls during the last moments, adrenaline destroying that flu bug!). Of course, the studio would have to make a sequel, but it didn’t feature the Count (Lee wouldn’t don the cape and teeth again for several more years). Instead 1960’s THE BRIDES OF DRACULA stars Cushing once again as Abraham Van Helsing who tracks down a disciple of Dracula, Baron Meinster. We get to see the doctor early on as an almost fatherly figure to the innocent Marianne, the Baron’s intended victim. In order to protect her, he must do his job, first having to dispatch the tragic mother of the Baron (she actually tries to hide her fangs). The film’s high point is the big throw-down between the doctor and Meinster. But this has a much different outcome than the battle from the last film. Thanks in part to his crazed, still human, servant Greta, the Baron knocks out the doctor and bites him! When Van Helsing awakes, he sees the throat marks in a mirror. Cushing registers shock, despair, and resignation within seconds of his realization. But then his determination kicks in as he grabs a horseshoe maker’s tool from a blazing brazier (the fight was in a stable) and sears it into the wound. Before he passes out once more, he splashes his smoldering neck with holy water. The bite marks disappear and Van Helsing recovers in time to destroy Meinster using a windmill.  It would be a dozen years before Cushing would return as the doctor in DRACULA A.D. 1972. This entry veers away from Hammer’s series as it opens in 1872 with  Lawrence (?) Van Helsing and Dracula battling on top of a careening stagecoach. When it crashes, the Count (Lee again) is impaled on a broken wagon wheel. The doctor uses all of his strength to push Dracula on to the spikes, before he dies of his injuries. In the then modern year of 1972, the vampire lord is resurrected and sets his sights on Jessica, granddaughter of Professor Lorrimer (Cushing ) Van Helsing. The film focuses on the current “grooovey” trappings and gives Cushing little to do until the big rescue finale. The intervening years had taken a toll on the actor, and besides the opening sequence, there’s little action work. But the prof would be back next year in THE SATANIC RITES OF DRACULA with Jessica now a member of the British Secret Service  investigating an occult high society club and a plot by Drac to unleash a new plague (is he trying to destroy his own food supply?). Again, Cushing is kept out of much of the pseudo 007-style action until he must, once again, rescue his granddaughter from Drac in the big finale. The film’s highlight may be a conversation between Lorrimer and the mysterious D.D. Denham who is, in reality,the Count. In order to keep up the ruse, a harsh light is trained on the prof”s eyes while Dracula speaks in a heavy accent (Lee almost seems to be mimicking Lugosi). It was back to the past for Cushing’s final slayer role in the following year’s THE LEGEND OF THE 7 GOLDEN VAMPIRES. This co-production between Hammer and Hong Kong’s Shaw Brothers Studio set in 1904 finds him as Professor Lawrence Van Helsing (could he be the son of Abraham? A nephew?) enlisted to help a rural village in Chinapk彩票 destroy the title menace. Cushing stays out of most of  the martial arts mayhem (yup, it’s the first kung-fu vampire flick), but goes into action in the final moments when it’s revealed that Kah the High Priest behind the seven is really (of course) Count Dracula in disguise. But Lee bowed out of this hybrid and actor John Forbes-Robertson is on the receiving end of Cushing’s spear. In five films over the course of sixteen years, Peter Cushing made this unstoppable adversary of evil one of the movies’ most dynamic, enduring heroes.

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  • 1. Doctor Frankenstein

While Peter Cushing mastered the role of hero with his portrayals of Dr. Van Helsing, it was his performances as the villainous Baron Victor Frankenstein that launched him to horror film immortality. Over the course of six films for Hammer studios, all but one directed by Terence Fisher, Cushing showed how a man can evolve into something truly evil because he is obsessed with the desire to bring life back to a corpse. In CURSE OF FRANKENSTEIN (1957), the Doctor embarks on his life-long quest to be the first human being to create life. But, as in the sequels, the real monster is Victor Frankenstein, a man who becomes consumed first by ambition, then arrogance, and eventually madness. Cushing’s portrayal of Frankenstein however, makes this monster personable and likable – the viewer almost wishes at times that he succeeds in the end. Although Baron Frankenstein seemed to pay for his sins against man and nature with his life at the end of the first film, Hammer and director Fisher nonetheless managed to save him for the intelligently written and solidly directed sequel THE REVENGE OF FRANKENSTEIN (1958). Assuming a new identity and becoming the director of a hospital for the poor, he builds a body for his crippled assistant (Michael Gwynn) from parts plucked from his patients. Unfortunately, body battles mind for supremacy and transforms the man into a shuffling, murderous cannibal. Cushing plays the Baron much more heroically and makes him less villainous than in Curse, however he doesn’t take the edge away. In THE EVIL OF FRANKENSTEIN (1963 – the only film in the series not helmed by Terence Fisher but by Freddie Francis) the monster (Kiwi Kingston) is a flat-top Karloff clone that lumbers about and growls a lot.  Although not as memorable as Christopher Lee’s creature in CURSE OF FRANKENSTEIN, this monster does give Mr. Cushing plenty of opportunity to use his athleticism.  The Baron chases, leaps on, and actually tangles with this beast, at one point using a burning lamp to fend him off. Many of the movie’s trappings are lifted directly from the Universal Frankenstein series— the monster frozen in ice, the return to the ransacked castle, the exploding lab at the movie’s end, making the film seems like an anomaly in the Hammer series. FRANKENSTEIN CREATED WOMAN (1967) is one of the most unusual Hammer films. Although ostensibly a horror film, it is probably better described as a gothic romance and as such, it ranks among most intelligent of all Frankenstein films. Here the doctor isn’t creating a patchwork man, but instead a beautiful woman (played by tragic beauty Susan Denberg) and attempting to inhabit her body with a soul. The story is a peculiar one, but it has all the elements of a great gothic tale – dark secrets, tragic love, and ultimate justice. FRANKENSTEIN MUST BE DESTROYED (1969) is the one film where Peter Cushing plays the Baron as an utter villain – a blackmailer, rapist, murderer, and ruthless tyrant.  In order to continue his experiments, the Baron blackmails a young couple into helping him abduct a brilliant but mad brain surgeon from the lunatic asylum so that he can operate on him, cure his sanity and transplant his brain into another body. FRANKENSTEIN MUST BE DESTROYED is the most unpleasant, yet suspenseful film in the series.  In FRANKENSTEIN AND THE MONSTER FROM HELL (1973), Victor Frankenstein has shorn his old identity and taken control of an insane asylum that serves as a source of parts for his continuing experiments. With the help of a young medical student who has read Frankenstein’s 20-year-old texts on his early efforts, Frankenstein creates a creature (David Prowse) from parts of the inmates. The dark crowded asylum where the story takes place serves as the perfect mirror for Frankenstein’s mental state and Cushing’s intense and forceful performance of this man now lost in insanity is mesmerizing. Although Hammer Studios was in its waning days, this final reunion for Cushing and Terence Fisher, who together launched Hammer’s gothic dynasty with CURSE OF FRANKENSTEIN, was a worthy end to their collaborations.

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pk彩票|pk彩票网|pk彩票官网|&Bruce Willis in SURVIVE THE NIGHT Coming to Blu-ray and Digital July 21st http://www./pk彩票/05/bruce-willis-in-survive-the-night-coming-to-blu-ray-and-digital-july-21st/ http://www./pk彩票/05/bruce-willis-in-survive-the-night-coming-to-blu-ray-and-digital-july-21st/#respond Tue, 26 May pk彩票 23:28:54 +0000 http://www./?p=274341 From an executive producer of Live Free or Die Hard and A Good Day to Die Hard comes the tense pk彩票 invasion thriller with shocking twists Survive the Night, arriving on Blu-ray (plus Digital) and DVD July 21 from Lionsgate. This film is currently available On Demand. Chad Michael Murray and Golden Globe® and Primetime Emmy winner Bruce Willis (Golden […]

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From an executive producer of Live Free or Die Hard and A Good Day to Die Hard comes the tense pk彩票 invasion thriller with shocking twists Survive the Night, arriving on Blu-ray (plus Digital) and DVD July 21 from Lionsgate. This film is currently available On Demand.

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Chad Michael Murray and Golden Globe® and Primetime Emmy winner Bruce Willis (Golden Globe: 1987, Best Actor – Television Series, “Moonlighting”; Primetime Emmy: 2000, Best Guest Actor, “Friends”) star in this film about a disgraced doctor (Murray) and his family who are held hostage at their pk彩票 by criminals seeking immediate medical attention, on the run from a robbery gone awry. The Survive the Night Blu-ray and DVD will be available for the suggested retail price of $21.99 and $19.98, respectively.

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Screen legend Bruce Willis (Die Hard franchise) drives the action in this gripping pk彩票-invasion thriller. After two brothers commit a robbery that goes wrong, one of them, Mathias, is mortally wounded, forcing sibling Jamie to stalk a trauma doctor named Rich (Chad Michael Murray, “One Tree Hill”) from the hospital to his pk彩票. While holding Rich’s wife and daughter hostage, Jamie forces Rich to operate on Mathias. For the family to survive the night, Rich must team up with his estranged tough-as-nails father, retired sheriff Frank (Willis), in order to gain the upper hand and turn the tables on the criminals.  

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pk彩票|pk彩票网|pk彩票官网|&Happy Birthday to PAM GRIER – Here Are Her Ten Best Films http://www./pk彩票/05/happy-birthday-to-pam-grier-here-are-her-ten-best-films/ http://www./pk彩票/05/happy-birthday-to-pam-grier-here-are-her-ten-best-films/#respond Tue, 26 May pk彩票 16:28:08 +0000 http://www./?p=274285 Article by Jim Batts, Dana Jung, Sam Moffitt, and Tom Stockman Happy Birthday to one of WAMG’s favorite movie stars! Pam’s iconic movie career began when she moved to Los Angeles in the late ‘60s from her native North Carolina at age 18. After a tiny role in Russ Meyer’s BEYOND THE VALLEY OF THE DOLLS […]

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Article by Jim Batts, Dana Jung, Sam Moffitt, and Tom Stockman

Happy Birthday to one of WAMG’s favorite movie stars! Pam’s iconic movie career began when she moved to Los Angeles in the late ‘60s from her native North Carolina at age 18. After a tiny role in Russ Meyer’s BEYOND THE VALLEY OF THE DOLLS (1970), she landed a job as a receptionist for American International Pictures where she was discovered by Jack Hill, an AIP director who cast her in a pair of women’s prison films: THE BIG DOLL HOUSE (1971) and THE BIG BIRD CAGE (1972). Soon she was known as the “Queen of Blaxploitation” at a time when film roles for African-American women were, as Grier puts it, “practically invisible, or painfully stereotypical”.

Here, according to We Are Movie Geeks, are Pam Grier’s ten best films.

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Honorable Mention: GREASED LIGHTNING

GREASED LIGHTNING is a biographical film about Wendell Scott (Richard Pryor) the first African American to drive in Nascar races.   As you would expect, especially in a 1970s movie, the Anglo Americans are not too happy about Scott’s ambitions and do everything possible to stop him.   Pryor is excellent in a rare dramatic role and Beau Bridges is good as a white mechanic who is open minded enough to help him out.  Pam Grier does quite a lot with a role that could have been by the numbers, Scott’s wife Mary.   She is nothing less than a tower of strength for Scott when the odds seem impossibly stacked against him.   Greased Lightening was not a bit hit when it was released and it is pretty much forgotten these days.  I saw it in a theater during my tour of duty in the Navy and showed it on my tv station, it was quite popular with the crew, black and white. It deserves to be better known.

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10. MARS ATTACKS

Bouncing back from the lukewarm box office return of ED WOOD, Tim Burton decided to bring another beloved childhood icon to the big screen. But rather than grabbing up another character from comic books, as with his pair of BATMAN films, he turned to trading cards. These adored (by kids) “bubblegum” cards told the grisly story of alien invasion in MARS ATTACKS! Burton filled the movie with well-known names, an all-star cast in the tradition of Irwin Allen’s 70’s disaster epics. The main story locales were Washington D.C. and Las Vegas, and Pam Grier’s character was connected to both. In “sin city” we meet former prizefighter turned greeter/ entertainer Byron Williams (Jim Brown) at an Egyptian-themed casino. As his boss glares, Byron makes a call to DC, where his ex-wife Louise (Grier) is trying to pry their pre-teen boys Cedric and Neville away from a “shooter” video game. He assures her that he will be visiting them soon (still a lot of affection between these two). We next see Louise on the job, driving a public transit bus through the busy streets of the capitol. She spies her sons at a video arcade, and slams on the brakes. She will not tolerate them skipping school, so she drags them out of the arcade and loads them on to the bus as the very understanding passengers applaud and cheer. In this film, the glamorous action icon
gets to show her maternal side. She’s a concerned loving parent, and that love can be of the “tough” variety when crossed. The no-nonsense matriarch will set those two back on the “straight and narrow’, no doubt about it. Unfortunately she’s sidelined during the Martian attack on DC, pleading with Byron long distance while admonishing their sons to take cover (I’m sure she could wipe out a platoon of those bulbous-headed bums). When the invaders are vanquished, Louise enlists the boys in trying to tidy up their apartment (though the building’s missing a wall), just as Byron returns. Later that year Grier and Brown would share the screen more in ORIGINAL GANGSTAS (a nostalgic return to their screen roots), but both are a welcome addition to this sci-fi satire extravaganza.

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9. FORT APACHE THE BRONX

As the 1970’s came to a close, Pam Grier entered a new phase of her prolific career. Using an academic metaphor, she graduated from Grindhouse High to Big Budget University. Perhaps the 1980’s was closer to baseball as Ms. Grier was called up to the big leagues AKA major movie studios from the quickie, but very entertaining, exploitation minor leagues. 1981’s FORT APACHE: THE BRONX was an “A-list” prestige picture from Twentieth Century Fox headline by a major movie star, Paul Newman, and a very hot TV star Ed Asner, grabbing big ratings as the lead of “Lou Grant”. Though she shared no scenes with either, Grier was an essential part of Daniel Petrie’s gritty modern-day police drama. She truly sets the tone for the story in the first scene, as drug-addled working girl Charlotte emerges like a tawdry phoenix from the rubble and filth of the Bronx. Sporting a cheap blonde wig and nearly bursting through a fluorescent print cocktail dress, she elicits chuckles from two cops having lunch in a patrol car, as she staggers toward them. Their laughter is soon cut short when their banter (she slurs, “Ahm’ on the job, too”) prompts her to unload her pistol into them. She stumbles back into the city’s squalor while human vultures descend on the squad car. We catch a brief glimpse of her later during a street riot. She returns in the dark of night when a middle-aged “joe’s” car has a flat . Appearing out of the shadows, Charlotte is a modern siren, luring the man to the rocks, actually a nearby rotting tenement, with the promise of free fleshy delights. In one of the film’s most memorable sequences, she begins a teasing dance of temptation, one that ends not in pleasure, but in slashing bloody horror from a razor blade, clenched behind her teeth, glistening as she smiles. Things backfire with her next prey, as Charlotte become yet another discard piled upon the urban trash heap. Grier’s screen time is far too brief, but her “angel of death” is a most compelling, charismatic presence.

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8. SCREAM BLACULA SCREAM

SCREAM BLACULA SCREAM (1973) was a funky and fun, if rushed, sequel to the hit BLACULA, which brought Vampires into Blaxploitation cinema for the first time the year before. The success of BLACULA  spawned a bunch of other Blaxploitation/Horror hybrids, such as BLACKENSTEIN, DR. BLACK AND MR. HYDE, and ABBY – THE BLACK EXORCIST. SCREAM BLACULA SCREAM once again delivered a groovy 70s vibe, and the distinguished William Marshall was more than cool in the eponymous role. What makes this film especially worthwhile was the casting of  the wonderful Pam Grier as Lisa Fortier who becomes the new voodoo priestess after her elderly predecessor dies, though not before using her skills to resurrect Prince Mamuwalde  (aka Blacula). As in the first film, Mamuwalde is not really a villain, but merely a tormented soul who cannot help but satisfy his thirst for human blood in order to survive. Soon after his resurrection, he runs into Lisa, a beautiful young woman who has particularly powerful Voodoo-skills. The whole thing is strange and ridiculous and stupid and clever and terrible and wonderful, a movie that richly deserves its place on a list of Pam Grier’s best.

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7.  SOMETHING WICKED THIS WAY COMES 

The writing of Ray Bradbury is notoriously hard to capture on film. Some adaptations are almost complete disasters, Illustrated Man anyone?   Truffaut’s Fahrenheit 451 is one exception and Something Wicked this Way Comes (1983) is another.   Bradbury was one of the first authors to realize the basic creepiness of carnivals and circus’s.  Along with Jack Finney’s brilliant Circus of Dr Lao, Something Wicked This Way Comes tells of a carnival coming to a small town where in something sinister is happening.  Among the attractions at Cooger and Dark’s Pandemonium Shadow Show  (I love that name!) is the Dust Witch, played with such elegance and grace by Pam Grier I found it hard to believe this was the same woman who made whupping ass an everyday activity.  The Dust Witch has very dark magic at her command, but Something Wicked is the rare horror movie, especially from the 1980s, where good wins out over evil.

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6. THE BIG DOLL HOUSE 

In 1971, cinematic history was made with the release of THE BIG DOLL HOUSE, directed by Jack Hill and co-starring Pam Grier in her first feature role.  Hill had been recommended to producer Roger Corman by Francis Ford Coppola, Corman’s first choice to direct the film and a friend of Hill’s from UCLA film school.   Corman had just formed his New World Pictures studio and wanted proven types of stories with guaranteed box office.  He got more than he bargained for with DOLL HOUSE, which not only was a huge financial success, but also established the blueprint for “women in prison” exploitation films for decades to come.  Dispensing with the previous melodramatic storylines in such big studio product as CAGED and SNAKE PIT, Hill instead opted for more realistic, sometimes graphic situations.  He also determined to put his women characters in roles of power, just as if the film starred Cagney or Bogart.  These were real females who swore profusely, had a healthy regard for sex, and weren’t afraid of automatic weapons.  Hill also gathered a memorable ensemble of young actresses to surround Pam:  Roberta Collins (CAGED HEAT, DEATH RACE 2000), Judy Brown (WILLIE DYNAMITE, SLAUGHTER’S BIG RIPOFF), Brooke Mills (DREAM NO EVIL), and Pat Woodell (miles away from her role as the original Bobbie Jo on TVs PETTICOAT JUNCTION).   The film hits all the obligatory exploitation marks (shower scene, torture scenes, girlfights, etc.) and Pam even gets to sing the main title song  “Long-time Woman” for the movie.  When Corman asked Hill to do a sequel to DOLL HOUSE the following year, there were already cheap imitators and rip-offs flooding the drive-in market (Grier herself had made WOMEN IN CAGES right after DOLL HOUSE), so Hill decided to create a semi-spoof of the genre and wrote THE BIG BIRD CAGE with a starring role for Grier (fun fact:  the “cage” of the title was a working sugar mill designed by Hill’s father, who also designed the castle at Disneyland!).  Whether seen as feminist manifesto (“All men are filthy!”) or no-holds-barred cult film with kick-ass women, BIG DOLL HOUSE is a blast from start to finish and required viewing of 1970s cinema.

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5.  DRUM 

Any movie that finds Pam Grier in bed with Warren Oates has to be considered a must-see 70’s classic. MANDINGO, a 1975 movie about sexual shenanigans between masters and slaves on the Falconhurst slave-breeding plantation, was savaged by critics who saw it as nothing but degrading, big-budget exploitation. Roger Ebert called it “racist trash” and MANDINGO certainly had it all; brutal violence, interracial sex, rape, infanticide, lynchings, and abundant nudity.  But of course it was a huge hit and inspired a brief run of “slaverysploitation” films such as PASSION PLANTATION (1976) and SLAVERS (1978). MANDINGO was overwrought melodrama to be sure, but it’s a model of subtlety compared to its official sequel, the more lascivious DRUM, a mean-spirited trash epic from 1976 that would never fly in today’s politically correct climate. DRUM’s tawdry story picks up about 20 years after MANDINGO. Hammond Maxwell (Warren Oates), the son of the late Falconhurst patriarch Warren Maxwell purchases a slave named Drum from bordello hostess Marianna (Isela Vega). Drum turns out to be the son of Mede (killed at the end of MANDIGO), the slave who had murdered Hammond’s father. Hammond uses Mede and his friend Blaise (Yaphet Kotto) to fight in ridiculous gladiator battles as entertainment for the ‘white folk’. Slave Regine (Pam Grier) is Hammond’s favorite ‘bed wench’ but develops a romance with Drum. Hammond’s bratty slut daughter Sophie (Rainbeaux Smith) stirs up trouble between Drum and Blaise by trying to have sex with both of them and then lying to her father that Blaise tried to rape her and a campy gay French slave trader (John Colicos) wants to bed black stud Drum as well. Tensions build, emotions erupt and by the end of the movie, a mansion is on fire, the black slaves have revolted    against the ‘mastas’ wielding scythes and knives, while the white men battle it out with their muskets and rifles. Where MANDINGO was at least pretentious and literary (and had a dignified performance by James Mason as Warren Maxwell), DRUM makes no pretense at being anything except cheap thrills exploitation and ups the sleaze quotient by adding lesbianism, incest, castration, and a swishy gay villain to the mix. DRUM is more fast-paced and entertaining than its predecessor.

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4.  BLACK MAMA WHITE MAMA

Inspired by Stanley Kramer’s THE DEFIANT ONES (starring Sidney Poitier and Tony Curtis), BLACK MAMA WHITE MAMA (1973) has no thematic pretensions concerning racism and social inequality.  This is first and foremost a women’s prison exploitation film, and contains all the required elements that sub-genre is known for.  The first third of the film takes place in the prison, where hot-tempered prostitute Lee (Grier) meets idealistic activist Karen (Margaret Markov), and the women take an immediate dislike to each other.  So of course, they end up chained together for most of the film.  However, they first have to deal with the usual women’s prison indignities including the wonderful Lynn Borden as a predatory lesbian guard.  Soon, the jailbreak is on, and most of the film is Lee and Karen on the run from gangsters, dogs, revolutionaries, corrupt cops, and vile locals.  Pam has some wonderful dialogue that she delivers with angry and bitter sassiness, and Markov balances the tone with her luminous political fervor.  The inevitable fight between the two is a highlight of the movie, as Pam found with Markov another statuesque and strong woman who could match her physicality (the two actresses would work together again a few years later in THE ARENA, another ‘70s classic).  Directed by Eddie Romero (the cult films SAVAGE SISTERS, BEAST OF BLOOD, TWILIGHT PEOPLE), the movie is a lean action treat with a darkly cynical ending.

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3.  FOXY BROWN

FOXY BROWN (1974) is a wild story of sex, drugs, and vengeance featuring Pam Grier in probably her most iconic role. When drug pusher Link Brown (Antonio Fargas) loses half a kilo of cocaine worth $20k, his suppliers become irate and send two thugs to work him over. Desperately needing help, he calls his sister Foxy (Pam Grier) to rescue him from the two goons. She manages to get to him before they can grab him and puts him up at her place for a few days completely unaware of the exact nature of his predicament. In addition to that, her boyfriend (Terry Carter) is an undercover cop who has just undergone a face-lift and assumed a new identity because the same suppliers have a contract out on his head. Things begin to take a turn for the worse and Foxy Brown suddenly has a score or two to settle with some major league drug dealers. FOXY BROWN was written and shot to be a sequel to director Jack Hill’s previous film, COFFY where Grier played a nurse with a bad attitude and a penchant for taking her aggression out on mother**kers who wronged her. For some reason, the studio forced Hill to make Foxy Brown stand-alone at the last minute, changing… well, nothing really. The opening credits to FOXY BROWN are like a funked-out version of a 007 intro with Foxy dancing around in front of multi-colored backgrounds, all the while rocking her outfits from the film. The title sequence employs almost every trick in the title design book, from image rotoscoping and solarization to multi-layered optical animation and colorization. One of the best scenes in FOXY BROWN has to do with one of Foxy’s friends, who, though she is supposed to be laying low (people need to “lay low” often in Foxy’s world), wanders into a lesbian bar and Foxy has to get her out. This lesbian bar needs to be seen to be believed. All of the women dress like teamsters, only more macho. And in a wonderful endorsement of equal rights, these female bar patrons are just as violent, rude, and prone to fight over nothing as any beer-belching men.

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2.  COFFY

When director Jack Hill was asked by American International Pictures to direct a “black woman’s revenge movie,” he immediately insisted on casting his favorite actress Pam Grier.  The resulting cult classic was COFFY (1973), which was a huge hit and helped launch the “blaxploitation” films of the 1970s.  It also contains one of Grier’s finest performances.  Grier portrays “Coffy” Coffin, nurse by day and angel of vengeance by night.  She is out to get anyone who was involved in turning her younger sister into a “smack addict at 11…..her whole life is gone!”  And Coffy doesn’t care how high up the junkie food chain she has to go – even to the top dog himself.  Along the way, she shoots, stabs, and fights her way on a one-woman rampage to rid the world of drug pushers and avenge her sister.  Hill wisely created the role of a woman with no special skills—she’s not a martial arts expert or professional assassin.  She is a strong, smart woman who relies on her wiles, intelligence, and, yes, her sexuality to help her achieve her goals.  However, she’s not just a killing machine; she wonders throughout the movie if she’s in some kind of dream—an allusion to the “dream state” that ancient warriors achieved before they went into battle.  In this early film, as she has her entire career, Grier shows why she’s a true star:   her unique blend of physically imposing power with a natural ability to show vulnerability and raw emotion.  At the end of the film, when she declares, “I loved you!  I loved you so much!” your heart breaks a little bit.

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1.  JACKIE BROWN

When JACKIE BROWN was released in 1997, expectations were off the charts. It had been three and a half long years since Quentin Tarantino had rocked the movie world with the one-two punch of RESERVOIR DOGS (1992) and PULP FICTION (1994). Tarantino had the clout to cast anyone he wanted for JACKIE BROWN (1997), the film he adapted from Elmore Leonard’s novel Rum Punch, and I’m sure most of Hollywood wanted to work with him, and he put together his usual imaginative ensemble of major players, 70’s comeback stars, and fresh blood. Pam Grier was the now-mature siren of Blaxploitation, the star of many wonderful 70’s urban classics such as COFFY (1973), BLACK MAMMA WHITE MAMMA (1973), FOXY BROWN (1974) and BUCKTOWN (1975). With her distinctive mega-fro, Grier was a statuesque, articulate ass-kicker in these films and Tarantino was a huge fan (she’s mentioned by name in his scripts for both RESERVOIR DOGS and TRUE ROMANCE). He’d originally considered Grier for PULP FICTION in the role ultimately played by Roseanne Arquette (which would have made her the mate of Eric Stoltz, an actor I can see Pam Grier breaking in half with two fingers), and changed the lead character in Leonard’s novel from a blonde Caucasian to an African-American in order to accommodate Grier (in the novel, her name is Jackie Burke. Tarantino renamed her Brown after her character from FOXY BROWN). Pam Grier was 48 when she starred in JACKIE BROWN (though her character claims to be 44) and she gives a strong world-weary performance, tough and believable especially when standing up to Samuel L. Jackson’s Ordell Robey. It’s been noted that JACKIE BROWN did not do for Grier’s career what PULP FICTION did for John Travolta but then, how many parts were there in Hollywood for black women pushing 50? Pam Grier did receive some choice roles after JACKIE BROWN including parts in John Carpenter’s GHOST OF MARS (2001), LARRY CROWNE (2011) as well as roles in the TV shows The L-Word and Smallville. JACKIE BROWN was the perfect mix of pulp fiction, Blaxploitation aesthetic, and film noir.

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pk彩票|pk彩票网|pk彩票官网|&Focus Features Announces Edgar Wright’s LAST NIGHT IN SOHO In Theaters Friday, April 23, 2021 http://www./pk彩票/05/focus-features-announces-edgar-wrights-last-night-in-soho-in-theaters-friday-april-23-2021/ http://www./pk彩票/05/focus-features-announces-edgar-wrights-last-night-in-soho-in-theaters-friday-april-23-2021/#respond Tue, 26 May pk彩票 15:24:39 +0000 http://www./?p=274329 Focus Features will now release Edgar Wright’s LAST NIGHT IN SOHO in theaters on Friday, April 23, 2021 domestically in North America.  See Edgar Wright’s tweet about the release date change.  Wright tweeted, “Haunted by someone else’s past, but we’ll see you in the future… It’s true, #LastNightInSoho is not quite finished yet due to Covid 19. But, I’m excited for you all to […]

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Focus Features will now release Edgar Wright’s LAST NIGHT IN SOHO in theaters on Friday, April 23, 2021 domestically in North America. 

See Edgar Wright’s  about the release date change. 

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Wright tweeted, “Haunted by someone else’s past, but we’ll see you in the future… It’s true, #LastNightInSoho is not quite finished yet due to Covid 19. But, I’m excited for you all to experience it, at a big screen near you, on April 23, 2021.”

It has moved off of September 25, pk彩票.  Universal Pictures International will release internationally.

About LAST NIGHT IN SOHO

The Edgar Wright directed, London-set psychological thriller stars Anya Taylor-Joy (Emma), Thomasin Harcourt McKenzie (Jo Jo Rabbit), Matt Smith (The Crown), Michael Ajao, Synnøve Karlsen, Diana Rigg, Terence Stamp, and Rita Tushingham.

Edgar Wright and Penny Dreadful scribe Krysty Wilson-Cairns co-wrote the screenplay, produced by Nira Park, Working Title’s Tim Bevan and Eric Fellner, and Wright. Focus Features and Film4 co-financed the film.

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pk彩票|pk彩票网|pk彩票官网|&ESPN 30 for 30: “LANCE” – Review http://www./pk彩票/05/espn-30-for-30-lance-review/ http://www./pk彩票/05/espn-30-for-30-lance-review/#respond Fri, 22 May pk彩票 13:50:47 +0000 http://www./?p=274269 “If you believe in miracles, if you believe in fairytales, then you believe in Lance Armstrong.”- Phil Liggett The sport of professional cycling has always been, for all intents and purposes, a “European” sport. Races with names like the Vuelta Espana, Giro d’Italia, Tour de Suisse, and the grand poobah of them all, Le Tour […]

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“If you believe in miracles, if you believe in fairytales, then you believe in Lance Armstrong.”- Phil Liggett

The sport of professional cycling has always been, for all intents and purposes, a “European” sport. Races with names like the Vuelta Espana, Giro d’Italia, Tour de Suisse, and the grand poobah of them all, Le Tour de France, have been around for 100 years.

In Europe. Watched by Europeans.

But that all changed in 1993 when a young American from Plano, Texas named Lance Armstrong won a stage in the Tour de France. Armstrong wasn’t the first American to have success in European cycling. Greg LeMond blazed the path before him, being the first American to win the prestigious race in 1986, going on to win it two more times in 1989 and 1990.  But LeMond didn’t spark the same excitement and influx of American fans to the sport the way that Armstrong did.

Lance Armstrong began cycling at a young age, and by the time he was 21, had turned professional. He had found success in many of the stages of the European races, and was on the radar of American fans. Diagnosed in 1996 at age 25 with advanced testicular cancer that had spread to his brain, lungs, lymph nodes and abdomen, it didn’t look good for his life, never mind his cycling career. But Armstrong fought, came back from the grim diagnosis, and miraculously resumed his cycling career. And this is what caught the imagination of American fans – that someone could make this kind of recovery and then go on to win the Tour de France, arguably one of the most difficult events in all of sports – just two short years later in 1999, his first of seven consecutive wins. Americans turned up in droves in Paris each of the years he raced, waving both American and Texas flags, in support of the new American hero.

And then there was Livestrong – the foundation started by Armstrong to help people navigate the healthcare system when it comes to cancer treatment and support. A foundation that raised nearly half a BILLION dollars and helped thousands and thousands of people worldwide. Lance Armstrong was invincible and it seemed there wasn’t anything he couldn’t do.

By now, everyone knows the monumental fall from grace and complete implosion of Armstrong’s career when, in 2012,  he was found guilty of cheating, or “doping,” during his cycling career, eventually being stripped of all seven Tour de France titles, and being banned from the sport for life.

In ESPN’s new 30 for 30 two-part documentary we finally get to see what has happened since 2012 and where Lance Armstrong is today. We also get to hear, in his own words, exactly what happened and the apologies it has taken so long for many of the people whose lives were ruined by the actions of Armstrong to finally get.

While there have been subsequent interviews since the implosion, most notably the Oprah interview, “Lance” shows a more humble, apologetic, honest and sincere Lance Armstrong. The film is peppered with interviews with everyone involved in Lance’s world during those years of doping and success, from former teammates and officials, to the whistleblowers and avowed enemies of Armstrong. And they all provide an amazing insight into what was the culture of professional cycling in those days, as well as the sometimes devastating outcome it held for some of them, in particular, fellow American cyclist, teammate, and head-whistleblower Floyd Landis (Landis was stripped of his 2006 Tour de France title for use of a banned substance), who was completely blacklisted from professional cycling, when other guilty riders were welcomed back with open arms. In one of the more heartbreaking interviews of the film, Landis talks about his life still being in ruins to this day, and for him, forgiveness of Lance Armstrong will never come.

At first glimpse, it seems like there are two camps – those who hate Lance Armstrong and those who don’t and are willing to forgive, or at least try to understand. But as a lifelong cycling fan because of Lance Armstrong, I was somewhere in the middle. I never hated Armstrong for what he did, but like many, I was so disappointed and devastated because I believed him for all those years. I believed the denials, and worse, defended Armstrong in many an argument with friends and family. Like many, I chose to believe that if “everyone is doing it,” how is it cheating, as the playing field is even? That was the easy part to reconcile. What wasn’t easy to reconcile is the way that Armstrong treated people. The bullying, the lawsuits, the threats, the lies – and Armstrong makes no excuses, saying “I was a f**ing asshole.”

If nothing else, Lance Armstrong is an extremely complicated human being with many layers to dig through. Director Marina Zenovich does a pretty thorough job of digging through those layers by letting everyone involved speak their own truth. And in that truth, there are glimmers of forgiveness, reconciliation and finally a coming to peace. When asked if, looking back, he would have done anything different if he had it all to do over again, Armstrong takes perhaps the less popular route and says no, because all of that was necessary to get him from there to the person he is today.

LANCE airs in two parts, Sunday, May 24th and Sunday, May 31st on ESPN.

4 out of 4 stars

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pk彩票|pk彩票网|pk彩票官网|&MILITARY WIVES – Review http://www./pk彩票/05/military-wives-review/ http://www./pk彩票/05/military-wives-review/#respond Fri, 22 May pk彩票 05:21:33 +0000 http://www./?p=274321 The upcoming holiday (in just a couple of days) may prove difficult to observe. Memorial Day was established (formerly Decoration Day) to remember and honor those who died while serving in the armed forces. But with the current crisis, group gatherings are discouraged (in some areas they’re outright banned for more than ten people), and […]

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The upcoming holiday (in just a couple of days) may prove difficult to observe. Memorial Day was established (formerly Decoration Day) to remember and honor those who died while serving in the armed forces. But with the current crisis, group gatherings are discouraged (in some areas they’re outright banned for more than ten people), and many might feel unsafe (social distancing and all that) at cemeteries, One option could be this new film that will be available for pk彩票 viewing (since most cinemas are still shuttered), a comedy/drama that’s inspired by true events (the main characters are composites while others are fictional). It’s all about a group of women, spouses of soldiers, who thought that a great way to honor those away (and support those behind) was to raise their voices in song. This new film is about a choir that inspired several groups around the world, all composed of MILITARY WIVES.


Nerves are on edge at the Flitcroft military base in England as several soldiers prepare to be shipped out to Afghanistan. Newly arriving during this tense time is Kate (Kristin Scott Thomas), wife of the just transferred (and soon to be deployed) company commander Richard (Greg Wise). She pops into the on-base post office/ general store and encounters (awkwardly) its manager Lisa (Sharon Horgan). After the troops depart, Kate decides that she must do something to lift the morale of the wives waiting for word. This puts her together with Lisa, who is the new chair of the base’s Social Committee. During a big meeting of all the spouses, Kate proposes many social and educational outings (museum visits, film appreciation night), while Lisa wants to just continue on with a weekly dinner potluck (including a big post and pre happy hour). Not wanting to encourage any tippling, Kate suggests forming clubs. The first meeting of the Knitting Club quickly devolves into a wine fest. Hearing of this, Kate decides to play a more active role and teams with Lisa on the Music/choral Club. While Kate promotes all manner of music formality (reading sheet scores, conducting, and singing the classics), Lisa wants to just print out the words and “wing it’ on several pop music anthems and ballads. Somehow after much “head butting” the choir sounds pretty decent. Actually, so good that one of the visiting commanders gets them an invitation to perform at the Royal Albert Hall in London for the annual Festival of Remembrance. Can this diverse group of women keep a cool head as the big concert day approaches? And will Kate and Lisa clash has the pressure increases?

The story’s focus and strength is the conflict between the choir’s duo directors, fortunately, they’re played by two exceptional veteran actresses. From the big screen (hard to believe that it was 34 years ago when she made her movie debut opposite Prince in UNDER THE CHERRY MOON), Thomas shines as the button-down, by the rules, no hair out of place, prim and proper Kate. But a lot of turmoil boils beneath her placid manner. We learn that she and Richard lost a son on the battlefield recently, as Kate insists that a final photo of him and his much-loved auto stay tacked to the fridge rather than in a frame on the wall (“Too formal”, she says, but perhaps it’s her rebelling against convention). Every morning she passes by that car as it fossilizes in the driveway. And what’s her secret way of coping with the grief (other than starting clubs and day trips)? Not booze or pills, but pk彩票-shopping TV. Yes, that gets a few laughs, but Thomas infuses a real life force into Kate making her more than a cliche straight man (well, woman). A formidable adversary, Lisa, is played by a comedy great mainly known for her small-screen work (she co-created and co-starred in Amazon Prime’s sublime sitcom “Catastrophe”), Ms. Horan, who masters the subtlest of “eye rolls”. We see that as Kate first invades her “sacred” retail space and runs “rough-shod” over her desire to just hang with her “lady-pals” and “get pissed”. She’s also hiding a secret, a crippling fear that the doorbell will ring, plunging her into widowhood and crumbling her “tough lass” armor. It’s her re-kindled love of music that lets her soar, even as her rebellious teen daughter Frankie (India Ria Amartelfio) pushes the boundaries, trying to grow up far too fast. To her chagrin Frankie has a bit of an ally in Kate, but it may be another way to annoy Mum. Quietly compelling is Amy James-Kelly as Sarah, another new addition to the base and a newlywed, who grasps for the choir rehearsal as a lifeline to take her mind away from the nightmares around her childhood sweetheart. In a lighter role, Lara Rossi gets lots of laughs as the camp hairdresser missing her wife along with any sense of tone and pitch, convinced that she’s placed in the very back due to her unique vocal stylings. And Wise is most compassionate and “rock solid” as a devoted hubby determined to pull his wife out of the quicksand of grief while controlling her aggravation at all the boxed useless merch filling every closet shelf (“Really, an inflatable mattress?”).

Director Peter Cattaneo utilizes a few elements of his biggest movie “crowd-pleaser”, THE FULL MONTY, mixes in some PITCH PERFECT toe-tapping tunes, and comes up with an inspiring female-empowering riff on the old “let’s put on a show” musical plots. The women stumble, fall, and get right back up, verbally “dusting each other” with praise and encouragement, especially for the painfully shy Mom who just “blows the roof off’ when she thinks nobody’s watching her (even warbling while blindfolded in rehearsal). Ah, but this isn’t a sweet and sunny, all’s swell cable TV fodder. That dreaded call does come for one member as they consider passing on their big showcase invite. This is a prelude to the film’s big emotional scene (in an action film it would be the “running toward the camera, from the approaching fireball) as Kate and Lisa pull no emotional punches in a verbal pummeling just before what should be the big night of triumph. Really, some lines will make you wince while thinking “Oh, she can never take that back!”. But it does lead to a most delightful, heart-wrenching climax tune that Cattaneo saves for the finale (no rehearsal bits) and plays out in “real-time”. Sure, he indulges in a few too many “getting it together” montages and dwells a bit too long on some boozy karaoke, but the bonding and building of friendships makes up for those indulgences. This leads up to a final pre-credit multi-screen collage that literally sends out MILITARY WIVES on a very sweet high note. Now there’s some impressive troop-support!

3 out of 4

MILITARY WIVES screens in select cinemas and is available as a VOD purchase on most cable and satellite systems. It’s also digitally streaming on most streaming apps and platforms along with HULU.

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pk彩票|pk彩票网|pk彩票官网|&Check Out The Inverted World Of Christopher Nolan In New TENET IMAX Trailer Starring John David Washington And Robert Pattinson http://www./pk彩票/05/check-out-the-inverted-world-of-christopher-nolan-in-new-tenet-imax-trailer-starring-john-david-washington-and-robert-pattinson/ http://www./pk彩票/05/check-out-the-inverted-world-of-christopher-nolan-in-new-tenet-imax-trailer-starring-john-david-washington-and-robert-pattinson/#respond Fri, 22 May pk彩票 02:10:39 +0000 http://www./?p=274313 John David Washington is the new Protagonist in Christopher Nolan’s original sci-fi action spectacle “Tenet.” Armed with only one word—Tenet—and fighting for the survival of the entire world, the Protagonist journeys through a twilight world of international espionage on a mission that will unfold in something beyond real time. Not time travel. Inversion. Warner Bros. […]

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John David Washington is the new Protagonist in Christopher Nolan’s original sci-fi action spectacle “Tenet.”

Armed with only one word—Tenet—and fighting for the survival of the entire world, the Protagonist journeys through a twilight world of international espionage on a mission that will unfold in something beyond real time. Not time travel. Inversion.

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©pk彩票 Warner Bros. Entertainment, Inc. All Rights Reserved.
PHOTO CREDIT: Melinda Sue Gordon

Warner Bros. Pictures is distributing “Tenet” worldwide and has slated the film for a July 17, pk彩票 release.

The international cast of “Tenet” also includes Robert Pattinson, Elizabeth Debicki, Dimple Kapadia, Aaron Taylor-Johnson, Clémence Poésy, with Michael Caine and Kenneth Branagh. Nolan wrote and directed the film, utilizing a mixture of IMAX® and 70mm film to bring the story to the screen.

“Tenet” is produced by Emma Thomas and Nolan. Thomas Hayslip served as executive producer.

Nolan’s behind-the-scenes creative team included director of photography Hoyte van Hoytema, production designer Nathan Crowley, editor Jennifer Lame, costume designer Jeffrey Kurland, visual effects supervisor Andrew Jackson, and special effects supervisor Scott Fisher. The score is composed by Ludwig Göransson.

“Tenet” was filmed on location across seven countries. Warner Bros. Pictures presents a Syncopy Production, a Film by Christopher Nolan, “Tenet.”

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©pk彩票 Warner Bros. Entertainment, Inc. All Rights Reserved.
PHOTO CREDIT: Melinda Sue Gordon

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