According to a poll reported on by Nikki Finke. Interestingly, all are from big name directors with pronounced visual styles, and the final one makes him the star of the movie. Chalk three up for the auteur theory.
Category: Horror Movies (Page 41 of 96)
Earlier this week, Michael Winterbottom’s film version of Jim Thompson’s pulp classic, “The Killer Inside Me,” provoked an angry reaction from some in the audience during the post screening Q&A. At issue: scenes of intense violence by the sociopathic antihero of the film (Casey Affleck) against some of the female characters, including one reportedly disturbingly grisly scene featuring Jessica Alba. Today, Nikki Finke is reporting its purchase by IFC Films.
Say “Sundance movie,” and most film fans tend to think of either social issue dramas and documentaries, or low-key tales of everyday life; when I was there, one writer I talked to said he was having a hard time finding synonyms for “unlikely friendship.” Still, this is not the first time a film to premiere at Sundance caused a ruckus for its violence. In 1992, a highly touted film from a previously unknown filmmaker featured a scene that was said to cause walk-outs at every screening. According to Wikipedia, later festival walk-outs included make-up effects wizard Rick Baker and, most ironically of all, horror director Wes Craven (the original “Last House on the Left” and “The Hills Have Eyes”). Of course, in our post-“torture porn” world, the “Reservoir Dogs” torture scene seems pretty restrained today. It’s still brilliant and not easy to watch — in a good way.
I was actually going to embed the scene here, but I realized at the last minute that every version is “embedding disabled by request” for whatever reason. And so, below is the film’s famed NSFW (for language) opening sequence. You can, however, see the infamous “ear scene” here.
Hey folks. I’ve got a relatively limited amount of time today and, just to add to the drama, the usually excellent free wi-fi at the Coffee Bean & Tea Leaf slowed down today to a relative crawl for a time while I was researching this. Let’s see how much I can cover.
* Just as I was ready to wrap things up, we have a breaking story. As I sorta alluded to yesterday regarding J.D. Salinger, it’s inevitable his death will pave the way for some new films. It turns out I was, if anything, way behind the curve. Working screenwriter Shane Salerno — whose work, like the planned James Cameron-produced “Fantastic Voyage” remake, bends toward the geek — has been working on a documentary about the writer who became almost as famous for his escape from the public eye as for his actual work, and it’s apparently nearly completed. Mike Fleming has not only broken the news of the formerly under-wraps project, he’s seen most of the movie
* Of course, Sundance continues slogging away, and word of acquisitions by film distributors have been making their way round the usual spots. Indiewire’s Eugene Hernandez has news on the well-regarded “Blue Valentine” with Ryan Gosling and Michelle Williams. He also gives a quick nod to such other highish profile films as “The Tilman Story” (a documentary about the late Pat Tilman), “The Kids Are Alright” (not to be confused with the old rock-doc about the Who) and “Hesher,” a not very appealing sounding film that nevertheless has Joseph Gordon-Levitt in the lead. The “Valentine” sale is of particular interesting as it was the troubled Weinstein Company that picked it up. Coincidentally, the company named for Harvey and Bob Weinstein’s parents, Mira and Max, has gone on the block.
It’s no secret that the zombie genre has experienced quite the renaissance over the last decade, but with that kind of overexposure, it was only a matter of time before the well began to run dry. If you look hard enough, however, there are still a few undiscovered gems lurking about, and the Canadian horror-thriller, “Pontypool,” is proof of that. Set almost exclusively inside an abandoned church-turned-radio station, the film stars Stephen McHattie as Grant Mazzy, a former big-city shock jock who now hosts the morning show in the small town of Pontypool, Ontario. When reports start coming in of locals exhibiting strange behavior and brutal acts of violence, Grant and his fellow co-workers (Lisa Houle and Georgina Reilly) hole up in the building relaying news updates over the air. To say what is actually causing the infection would ruin the tense atmosphere that director Bruce McDonald has created, because even though it offers a unique spin on the genre, the very thing that makes the story so original is also what undoes the film in its final minutes. Audiences will still enjoy the ride thanks to some great performances from its three leads, but the clumsy ending prevents “Pontypool” from living up to its full potential.
I’ll inevitably miss some important stuff this week, but I wanted to quickly acknowledge the passing of three interesting figures who all made their presence felt in the world of movies and who’ve all left us in the last day or so.
* Zelda Rubinstein is best known as the diminutive character actress who appeared in all three “Poltergeist” films in the 1980s as well as numerous other productions and was also known as an activist on behalf of AIDS sufferers and little people.
* Left radical historian Howard Zinn often rubbed me the wrong way in his articles but that can be a valuable service to a reader, too. In any case, there was no denying his provocative intelligence or his appeal to the leftish masses and his status as a genuine hero to innumerable activists. His most famous book, A People’s History of the United States — which I would admit to having not read yet, except I could have my progressive ID card revoked for the omission — was referred to as a great book in Matt Damon and Ben Affleck’s Oscar winning screenplay for “Good Will Hunting.” Ironically, Zinn, a World War II bombadier and afterwards something close to a pacifist, detested Damon’s next film, “Saving Private Ryan.”
* Last but definitely not least in terms of cultural impact, the most famous of all literary recluses and the creator of the biggest movie hater in history of letters, J.D. Salinger, has passed on. Holden Caulfield may have hated Hollywood and his creator may have shielded him from adaptations, but, my God, how many of the cinema’s best known young male leads have a bit of HC in them? The Hollywood Reporter obituary I linked to mentions “Rebel Without a Cause” and “The Graduate,” but it goes far beyond that. It’s kind of hard to even imagine, say, Wes Anderson’s first two films if The Catcher in the Rye had never existed.
The final irony of course, is that, without Salinger’s passing, we may finally see adaptions of “Catcher,” notes Dylan Stableford. And, what about all those books Salinger reportedly wrote but never published? Hollywood’s hunger for new properties from literary big names should never be underestimated.
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