William Peter Blatty’s Legion, the author’s original sequel to horror classic The Exorcist that was later adapted into the film The Exorcist III, is the latest horror novel to receive a special limited edition from Suntup Editions. Now available, the edition features a new exclusive introduction by the author’s eldest son, Michael Peter Blatty, on the making of the novel and his father’s legacy. Also included are illustrations by famous artist, Matt Mahurin. The edition is highly limited with a very low print run, and is now available for pre-order here.
Suntup Editions previews, “A deeply philosophical mystery filled with suspense and horror, Legion is William Peter Blatty’s sequel to The Exorcist.
“When a deaf-mute boy is found horribly murdered in a mock crucifixion, Lieutenant Kinderman sees it not only as a crime but as a larger mystery: whether or not a merciful God can...
Suntup Editions previews, “A deeply philosophical mystery filled with suspense and horror, Legion is William Peter Blatty’s sequel to The Exorcist.
“When a deaf-mute boy is found horribly murdered in a mock crucifixion, Lieutenant Kinderman sees it not only as a crime but as a larger mystery: whether or not a merciful God can...
- 4/13/2023
- by John Squires
- bloody-disgusting.com
Robert Plant and Alison Krauss’ “Searching for My Love” gets a weathered storybook journey in a newly shared music video directed by Matt Mahurin.
The video follows Julia Lucey and Rolan Meyer through a narrative that spans land and sea, blending the storylines of an ocean-bound mermaid and a treasure-hungry pirate.
The cover, originally recorded by Bobby Moore and the Rhythm Aces, appears on Raise the Roof, the duo’s first joint album in 14 years. Produced by T-Bone Burnett, the record features only one original song on its 12-song tracklist...
The video follows Julia Lucey and Rolan Meyer through a narrative that spans land and sea, blending the storylines of an ocean-bound mermaid and a treasure-hungry pirate.
The cover, originally recorded by Bobby Moore and the Rhythm Aces, appears on Raise the Roof, the duo’s first joint album in 14 years. Produced by T-Bone Burnett, the record features only one original song on its 12-song tracklist...
- 2/28/2022
- by Larisha Paul
- Rollingstone.com
Marilyn Manson has announced his 11th studio album, We Are Chaos, out September 11th via Loma Vista Recordings.
The 10-track LP was produced by Manson and Grammy Award winner Shooter Jennings (Brandi Carlile, Tanya Tucker) and one of Manson’s self-portraits is featured on its cover.
To accompany the sinister-sounding album, Manson released the lead single and title track for We Are Chaos on Wednesday, with a music video directed, photographed and edited by Matt Mahurin in quarantine. Through greenscreen and CGI, Manson appears as a dark army of his...
The 10-track LP was produced by Manson and Grammy Award winner Shooter Jennings (Brandi Carlile, Tanya Tucker) and one of Manson’s self-portraits is featured on its cover.
To accompany the sinister-sounding album, Manson released the lead single and title track for We Are Chaos on Wednesday, with a music video directed, photographed and edited by Matt Mahurin in quarantine. Through greenscreen and CGI, Manson appears as a dark army of his...
- 7/29/2020
- by Claire Shaffer
- Rollingstone.com
• Coming Soon Jim Carrey, James Marsden, and Tika Sumpter to star in Sonic the Hedgehog movie. It's set to be a live action / animated hybrid. Not sure if that means the stars are just mo-capped or what.
• i09 "even the Defenders action figures hate Iron Fist" Lolol
• Variety first look at Julia Roberts in the Amazon series Homecoming. Apparently she still wants that Emmy. (Bonus points: Sissy Spacek is playing her mother and her dream man from My Best Friends Wedding Dermot Mulroney also co-stars)
• Awards Daily predictions for what will show at Telluride
• Vulture lists the 55 essential Queer horror films. I've only seen 20 of them. How about you?
• Playbill lists 14 stage favorites you can catch at the movies this summer
• E!News Tom Daley and Dustin Lance Black have a new son
• Towleroad Broadway actors redo "We are the World"... I wish I liked this more but it's too light...
• i09 "even the Defenders action figures hate Iron Fist" Lolol
• Variety first look at Julia Roberts in the Amazon series Homecoming. Apparently she still wants that Emmy. (Bonus points: Sissy Spacek is playing her mother and her dream man from My Best Friends Wedding Dermot Mulroney also co-stars)
• Awards Daily predictions for what will show at Telluride
• Vulture lists the 55 essential Queer horror films. I've only seen 20 of them. How about you?
• Playbill lists 14 stage favorites you can catch at the movies this summer
• E!News Tom Daley and Dustin Lance Black have a new son
• Towleroad Broadway actors redo "We are the World"... I wish I liked this more but it's too light...
- 6/30/2018
- by NATHANIEL R
- FilmExperience
Matt Mahurin for Rolling Stone
Johnny Depp isn't here yet. Still, his presence is all around the 10,500-square-foot rented mansion at 16 Bishopswood Road in London's Highgate neighborhood.
He is here in the busy hands of Russell, his personal chef working up the Peking duck. He is here in the stogie-size joint left by the sink in the guest bathroom. He is here in the never-ending reservoir of wine that is poured into goblets. And he is here in a half-done painting upstairs that features a burning black house, a child...
Johnny Depp isn't here yet. Still, his presence is all around the 10,500-square-foot rented mansion at 16 Bishopswood Road in London's Highgate neighborhood.
He is here in the busy hands of Russell, his personal chef working up the Peking duck. He is here in the stogie-size joint left by the sink in the guest bathroom. He is here in the never-ending reservoir of wine that is poured into goblets. And he is here in a half-done painting upstairs that features a burning black house, a child...
- 6/21/2018
- Rollingstone.com
It’s rare that one week brings not one but two ambitiously cinematic, outside-the-box music videos. The first is “Cut the World,” from Antony and the Johnsons and directed by Nabil. Starring Willem Dafoe, Carice Van Houten and Marina Abramovic, it starts out like a bittersweet tale of office longing… and then turns into something else. From Tom Waits and ’80s music video superstar director Matt Mahurin is “Hell Broke Luce,” which Waits describes as picturing “an enlightened drill sergeant yelling the hard truths of war to a brand new batch of recruits. The video grew from the gnawing image of a soldier pulling his home, through a battlefield, at the end of a rope.” Watch them both below.
… Read the rest...
… Read the rest...
- 8/9/2012
- by Scott Macaulay
- Filmmaker Magazine - Blog
Tom Waits still amazing after all these year.
We don't see Tom Waits in the movies as much as we did in the 90s but I did like his turn as the devil in The Imaginarium of Dr. Parnassus. His next onscreen appearance is in Seven Psychopaths from the writer/director of In Bruges and co-stars Colin Farrel, Woody Harrelson, and Christopher Walken. (Pssst. I'm hearing good things about it, particularly Walken)
This gorgeous video is by the enduring illustrator/director/photographer Matt Mahurin. He's directed two full length features from what I can see (Feel in 2006 and Mugshot from 1996) neither of which I've ever heard of or received a release so perhaps his talents don't transfer to full length features? Still, I sometimes wish that other visual "visionaries" (like, oh say Tarsem Singh or Julie Taymor) were this focused. It's one amazing image after another in this video but...
We don't see Tom Waits in the movies as much as we did in the 90s but I did like his turn as the devil in The Imaginarium of Dr. Parnassus. His next onscreen appearance is in Seven Psychopaths from the writer/director of In Bruges and co-stars Colin Farrel, Woody Harrelson, and Christopher Walken. (Pssst. I'm hearing good things about it, particularly Walken)
This gorgeous video is by the enduring illustrator/director/photographer Matt Mahurin. He's directed two full length features from what I can see (Feel in 2006 and Mugshot from 1996) neither of which I've ever heard of or received a release so perhaps his talents don't transfer to full length features? Still, I sometimes wish that other visual "visionaries" (like, oh say Tarsem Singh or Julie Taymor) were this focused. It's one amazing image after another in this video but...
- 8/8/2012
- by NATHANIEL R
- FilmExperience
After days of teasing fans with a big announcement, the wait is finally over: Tom Waits has released a new video for "Hell Broke Luce," the anti-war and especially growl-y song from his 2011 release, Bad As Me.
The gritty video -- which was directed by Matt Mahurin -- follows the raspy singer as he pulls a small house through a war-torn landscape, ravaged by bombs, gunfire, ominous-looking vultures and shark submarines.
Waits released the following statement about the video premiere: "As most of you guessed, it’s a tour ... a tour de force!" He continued: "Kathleen [Brennan] and I envisioned it as an enlightened drill sergeant yelling the hard truths of war to a brand new batch of recruits. The video grew from the gnawing image of a soldier pulling his home, through a battlefield, at the end of a rope. I think you will agree, it's uplifting and fun."
Unfortunately for fans,...
The gritty video -- which was directed by Matt Mahurin -- follows the raspy singer as he pulls a small house through a war-torn landscape, ravaged by bombs, gunfire, ominous-looking vultures and shark submarines.
Waits released the following statement about the video premiere: "As most of you guessed, it’s a tour ... a tour de force!" He continued: "Kathleen [Brennan] and I envisioned it as an enlightened drill sergeant yelling the hard truths of war to a brand new batch of recruits. The video grew from the gnawing image of a soldier pulling his home, through a battlefield, at the end of a rope. I think you will agree, it's uplifting and fun."
Unfortunately for fans,...
- 8/7/2012
- by The Huffington Post
- Huffington Post
A music video directed by Matt Mahurin for Silversun Pickups' "The Royal We" has made its way out. It features headshots of the band's members with blurry scenes and bizarre images like a person with a candle as his head and empty street filled with floating roses sometimes intercepting.
The album in which "The Royal We" appears has been in stores since April 2009. Titled "Swoon", it peaked at No. 7 on Billboard Hot 200 and once reigned U.S. Top Independent Albums chart.
Silversun Pickups, who have several concerts lined up for June and July, were nominated as Best New Artist at this year's Grammy Awards alongside Zac Brown Band, Mgmt, Keri Hilson and The Ting Tings. But, they lost the title to the Zac Brown-fronted band.
Silversun Pickups' "The Royal We" music video...
The album in which "The Royal We" appears has been in stores since April 2009. Titled "Swoon", it peaked at No. 7 on Billboard Hot 200 and once reigned U.S. Top Independent Albums chart.
Silversun Pickups, who have several concerts lined up for June and July, were nominated as Best New Artist at this year's Grammy Awards alongside Zac Brown Band, Mgmt, Keri Hilson and The Ting Tings. But, they lost the title to the Zac Brown-fronted band.
Silversun Pickups' "The Royal We" music video...
- 5/4/2010
- by AceShowbiz.com
- Aceshowbiz
Directed by famed photographer Matt Mahurin, clip features angsty, out-of-focus close-ups of the band and scenes of outstretched hands and skylines.
By James Montgomery
Silversun Pickups' Brian Aubert in "The Royal We" video
Photo: Dangerbird Records
You may have to take my word for it, but the 1990s were a totally insane decade. Especially when it came to music videos.
It was a time when basically every artist got to do whatever they wanted when it came to making videos, no matter the cost, which meant that, sure, we got lots of super-epic "November Rain" types of clips and the occasional iconic "Smells Like Teen Spirit" kind of thing, but mostly, we got lots and lots of introspective, not-entirely-in-focus mood-pieces.
Which wasn't necessarily a bad thing. I have fond memories of watching hours and hours of angsty, obtuse videos featuring shadowy dudes peering ominously off into space, or brightly...
By James Montgomery
Silversun Pickups' Brian Aubert in "The Royal We" video
Photo: Dangerbird Records
You may have to take my word for it, but the 1990s were a totally insane decade. Especially when it came to music videos.
It was a time when basically every artist got to do whatever they wanted when it came to making videos, no matter the cost, which meant that, sure, we got lots of super-epic "November Rain" types of clips and the occasional iconic "Smells Like Teen Spirit" kind of thing, but mostly, we got lots and lots of introspective, not-entirely-in-focus mood-pieces.
Which wasn't necessarily a bad thing. I have fond memories of watching hours and hours of angsty, obtuse videos featuring shadowy dudes peering ominously off into space, or brightly...
- 5/3/2010
- MTV Music News
Directed by famed photographer Matt Mahurin, clip features angsty, out-of-focus close-ups of the band and scenes of outstretched hands and skylines.
By James Montgomery
Silverson Pickups' "The Royal We"
Photo: Dangerbird Records
You may have to take my word for it, but the 1990s were a totally insane decade. Especially when it came to music videos.
It was a time when basically every artist got to do whatever they wanted when it came to making videos, no matter the cost, which meant that, sure, we got lots of super-epic "November Rain" types of clips and the occasional iconic "Smells Like Teen Spirit" kind of thing, but mostly, we got lots and lots of introspective, not-entirely-in-focus mood-pieces.
Which wasn't necessarily a bad thing. I have fond memories of watching hours and hours of angsty, obtuse videos featuring shadowy dudes peering ominously off into space, or brightly lit (yet totally blurry) actors...
By James Montgomery
Silverson Pickups' "The Royal We"
Photo: Dangerbird Records
You may have to take my word for it, but the 1990s were a totally insane decade. Especially when it came to music videos.
It was a time when basically every artist got to do whatever they wanted when it came to making videos, no matter the cost, which meant that, sure, we got lots of super-epic "November Rain" types of clips and the occasional iconic "Smells Like Teen Spirit" kind of thing, but mostly, we got lots and lots of introspective, not-entirely-in-focus mood-pieces.
Which wasn't necessarily a bad thing. I have fond memories of watching hours and hours of angsty, obtuse videos featuring shadowy dudes peering ominously off into space, or brightly lit (yet totally blurry) actors...
- 5/3/2010
- MTV Music News
NEW YORK -- Indie banner ThinkFilm has acquired North American rights to Born Into Brothels, the feature by Ross Kauffman and Zana Briski that won the documentary audience award at this year's Sundance Film Festival. The company also has sealed a series of long-simmering deals on a spate of other indie docu titles, including Matt Mahurin's I Like Killing Flies, Vikram Jayanti's Game Over: Kasparov and the Machine, Claude Nuridsany and Marie Perrenou's Genesis and Barry Avrich's The Last Mogul: The Life and Times of Lew Wasserman. Brothels -- a look at children growing up around prostitution in squalid Calcutta, India -- is being released in association with HBO/Cinemax Documentary Films in New York on Dec. 8, with a national expansion planned next year.
Holiday Village Cinema
Sundance Film Festival
PARK CITY -- Pretty much a one-man show (behind and in front of the camera), "I like Killing Flies" is a rare, hilarious and ultimately touching look at the kind of American iconoclast that barely exists anymore. Matt Mahurin's hand-held camera invitingly enters Shopsin's, a Greenwich Village hole-in the-wall where neighbors have been coming for comfort food for the last thirty-five years, and introduces its philosophizing owner, Kenny Shopsin. It's a unique slice of life, and theatrical as well as home vid audiences should respond to Shopsin's curmudgeonly humor and wisdom.
Made semi-famous a few years ago in a New Yorker profile by Calvin Trillin (who appears briefly in the film), Shopsin looks like an overweight Jerry Garcia in T-shirt and red suspenders as he reigns over his tiny kitchen, which offers delicacies such as okra chowder with date nut rice, apple-glazed pancakes and literally hundreds of other self-created dishes.
The kitchen is a tribute to inventiveness with jerry-rigged solutions to dripping faucets and humming refrigerators. As Shopsin cooks at a break-neck pace he dishes out his philosophical musings. He wonders about the meaning of life and then in the same breath asks, "where's the marinara sauce?" The title refers to his fondness for swatting flies, which he turns into an existential riff on foreign policy and terrorism.
Shopsin dispenses the food with love, but it's a tough love, even for his wife and five kids who help him run the place. For instance, he will not seat a party of more than four and is as likely to throw out newcomers as serve them. He considers the restaurant an extension of his home and demands loyalty and respect from his guests. Once they're accepted, regulars relish the show.
The drama of the film comes from the fact that Shopsin has lost his lease and is being forced to move to a newer and bigger spot a few blocks away. But he's a character who doesn't like change, and dislodging the ancient stove and paintings on the wall and giving up the grime that has become the fabric of his life is an occasion for soul searching.
Mahurin was himself a longtime patron who was invited to chronicle the last days before the move. His bare-bones, no frills style (you can see his hand holding a mike in front of Shopsin because there wasn't a boom operator), suits the subject perfectly. The film was shot on a Sony 150 PDA and edited in Mahurin's bedroom. It's rough look matches Shopsin's personality.
Shopsin's foul-mouthed diatribes on life, politics and sex actually make a lot of sense. The patron saint of the place is an action figure of Sigmund Freud posted near the entrance. And hanging out with Shopsin, even for a short time, has the calming, life-affirming joy of a perverse therapy session.
I LIKE KILLING FLIES
MORTAL FILMS
Credits: Director: Matt Mahurin; Producer: Mahurin; Director of Photography: Mahurin; Editor: Mahurin. Unrated, running time 80 minutes.
Sundance Film Festival
PARK CITY -- Pretty much a one-man show (behind and in front of the camera), "I like Killing Flies" is a rare, hilarious and ultimately touching look at the kind of American iconoclast that barely exists anymore. Matt Mahurin's hand-held camera invitingly enters Shopsin's, a Greenwich Village hole-in the-wall where neighbors have been coming for comfort food for the last thirty-five years, and introduces its philosophizing owner, Kenny Shopsin. It's a unique slice of life, and theatrical as well as home vid audiences should respond to Shopsin's curmudgeonly humor and wisdom.
Made semi-famous a few years ago in a New Yorker profile by Calvin Trillin (who appears briefly in the film), Shopsin looks like an overweight Jerry Garcia in T-shirt and red suspenders as he reigns over his tiny kitchen, which offers delicacies such as okra chowder with date nut rice, apple-glazed pancakes and literally hundreds of other self-created dishes.
The kitchen is a tribute to inventiveness with jerry-rigged solutions to dripping faucets and humming refrigerators. As Shopsin cooks at a break-neck pace he dishes out his philosophical musings. He wonders about the meaning of life and then in the same breath asks, "where's the marinara sauce?" The title refers to his fondness for swatting flies, which he turns into an existential riff on foreign policy and terrorism.
Shopsin dispenses the food with love, but it's a tough love, even for his wife and five kids who help him run the place. For instance, he will not seat a party of more than four and is as likely to throw out newcomers as serve them. He considers the restaurant an extension of his home and demands loyalty and respect from his guests. Once they're accepted, regulars relish the show.
The drama of the film comes from the fact that Shopsin has lost his lease and is being forced to move to a newer and bigger spot a few blocks away. But he's a character who doesn't like change, and dislodging the ancient stove and paintings on the wall and giving up the grime that has become the fabric of his life is an occasion for soul searching.
Mahurin was himself a longtime patron who was invited to chronicle the last days before the move. His bare-bones, no frills style (you can see his hand holding a mike in front of Shopsin because there wasn't a boom operator), suits the subject perfectly. The film was shot on a Sony 150 PDA and edited in Mahurin's bedroom. It's rough look matches Shopsin's personality.
Shopsin's foul-mouthed diatribes on life, politics and sex actually make a lot of sense. The patron saint of the place is an action figure of Sigmund Freud posted near the entrance. And hanging out with Shopsin, even for a short time, has the calming, life-affirming joy of a perverse therapy session.
I LIKE KILLING FLIES
MORTAL FILMS
Credits: Director: Matt Mahurin; Producer: Mahurin; Director of Photography: Mahurin; Editor: Mahurin. Unrated, running time 80 minutes.
Holiday Village Cinema
Sundance Film Festival
PARK CITY -- Pretty much a one-man show (behind and in front of the camera), "I like Killing Flies" is a rare, hilarious and ultimately touching look at the kind of American iconoclast that barely exists anymore. Matt Mahurin's hand-held camera invitingly enters Shopsin's, a Greenwich Village hole-in the-wall where neighbors have been coming for comfort food for the last thirty-five years, and introduces its philosophizing owner, Kenny Shopsin. It's a unique slice of life, and theatrical as well as home vid audiences should respond to Shopsin's curmudgeonly humor and wisdom.
Made semi-famous a few years ago in a New Yorker profile by Calvin Trillin (who appears briefly in the film), Shopsin looks like an overweight Jerry Garcia in T-shirt and red suspenders as he reigns over his tiny kitchen, which offers delicacies such as okra chowder with date nut rice, apple-glazed pancakes and literally hundreds of other self-created dishes.
The kitchen is a tribute to inventiveness with jerry-rigged solutions to dripping faucets and humming refrigerators. As Shopsin cooks at a break-neck pace he dishes out his philosophical musings. He wonders about the meaning of life and then in the same breath asks, "where's the marinara sauce?" The title refers to his fondness for swatting flies, which he turns into an existential riff on foreign policy and terrorism.
Shopsin dispenses the food with love, but it's a tough love, even for his wife and five kids who help him run the place. For instance, he will not seat a party of more than four and is as likely to throw out newcomers as serve them. He considers the restaurant an extension of his home and demands loyalty and respect from his guests. Once they're accepted, regulars relish the show.
The drama of the film comes from the fact that Shopsin has lost his lease and is being forced to move to a newer and bigger spot a few blocks away. But he's a character who doesn't like change, and dislodging the ancient stove and paintings on the wall and giving up the grime that has become the fabric of his life is an occasion for soul searching.
Mahurin was himself a longtime patron who was invited to chronicle the last days before the move. His bare-bones, no frills style (you can see his hand holding a mike in front of Shopsin because there wasn't a boom operator), suits the subject perfectly. The film was shot on a Sony 150 PDA and edited in Mahurin's bedroom. It's rough look matches Shopsin's personality.
Shopsin's foul-mouthed diatribes on life, politics and sex actually make a lot of sense. The patron saint of the place is an action figure of Sigmund Freud posted near the entrance. And hanging out with Shopsin, even for a short time, has the calming, life-affirming joy of a perverse therapy session.
I LIKE KILLING FLIES
MORTAL FILMS
Credits: Director: Matt Mahurin; Producer: Mahurin; Director of Photography: Mahurin; Editor: Mahurin. Unrated, running time 80 minutes.
Sundance Film Festival
PARK CITY -- Pretty much a one-man show (behind and in front of the camera), "I like Killing Flies" is a rare, hilarious and ultimately touching look at the kind of American iconoclast that barely exists anymore. Matt Mahurin's hand-held camera invitingly enters Shopsin's, a Greenwich Village hole-in the-wall where neighbors have been coming for comfort food for the last thirty-five years, and introduces its philosophizing owner, Kenny Shopsin. It's a unique slice of life, and theatrical as well as home vid audiences should respond to Shopsin's curmudgeonly humor and wisdom.
Made semi-famous a few years ago in a New Yorker profile by Calvin Trillin (who appears briefly in the film), Shopsin looks like an overweight Jerry Garcia in T-shirt and red suspenders as he reigns over his tiny kitchen, which offers delicacies such as okra chowder with date nut rice, apple-glazed pancakes and literally hundreds of other self-created dishes.
The kitchen is a tribute to inventiveness with jerry-rigged solutions to dripping faucets and humming refrigerators. As Shopsin cooks at a break-neck pace he dishes out his philosophical musings. He wonders about the meaning of life and then in the same breath asks, "where's the marinara sauce?" The title refers to his fondness for swatting flies, which he turns into an existential riff on foreign policy and terrorism.
Shopsin dispenses the food with love, but it's a tough love, even for his wife and five kids who help him run the place. For instance, he will not seat a party of more than four and is as likely to throw out newcomers as serve them. He considers the restaurant an extension of his home and demands loyalty and respect from his guests. Once they're accepted, regulars relish the show.
The drama of the film comes from the fact that Shopsin has lost his lease and is being forced to move to a newer and bigger spot a few blocks away. But he's a character who doesn't like change, and dislodging the ancient stove and paintings on the wall and giving up the grime that has become the fabric of his life is an occasion for soul searching.
Mahurin was himself a longtime patron who was invited to chronicle the last days before the move. His bare-bones, no frills style (you can see his hand holding a mike in front of Shopsin because there wasn't a boom operator), suits the subject perfectly. The film was shot on a Sony 150 PDA and edited in Mahurin's bedroom. It's rough look matches Shopsin's personality.
Shopsin's foul-mouthed diatribes on life, politics and sex actually make a lot of sense. The patron saint of the place is an action figure of Sigmund Freud posted near the entrance. And hanging out with Shopsin, even for a short time, has the calming, life-affirming joy of a perverse therapy session.
I LIKE KILLING FLIES
MORTAL FILMS
Credits: Director: Matt Mahurin; Producer: Mahurin; Director of Photography: Mahurin; Editor: Mahurin. Unrated, running time 80 minutes.
- 1/19/2004
- The Hollywood Reporter - Movie News
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