These last few years the Criterion Channel have made October viewing much easier to prioritize, and in the spirit of their ’70s and ’80s horror series we’ve graduated to––you guessed it––”’90s Horror.” A couple of obvious classics stand with cult favorites and more unknown entities (When a Stranger Calls Back and Def By Temptation are new to me). Three more series continue the trend: “Technothrillers” does what it says on the tin, courtesy the likes of eXistenZ and Demonlover; “Art-House Horror” is precisely the kind of place to host Cure, Suspiria, Onibaba; and “Pre-Code Horror” is a black-and-white dream. Phantom of the Paradise, Unfriended, and John Brahm’s The Lodger are added elsewhere.
James Gray is the latest with an “Adventures in Moviegoing” series populated by deep cuts and straight classics. Stonewalling and restorations of Trouble Every Day and The Devil, Probably make streaming debuts, while Flesh for Frankenstein,...
James Gray is the latest with an “Adventures in Moviegoing” series populated by deep cuts and straight classics. Stonewalling and restorations of Trouble Every Day and The Devil, Probably make streaming debuts, while Flesh for Frankenstein,...
- 9/28/2023
- by Nick Newman
- The Film Stage
To mark the release of Creeping Horror on 17th April, we’ve been given a special edition Blu-ray to give away to 3 winners.
Four more tales of terror from the vaults of Universal Pictures, starring Lionel Atwill, Bela Lugosi, and Rondo Hatton.
A maniacal hunter and collector of wild animals uses them to dispose of rivals and enemies in the shockingly violent Murders in the Zoo (dir. A. Edward Sutherland, 1933). Bela Lugosi stars in a creepy tale of strange characters, secret passages and a murderer who masters the art of “mind over matter” in Night Monster (dir. Ford Beebe, 1942).
What started out as a treasure-making scheme ends up deadly for a group of people stuck in a haunted castle with a killer known as “the Phantom” in Horror Island (dir. George Waggner, 1941). And finally, Rondo Hatton is “the Creeper”, a giant of a man used as an instrument of evil...
Four more tales of terror from the vaults of Universal Pictures, starring Lionel Atwill, Bela Lugosi, and Rondo Hatton.
A maniacal hunter and collector of wild animals uses them to dispose of rivals and enemies in the shockingly violent Murders in the Zoo (dir. A. Edward Sutherland, 1933). Bela Lugosi stars in a creepy tale of strange characters, secret passages and a murderer who masters the art of “mind over matter” in Night Monster (dir. Ford Beebe, 1942).
What started out as a treasure-making scheme ends up deadly for a group of people stuck in a haunted castle with a killer known as “the Phantom” in Horror Island (dir. George Waggner, 1941). And finally, Rondo Hatton is “the Creeper”, a giant of a man used as an instrument of evil...
- 4/10/2023
- by Competitions
- HeyUGuys.co.uk
Rarely one finds a friend on the Criterion Channel—discounting the parasitic relationship we form with filmmakers, I mean—but it’s great seeing their March lineup give light to Sophy Romvari, the <bias>exceptionally talented</bias> filmmaker and curator whose work has perhaps earned comparisons to Agnès Varda and Chantal Akerman but charts its own path of history and reflection. It’s a good way to lead into an exceptionally strong month, featuring as it does numerous films by Pier Paolo Pasolini, the great Japanese documentarian Kazuo Hara, newfound cult classic Arrebato, and a number of Criterion editions.
On the last front we have The Age of Innocence, Bull Durham, A Raisin in the Sun, The Celebration, Merrily We Go to Hell, and Design for Living. There’s always something lingering on the watchlist, but it might have to wait a second longer—March is an opened floodgate.
See the full...
On the last front we have The Age of Innocence, Bull Durham, A Raisin in the Sun, The Celebration, Merrily We Go to Hell, and Design for Living. There’s always something lingering on the watchlist, but it might have to wait a second longer—March is an opened floodgate.
See the full...
- 2/21/2022
- by Nick Newman
- The Film Stage
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“Goin’ To Town” (1935; Directed by Alexander Hall)
“Klondike Annie” (1936; Directed by Raoul Walsh)
“Go West, Young Man” (1936; Directed by Henry Hathaway)
“Every Day’S A Holiday” (1937; Directed by A. Edward Sutherland)
“My Little Chickadee” (1940; Directed by Edward F. Cline)
(Kino Lorber)
“Goodness Had Nothing To Do With It—The Mae West Films, Part Two”
By Raymond Benson
This is the continuation of reviews of the classic 1930s (and 1940) films of Mae West, which began here.
Kino Lorber has just released in gorgeously restored, high-definition presentations every Mae West film made between 1932-1940—the Paramount years, plus one with Universal. This review will cover the last five of nine titles.
What is not commonly appreciated among Hollywood enthusiasts is that Mae West held a unique position in the history of cinema. Until the modern era, she had the extraordinary fortune—for her time—of...
“Goin’ To Town” (1935; Directed by Alexander Hall)
“Klondike Annie” (1936; Directed by Raoul Walsh)
“Go West, Young Man” (1936; Directed by Henry Hathaway)
“Every Day’S A Holiday” (1937; Directed by A. Edward Sutherland)
“My Little Chickadee” (1940; Directed by Edward F. Cline)
(Kino Lorber)
“Goodness Had Nothing To Do With It—The Mae West Films, Part Two”
By Raymond Benson
This is the continuation of reviews of the classic 1930s (and 1940) films of Mae West, which began here.
Kino Lorber has just released in gorgeously restored, high-definition presentations every Mae West film made between 1932-1940—the Paramount years, plus one with Universal. This review will cover the last five of nine titles.
What is not commonly appreciated among Hollywood enthusiasts is that Mae West held a unique position in the history of cinema. Until the modern era, she had the extraordinary fortune—for her time—of...
- 7/5/2021
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Closing out a year in which we’ve needed The Criterion Channel more than ever, they’ve now announced their impressive December lineup. Topping the highlights is a trio of Terrence Malick films––Badlands, Days of Heaven, and The New World––along with interviews featuring actors Richard Gere, Sissy Spacek, and Martin Sheen; production designer Jack Fisk; costume designer Jacqueline West; cinematographers Haskell Wexler and John Bailey; and more.
Also in the lineup is an Afrofuturism series, featuring an introduction by programmer Ashley Clark, with work by Lizzie Borden, Shirley Clarke, Souleymane Cissé, John Akomfrah, Terence Nance, and more. There’s also Mariano Llinás’s 14-hour epic La flor, Bill Morrison’s Dawson City: Frozen Time, Ken Loach’s Sorry We Missed You, Jennie Livingston’s Paris Is Burning, plus retrospectives dedicated to Mae West, Cary Grant, Barbra Streisand, and more.
Check out the lineup below and return every Friday for our weekly streaming picks.
Also in the lineup is an Afrofuturism series, featuring an introduction by programmer Ashley Clark, with work by Lizzie Borden, Shirley Clarke, Souleymane Cissé, John Akomfrah, Terence Nance, and more. There’s also Mariano Llinás’s 14-hour epic La flor, Bill Morrison’s Dawson City: Frozen Time, Ken Loach’s Sorry We Missed You, Jennie Livingston’s Paris Is Burning, plus retrospectives dedicated to Mae West, Cary Grant, Barbra Streisand, and more.
Check out the lineup below and return every Friday for our weekly streaming picks.
- 11/24/2020
- by Leonard Pearce
- The Film Stage
Abbott & Costello – The Complete
Universal Pictures Collection
Blu ray
Shout! Factory
1940-1955/1:33-1:85
Starring Bud Abbott, Lou Costello, Bela Lugosi, Boris Karloff
Directed by Arthur Lubin, Erle C. Kenton, Charles Barton
Two footloose Jersey boys with no particular place to go, Bud Abbott and Lou Costello finally found themselves – literally and figuratively – on the burlesque stage. Their act, equal parts smart talk and ancient slapstick, was honed alongside curvy chorus girls and tassel-twirlers but it took a lady of a decidedly different stature to make them superstars. On March 24, 1938, Kate Smith, “The First Lady of Radio”, invited them to perform “Who’s On First”, a routine delivered with such hairpin curve precision it left listeners breathless. That appearance fast-tracked the duo to their own radio series and a contract with Universal Pictures.
They made their big screen debut in 1940’s One Night in the Tropics, a low budget...
Universal Pictures Collection
Blu ray
Shout! Factory
1940-1955/1:33-1:85
Starring Bud Abbott, Lou Costello, Bela Lugosi, Boris Karloff
Directed by Arthur Lubin, Erle C. Kenton, Charles Barton
Two footloose Jersey boys with no particular place to go, Bud Abbott and Lou Costello finally found themselves – literally and figuratively – on the burlesque stage. Their act, equal parts smart talk and ancient slapstick, was honed alongside curvy chorus girls and tassel-twirlers but it took a lady of a decidedly different stature to make them superstars. On March 24, 1938, Kate Smith, “The First Lady of Radio”, invited them to perform “Who’s On First”, a routine delivered with such hairpin curve precision it left listeners breathless. That appearance fast-tracked the duo to their own radio series and a contract with Universal Pictures.
They made their big screen debut in 1940’s One Night in the Tropics, a low budget...
- 12/7/2019
- by Charlie Largent
- Trailers from Hell
Canadian-born actress Alexis Smith (born 1921) would have turned 96 years old today, June 8. Turner Classic Movies is celebrating her birthday by presenting nine of her movies, mostly during her time as a Warner Bros. contract player. In addition to Michael Curtiz's box office hit Night and Day, a highly fictionalized Cole Porter biopic starring Cary Grant as a heterosexual version of the famed gay composer. Night and Day is being shown as part of TCM's Gay Pride Month celebration. Alexis Smith died on June 9, 1993, the day after she turned 72. After her film career petered out in the 1950s, she went on to receive acclaim on the Broadway stage, making sporadic film appearances all the way to the year of her death. Smith's last film appearance was in a minor supporting role in Martin Scorsese's overly genteel period drama The Age of Innocence (1993), starring Daniel Day-Lewis, Michelle Pfeiffer, and Winona Ryder.
- 6/8/2017
- by Andre Soares
- Alt Film Guide
This almost completely forgotten '50s western couldn't compete with the big productions, but it has a good cast -- James Arness, Robert J. Wilke, Emile Meyer, Harry Carey Jr. Plus early work by writer Burt Kennedy, and the debuts of actress Angie Dickinson and director Andrew V. McLaglen. Gun the Man Down Blu-ray Olive Films 1956 / B&W / 1:37 flat Academy / 76 min. / Street Date July 19, 2016 / available through the Olive Films website / 29.98 Starring James Arness, Angie Dickinson, Emile Meyer, Robert J. Wilke, Harry Carey Jr., Don Megowan, Michael Emmet, Pedro Gonzalez Gonzalez. Cinematography William H. Clothier Film Editor A. Edward Sutherland Original Music Henry Vars Written by Burt Kennedy, Sam Freedle Produced by Robert E. Morrison Directed by Andrew V. McLaglen
Reviewed by Glenn Erickson
When the 1950s rolled in John Wayne stopped being merely an actor and graduated to institution status, starting his own production company, Batjac, and promoting his own group of talent.
Reviewed by Glenn Erickson
When the 1950s rolled in John Wayne stopped being merely an actor and graduated to institution status, starting his own production company, Batjac, and promoting his own group of talent.
- 7/23/2016
- by Glenn Erickson
- Trailers from Hell
Woo hoo! The pre-Code marvels return for one last go-round -- tales of sin and moral turpitude but also serious pictures about social issues that the Production Code effectively swept from Hollywood screens -- financial crimes and ethnic bigotry. Forbidden Hollywood Volume 10 Guilty Hands, The Mouthpiece, Secrets of the French Police, The Match King, Ever in My Heart DVD-r The Warner Archive Collection 1932-1934 / B&W / 1:37 flat Academy / 63, 62, 78, 85, 70 min. / Street Date October 27, 2015 / available through the WBshop / 40.99 Starring Lionel Barrymore, Kay Francis, Madge Evans; Warren William, Sidney Fox, Aline McMahon; Frank Morgan, Gwili Andre, Gregory Ratoff Rochelle Hudson; Warren William, Lili Damita, Glenda Farrell, Claire Dodd; Barbara Stanwyck, Otto Kruger, Ralph Bellamy, Ruth Donnelly. Cinematography Merritt B. Gerstad, Barney McGill; Alfred Gilks; Robert Kurrie; Written by Bayard Veiller; Joseph Jackson, Earl Baldwin, Frank J. Collins; Samuel Ornitz, Robert Tasker; Houston Branch, Sidney Sutherland, Einar Thorvaldson; Bertram Millhauser, Beulah Marie Dix.
- 6/26/2016
- by Glenn Erickson
- Trailers from Hell
Virginia Bruce: MGM actress ca. 1935. Virginia Bruce movies on TCM: Actress was the cherry on 'The Great Ziegfeld' wedding cake Unfortunately, Turner Classic Movies has chosen not to feature any non-Hollywood stars – or any out-and-out silent film stars – in its 2015 “Summer Under the Stars” series.* On the other hand, TCM has come up with several unusual inclusions, e.g., Lee J. Cobb, Warren Oates, Mae Clarke, and today, Aug. 25, Virginia Bruce. A second-rank MGM leading lady in the 1930s, the Minneapolis-born Virginia Bruce is little remembered today despite her more than 70 feature films in a career that spanned two decades, from the dawn of the talkie era to the dawn of the TV era, in addition to a handful of comebacks going all the way to 1981 – the dawn of the personal computer era. Career highlights were few and not all that bright. Examples range from playing the...
- 8/26/2015
- by Andre Soares
- Alt Film Guide
Probably the single most influential piece of film criticism in my life is Manny Farber's piece on Preston Sturges, and in particular his paean to the Sturges stock company ~
"They all appear to be too perfectly adjusted to life to require minds, and, in place of hearts, they seem to contain an old scratch sheet, a glob of tobacco juice, or a brown banana. The reason their faces--each of which is a succulent worm's festival, bulbous with sheer living--seem to have nothing in common with the rest of the human race is precisely because they are so eternally, agelessly human, oversocialized to the point where any normal animal component has vanished. They seem to be made up not of features but a collage of spare parts, most of them as useless as the vermiform appendix."
There are things I don't love about Farber—his insistence upon virility as a...
"They all appear to be too perfectly adjusted to life to require minds, and, in place of hearts, they seem to contain an old scratch sheet, a glob of tobacco juice, or a brown banana. The reason their faces--each of which is a succulent worm's festival, bulbous with sheer living--seem to have nothing in common with the rest of the human race is precisely because they are so eternally, agelessly human, oversocialized to the point where any normal animal component has vanished. They seem to be made up not of features but a collage of spare parts, most of them as useless as the vermiform appendix."
There are things I don't love about Farber—his insistence upon virility as a...
- 5/15/2014
- by David Cairns
- MUBI
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