And of course, there’s the horror movies. The speeding darkness and chill draws ghosts and candelabras, witches, demons, and monsters to our cinematic desires like a magnet. And TCM is there. As are we at the Bright Lights After Dark, where we turn those bright lights way, way, way down, so you can’t see the thing.
DVD & Blu-ray · Exploitation & Erotica
With Scream! it’s now possible to realize that the 80s as the best decade ever for schlock movies; grindhouses and drive-ins still lured us in like evil aunts. And best of all, we could still be genuinely scared.
Actors & Personalities · Exploitation & Erotica
When people die there is usually an element of shock to the news, but when I heard Jean Hill passed away this week (8/21/13) I wasn’t shocked, since her health[…]
DVD & Blu-ray · Horror · Noir
How do you begin a story? If I told you a story begins with the arrival of a stranger in town, you would probably think I was talking about a[…]
Not since Gene Wilder made nice with his monster in Young Frankenstein or the cannibal mutant got the girl (Tucker and Dale vs. Evil) have our deformed horror staples been so effectively pulled from their scar tissue and replaced with loving stitches. We needed these films, like a salve to our nation’s red vs. blue infection.
The Worldwide Film Noir Tradition: The Complete Reference to Classic Dark Cinema from America, Britain, France and Other Countries Across the Globe by Spencer Selby. Ames, Iowa: Sink Press, 2013. […]
“When Ellen Sands, the land girl who vies for his affections, sees Johnny off, the implication is that she’ll be a soft place for him to land when he comes down from his guilty obsession over Mora; her offer of coffee on his way out is as Ariadne’s gift to Theseus of the thread of consciousness that would lead him out of the minotaur maze.”
Experimental & Underground · Reviews
“Being fascinated with the occult, Harrington would surely have recognized that by beginning and ending his life work with the same story he was drawing a mandala around that life, making it as self-contained a thing as one of his films, all of which belong to the “trance” tradition whose introspective mien establish the work as occurring within a given consciousness walled off in some way from the natural world.”
“Yes, there are things that disappoint about Elysium. But there is also much to relish about Blomkamp’s still-developing wit and vision, especially his parodic assumptions about future dominant languages and ethnicities.”
Directors · Documentaries · Experimental & Underground · Historical & Epic · Interviews
“We wanted to do a writing of history through a sensual observance of the films. By having those details opened up, we show how the daily life was — not by explaining didactically but rather offering this inner representation.”
Activist & Political · Documentaries
“Following his interest in the cab driver with a taste for the story, not the politics, John incidentally finds out that — shades of today’s NSA controversies — his station managers have been letting the police and the FBI study his footage to aid in their search for subversives. It is also the kind of reporting, it seems, that can get one fired.”
Historical & Epic · Reviews · Silents
“If head and heart are united, harmony can exist even in the midst of strife. Let them come into opposition, however, and chaos enters from which there is no escape and no conclusion possible except a tragic one.” — Francis G. Gentry. “Triuwe and Vriunt in the Nibelungenlied.” Amsterdam: Rodopi: 1975. p. 45.”Perception is everything. It turns villains into heroes and victims into collaborators.” — Hilary Mantel. “A Change of Climate.” New York: Henry Holt and Company: 1997. p. 317.
” Like the titular beasts in Hitchcock’s The Birds, the zombies invade the home, the city, the culture, but even more importantly in Night, they invade the self, like a disease, an infection that takes root in us and undoes us from the inside out. In this, the story of the zombie is a story of colonization — reverse colonization to be exact, a story where the Other finally has its day.”
“Although he pays lip service to the honor code of Bushido, Yonoiʼs facade of the disciplined warrior is transparent. Celliers sees through it. As Yonoi is about to execute Hicksley, Celliers challenges him in the most provocative way, with a defiant kiss.”
“Part of it is about the right to privacy, and part of it is about telling the story the way she wanted it to be told. But there’s also an underlying argument regarding the existential fact of being an actor, and the related argument of identity being performed rather than essential.”
Directors · Historical & Epic · Reviews
“In Lincoln, the abolition of slavery is the goal of the narrative; the closing scenes are intended to confirm our notion of a historical trajectory that moves from injustice to justice. In Django Unchained, the narrative is simpler, but the notions of justice and history are more complex. The story gives no hint that slavery will ever be abolished. It presents an America that has yet to escape its foundational sin, and may never be able to.”
Essays · Horror · SF & Fantasy
“The choppy narrative arc of the film ends up matching the new hybrid of fast-running, fast-changing zombie: like its undead, the film moves too fast. The bitten person turns in twelve seconds in World War Z, which feels like about the same amount of time given to a story line before turning to another.”
“This noir heroine comes very close to having it all: the house, the money, and the freedom. Kitty Collins, Kathie Moffatt, and the rest of the femme fatales would have been exultant. They’d have tried to knock some sense into Diane, told her not to mope about and enjoy the jackpot. But she is something of an angel. She repents.”
You might think that everyone knows the Beatles. But you would be wrong. When a couple of weeks ago I asked the clerk at Best Buy if they had the[…]
