Posted by Kimberly Lindbergs on April 27, 2017
To view Theatre of Blood click here.
In 1970 Vincent Price became discouraged by the state of his career. He was acting regularly, writing cookbooks, appearing on stage and in a variety of television programs while generously supporting the arts as a member of the Royal Society of Arts, the Arts Council of UCLA and the Fine Arts Committee of the White House, but he agonized over his reputation. According to his daughter Victoria Price and author of Vincent Price: A Daughter’s Biography, her father worried that he wasn’t taken seriously by his fellow actors due to his career choices. The lack of respect from his peers encouraged the 60-year-old actor to embrace the monstrous roles he had made famous. From mad doctors to witch hunters and a plethora of Poe villains and antiheroes, Price had perfected the role of a sympathetic scoundrel.
Posted by Greg Ferrara on March 10, 2017
Guillermo del Toro was still in his twenties when he wrote and directed Cronos (1993), a horror movie, yes, but also a movie about time and age and what it means to live forever. One might think 29 too young an age to tackle such subjects but when it comes to horror, in particular, and moviemaking, in general, del Toro could easily be the subject of Count Dracula’s famous response to Van Helsing, “For one who has not lived even a single lifetime, you are a wise man.” Since then, del Toro’s reputation has grown and his movies have become blockbusters at the box office but his first one out might still be my favorite.
Posted by Kimberly Lindbergs on March 9, 2017
Rosemary’s Baby (1968), which is streaming on The Criterion Channel at FilmStruck throughout the month of March, is rightly hailed as one of the best American horror films of the 1960s. It begins and ends with a mother’s lullaby but the unsettling story of Rosemary and Guy Woodhouse is anything but soothing. Mia Farrow and John Cassavetes star as a young married couple who move into an antiquated apartment building in New York with an unpleasant history. After reluctantly befriending some colorful and intrusive elderly neighbors (Ruth Gordon and Sidney Blackmer), the Woodhouse’s lives are gradually transformed into a Faustian nightmare.
Posted by Nathaniel Thompson on March 1, 2017
Okay, it may technically be Wednesday, but there’s never a bad day of the week to pay a visit to Black Sunday (1960), the grandmother of Italian horror films. Sure, the country produced a few movies with horrifying or macabre elements, most notably Riccardo Freda’s I Vampiri (1957), but here’s where the magic really kicked into high gear and set the stage for a dazzling wave of phantasmagorical creations that would run well into the 1990s. [...MORE]
Posted by Kimberly Lindbergs on February 23, 2017
Life has been throwing me lots of curveballs lately and when I’m feeling low, I tend to gravitate towards what I like to call “comfort food films” and my comfort food tends to be classic horror films. During the cold winter months, cozying up on the couch with a warm beverage and a couple of creaky old black and white horror movies can make even the worse week seem manageable. Fortunately, I found exactly what I required streaming on The Criterion Channel of FilmStruck, The Haunted Strangler (1958) and Corridors of Blood (1958). Both of these low-budget British thrillers were directed by Robert Day and feature standout performances from William Henry Pratt aka the one and only Boris Karloff.
Posted by Nathaniel Thompson on February 15, 2017
Now that another Valentine’s Day has passed, it’s time to focus on other emotions out there… like stark terror! Pretty much impossible for American audiences to see until 2012 apart from its very minimal English-language theatrical release in 1969, the terrific spook show The Living Skeleton (1968) is just the kind of thing to watch late at night when you want a few nice shivers with a rich vein of pulp fun. [...MORE]
Posted by Nathaniel Thompson on February 1, 2017
As we head into February, the month most closely associated with love in all its guises, it’s always good to remind yourself that too much emotional attachment can be a dangerous thing. If you really want to throw a curve ball into your pre-Valentine’s viewing schedule, allow me to direct your attention to one of the most twisted father-daughter relationships ever put on film: Eyes Without a Face (Les yeux sans visage) (1960), now the most famous film from the great Georges Franju and the gold standard by which other French horror films are measured.
Posted by Jill Blake on January 7, 2017
Robert Louis Stevenson’s late-19th century novella The Strange Case of Dr. Jekyll and Mr. Hyde has been the inspiration for countless stage, film, radio and television adaptations and inspired works. The first adaptation was Thomas Sullivan’s stage play Dr. Jekyll and Mr. Hyde, which debuted in 1887, a year after the novella’s original publication. This stage version of Stevenson’s story included significant changes to the plot, including the addition of a complicated, romantic relationship between Dr. Jekyll and his well-mannered socialite fiancée. In 1920, Paramount Pictures released their version of Sullivan’s interpretation, a silent film starring the original A-list superstar John Barrymore in the title role. Known for his devastatingly handsome looks and “great profile,” Barrymore shocked audiences with his gruesome, monster-like appearance as the vicious Mr. Hyde. A little over a decade later, Paramount began preparing a remake of the 1920 film with plans to have Barrymore reprise his role.
Posted by Kimberly Lindbergs on December 15, 2016
In Peter Weir’s Picnic at Hanging Rock (1975), viewers are reminded again and again of the “venomous snakes and poison ants” that populate the Australian outback. Despite these repeated warnings, the reptiles and insects we see are never an actual threat and cause no harm besides pilfering some leftovers from an unobserved picnic basket. The real danger is unspoken and invisible. It lurks unseen in the shadowy cracks and crevices of Hanging Rock, waiting to ensnare a group of innocent schoolgirls and their unsuspecting math teacher. As is often the case in real life, the horrors that eventually befall the characters in Weir’s film arrive without warning or reason but they leave the victims devastated as they try to make sense of a nemesis that has no fixed name and no discernible face.
This puzzling pastoral horror picture is currently streaming on FilmStruck as part of their Cinema Passport: Australia series, a curated selection of films from the land down under that also includes Nicolas Roeg’s Walkabout (1971), George Miller’s Mad Max (1979) and Bruce Beresford’s Breaker Morant (1980). Watched together these films provide a thought-provoking introduction to the Australian New Wave that emerged in the 1970s and continued into the 1980s. Unlike many other international New Wave film movements that launched in the 1960s, Australia’s got a late start but the results are equally compelling.
Posted by Nathaniel Thompson on December 14, 2016
It took the West a few decades to finally catch up with the phantasmagorical output of Japanese filmmaker Nobuhiko Ôbayashi, whose feverish sugar rush cinema would make Baz Luhrmann cry uncle. Actually, you could argue that we still haven’t quite come to grips with him since only one of his films is widely available now, but it’s a doozy: House (Hausu) (1977), a child’s nightmare on celluloid that represents Ôbayashi’s formal feature film debut. Before this film he had been cutting his teeth on many experimental film and TV commercials, the latter often featuring imported American stars like Catherine Deneuve, Charles Bronson, Sophia Loren, Kirk Douglas, and David Niven. If you want a taste of what that entailed, go to YouTube and do a search for “Charles Bronson” and “Mandom” to see what Ôbayashi was up to. You’re welcome. [...MORE]
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