When Donald Cammell's techno-horror "Demon Seed" crept into theaters in 1977, critics were not impressed. From being described as utterly nonsensical to being viciously torn apart as a film with no right to exist, "Demon Seed" was mostly reviled as unwatchable garbage that relied on flagrant shock value to capture audience attention.
Today, the film's critical reappraisal does not quite elevate "Demon Seed" into a cult classic but does approach it with a more balanced lens, where there is some value to be found in its social commentary about technological singularity and the uprooting of female autonomy. Cammell's film is an uncomfortable look into the extent to which those in power wish to control bodily autonomy — a theme that feels especially poignant now. Apart from this, "Demon Seed" also underlines the horrifying extremes of unchecked artificial intelligence, and how it preys on those it perceives as easily exploitable.
Despite being...
Today, the film's critical reappraisal does not quite elevate "Demon Seed" into a cult classic but does approach it with a more balanced lens, where there is some value to be found in its social commentary about technological singularity and the uprooting of female autonomy. Cammell's film is an uncomfortable look into the extent to which those in power wish to control bodily autonomy — a theme that feels especially poignant now. Apart from this, "Demon Seed" also underlines the horrifying extremes of unchecked artificial intelligence, and how it preys on those it perceives as easily exploitable.
Despite being...
- 5/5/2024
- by Debopriyaa Dutta
- Slash Film
Nineteen sixty-eight has to be considered the apex of psychedelic sexploitation romps, with the release of Candy, adapted from Mason Hoffenberg and Terry Southern’s satirical reworking of Voltaire’s Candide, and Roger Vadim’s Barbarella, based on Jean-Claude Forest’s comic, and partially scripted by Southern (alongside an armada of other credited writers). Both employ a rambling, shaggy-dog structure as an excuse to flagrantly foreground softcore sexual hijinks tinged with a pungent whiff of social commentary, albeit the latter aspect may be easier to discern in Candy’s perverse daisy chain of events.
Southern’s contributions to the Dino De Laurentiis-produced Barbarella can be detected in some of its wittier lines (“A good many dramatic situations begin with screaming!”) and sly pokes at the persistence of class-consciousness. Aside from Southern, the two films are linked by the presence of Anita Pallenberg, style icon and muse of the Rolling...
Southern’s contributions to the Dino De Laurentiis-produced Barbarella can be detected in some of its wittier lines (“A good many dramatic situations begin with screaming!”) and sly pokes at the persistence of class-consciousness. Aside from Southern, the two films are linked by the presence of Anita Pallenberg, style icon and muse of the Rolling...
- 11/21/2023
- by Budd Wilkins
- Slant Magazine
In one scene early in Todd Haynes’s new film, May December, Joe’s (Charles Melton) face flickers with the grey-blue light of the TV screen playing a commercial for face wash. The commercial stars Elizabeth (Natalie Portman), the TV star who will be playing his wife, Gracie (Julianne Moore), in an upcoming film and who will be visiting their home to do research for the role. The brief shot of Elizabeth’s face, sparkling with water and freshness and something like “realness,” loops on itself over and over again, while Joe’s eyes glaze over.
Later in the film, days into her research into Joe and Gracie’s lives, a lurid scene of an adult woman seducing a 13-year-old pet store employee plays on the television set in Elizabeth’s hotel room, a black bar on the screen boldly stating “Do Not Replicate.” It signals at once a trashiness...
Later in the film, days into her research into Joe and Gracie’s lives, a lurid scene of an adult woman seducing a 13-year-old pet store employee plays on the television set in Elizabeth’s hotel room, a black bar on the screen boldly stating “Do Not Replicate.” It signals at once a trashiness...
- 11/12/2023
- by Kyle Turner
- Slant Magazine
In the 1960s, there were few cameramen who shared Nicolas Roeg’s ability to render sirenic, jittery sensuality at 24 frames per second—and this was an era whose dominant culture arguably cracked open and redefined the sensual palate. Even more impressively, Roeg’s gift often manifested itself most lucidly while serving the orgiastic gimmicks of Roger Corman’s The Masque of the Red Mask and the bucolic splendor of John Schlesinger’s Far from the Madding Crowd with the guarded glee of a merry prankster spiking a corporate water cooler with LSD.
But it’s not just that Roeg successfully snuck timely art into the mise-en-scène of those and other studio-centric films, it’s that he seemed incapable of recording anything but subtle art within whatever limitations his aspect ratio enforced. And so while Walkabout may have been his proper directorial debut, it’s far more significantly his final cinematographic statement.
But it’s not just that Roeg successfully snuck timely art into the mise-en-scène of those and other studio-centric films, it’s that he seemed incapable of recording anything but subtle art within whatever limitations his aspect ratio enforced. And so while Walkabout may have been his proper directorial debut, it’s far more significantly his final cinematographic statement.
- 9/20/2023
- by Joseph Jon Lanthier
- Slant Magazine
I honestly never expected Steven Spielberg in a Criterion Channel series––certainly not one that pairs him with Kogonada, anime, and Johnny Mnemonic––but so’s the power of artificial intelligence. Perhaps his greatest film (at this point I don’t need to tell you the title) plays with After Yang, Ghost in the Shell, and pre-Matrix Keanu in July’s aptly titled “AI” boasting also Spike Jonze’s Her, Carpenter’s Dark Star, and Computer Chess. Much more analog is a British Noir collection obviously carrying the likes of Odd Man Out, Night and the City, and The Small Back Room, further filled by Joseph Losey’s Time Without Pity and Basil Dearden’s It Always Rains on Sunday. (No two ways about it: these movies have great titles.) An Elvis retrospective brings six features, and the consensus best (Don Siegel’s Flaming Star) comes September 1.
While Isabella Rossellini...
While Isabella Rossellini...
- 6/22/2023
- by Nick Newman
- The Film Stage
Sydney, June 11 (Ians) These days Jane Campion — Palme d’Or and Oscar-winning film director — is celebrated for a vein of heartfelt cinema that is aching and quirky, rather than gushing, writes ‘Variety’.
She’s also an intelligent and determined female pioneer who has had to struggle for her present standing in a male-dominated industry.
The Sydney Film Festival this week is showcasing and contextualising Campion’s body of work, ‘Variety’ reports. Its screening programme includes all nine of her feature films, from “Two Friends” to “The Power of the Dog”, and a selection of her shorts.
“For our 70th edition, we wanted to present a retrospective commensurate with the milestone, reflecting the audacious and boundary pushing filmmaking synonymous with our festival and region. There was no one more appropriate than Jane Campion,” said Sff Director Nashen Moodley in notes ahead of the event.
India, incidentally, is being represented at the Festival,...
She’s also an intelligent and determined female pioneer who has had to struggle for her present standing in a male-dominated industry.
The Sydney Film Festival this week is showcasing and contextualising Campion’s body of work, ‘Variety’ reports. Its screening programme includes all nine of her feature films, from “Two Friends” to “The Power of the Dog”, and a selection of her shorts.
“For our 70th edition, we wanted to present a retrospective commensurate with the milestone, reflecting the audacious and boundary pushing filmmaking synonymous with our festival and region. There was no one more appropriate than Jane Campion,” said Sff Director Nashen Moodley in notes ahead of the event.
India, incidentally, is being represented at the Festival,...
- 6/11/2023
- by Agency News Desk
- GlamSham
These days Jane Campion – Palme d’Or and Oscar-winning film director – is celebrated for a vein of heartfelt cinema that is aching and quirky, rather than gushing. She’s also an intelligent and determined female pioneer who has had to struggle for her present standing in a male-dominated industry.
The Sydney Film Festival this week is showcasing and contextualizing her body of work. Its screening program includes all nine of her feature works, from “Two Friends” to “The Power of the Dog,” and a selection of her short films.
“For our 70th edition, we wanted to present a retrospective commensurate with the milestone, reflecting the audacious and boundary pushing filmmaking synonymous with our festival and region. There was no one more appropriate than Jane Campion,” said Sff director Nashen Moodley in notes ahead of the event.
On Saturday, the festival screened Julie Bertucelli’s 2022 documentary “Jane Campion, the Cinema Woman...
The Sydney Film Festival this week is showcasing and contextualizing her body of work. Its screening program includes all nine of her feature works, from “Two Friends” to “The Power of the Dog,” and a selection of her short films.
“For our 70th edition, we wanted to present a retrospective commensurate with the milestone, reflecting the audacious and boundary pushing filmmaking synonymous with our festival and region. There was no one more appropriate than Jane Campion,” said Sff director Nashen Moodley in notes ahead of the event.
On Saturday, the festival screened Julie Bertucelli’s 2022 documentary “Jane Campion, the Cinema Woman...
- 6/11/2023
- by Patrick Frater
- Variety Film + TV
Hugh Hudson, director of the Oscar-winning classic "Chariots of Fire," has passed away at the age of 86. According to a statement released by his family, Hudson "died at Charing Cross hospital on 10 February after a short illness. He is survived by his wife, Maryam, his son, Thomas, and his first wife, Sue."
Hudson's fact-based drama about British runners Harold Abrahams (Ben Cross) and Eric Liddell (Ian Charleston) was a surprise critical and commercial smash in 1981, earning four Academy Awards (including Best Picture) and out-grossing splashy studio releases like "For Your Eyes Only" and "Clash of the Titans." The film became a pop cultural phenomenon due in part to Vangelis' main theme, which topped the Billboard Hot 100 for one week in 1982 and inspired parodies in films like "Mr. Mom" and "National Lampoon's Vacation." But despite its staid period setting and deliberately paced narrative, Hudson's movie touched the hearts of moviegoers all...
Hudson's fact-based drama about British runners Harold Abrahams (Ben Cross) and Eric Liddell (Ian Charleston) was a surprise critical and commercial smash in 1981, earning four Academy Awards (including Best Picture) and out-grossing splashy studio releases like "For Your Eyes Only" and "Clash of the Titans." The film became a pop cultural phenomenon due in part to Vangelis' main theme, which topped the Billboard Hot 100 for one week in 1982 and inspired parodies in films like "Mr. Mom" and "National Lampoon's Vacation." But despite its staid period setting and deliberately paced narrative, Hudson's movie touched the hearts of moviegoers all...
- 2/10/2023
- by Jeremy Smith
- Slash Film
Everybody seems to love Harry Styles. The 28-year-old British heartthrob ,who initially scored huge success as a member of the boy band One Direction before going solo six years ago, won a Grammy last year for best pop solo performance for “Watermelon Sugar.” And he’s up for a total of six this year for his hit single “As It Was” and album “Harry’s House.” And it’s hard not to miss footage of his energetic concerts filled with screaming women of all ages on TikTok.
Though there were two One Direction concert films, Styles has shied away from rock and rolling on the silver screen rather appearing as a World War II soldier in Christopher Nolan’s acclaimed 2017 “Dunkirk” and starring in two high-profile films this fall: Olivia Wilde’s “Stepford Wives”-style thriller “Don’t Worry Darling” and the romantic drama “My Policeman.” In the later, he gives...
Though there were two One Direction concert films, Styles has shied away from rock and rolling on the silver screen rather appearing as a World War II soldier in Christopher Nolan’s acclaimed 2017 “Dunkirk” and starring in two high-profile films this fall: Olivia Wilde’s “Stepford Wives”-style thriller “Don’t Worry Darling” and the romantic drama “My Policeman.” In the later, he gives...
- 11/28/2022
- by Susan King
- Gold Derby
Though their “’80s Horror” lineup would constitute enough of a Halloween push, the Criterion Channel enter October all guns blazing. The month’s lineup also includes a 19-movie vampire series running from 1931’s Dracula (English and Spanish both) to 2014’s A Girl Walks Home Alone at Night, the collection in-between including Herzog’s Nosferatu, Near Dark, and Let the Right One In. Last year’s “Universal Horror” collection returns, a 17-title Ishirō Honda retrospective has been set, and a few genre titles stand alone: Hush…Hush, Sweet Charlotte, The House of the Devil, and Island of Lost Souls.
Streaming premieres include restorations of Tsai Ming-liang’s Vive L’amour and Ed Lachman’s Lou Reed / John Cale concert film Songs for Drella; October’s Criterion editions are Samuel Fuller’s Forty Guns, Bill Duke’s Deep Cover, Haxan, and My Own Private Idaho. Meanwhile, Ari Aster has curated an “Adventures...
Streaming premieres include restorations of Tsai Ming-liang’s Vive L’amour and Ed Lachman’s Lou Reed / John Cale concert film Songs for Drella; October’s Criterion editions are Samuel Fuller’s Forty Guns, Bill Duke’s Deep Cover, Haxan, and My Own Private Idaho. Meanwhile, Ari Aster has curated an “Adventures...
- 9/26/2022
- by Nick Newman
- The Film Stage
If you’re a horror fan with a subscription to the Criterion Channel, you’ve got a hell of a month to look forward to. The streaming service will kick off the Halloween season with a collection of thirty of the best ’80s horror movies out there. With movies from Dario Argento, John Carpenter, David Cronenberg, Tobe Hooper, and more, there’s something for everyone, from Amy Holden Jones’ sleazy slasher The Slumber Party Massacre to Kathryn Bigelow’s cult classic vampire thriller Near Dark.
Mark your calendars: '80s Horror—our 30-film collection featuring films by Dario Argento, Kathryn Bigelow, John Carpenter, Larry Cohen, David Cronenberg, Tobe Hooper, Michael Mann, Ken Russell, Paul Schrader, and more—is coming to the @criterionchannl on October 1! pic.twitter.com/QIIyFaEO20
— Criterion Collection (@Criterion) September 22, 2022 Related The Best 80s Vampire Movies
This collection of ’80s horror was curated by Clyde Folley and will...
Mark your calendars: '80s Horror—our 30-film collection featuring films by Dario Argento, Kathryn Bigelow, John Carpenter, Larry Cohen, David Cronenberg, Tobe Hooper, Michael Mann, Ken Russell, Paul Schrader, and more—is coming to the @criterionchannl on October 1! pic.twitter.com/QIIyFaEO20
— Criterion Collection (@Criterion) September 22, 2022 Related The Best 80s Vampire Movies
This collection of ’80s horror was curated by Clyde Folley and will...
- 9/23/2022
- by Kevin Fraser
- JoBlo.com
One of my great memories from the, put one way, debatable year of 2020 was Criterion Channel’s “’70s Horror,” a program that did what it said on the tin while offering discoveries aplenty—Texas Chain Saw next to Let’s Scare Jessica to Death, Deathdream given equal prominence as The Wicker Man. It is of course a delight to see they’re picking up their own baton with next month’s “’80s Horror,” which again runs a canon-to-obscurity gamut. Scanners, Near Dark, and Prince of Darkness will of course appear, but I’d just as soon direct people to Wolfen, Society, and The Keep—which made my jaw drop just a bit, given how averse Michael Mann seems towards any exhibition of it.
Criterion have released a nifty trailer encapsulating the spooks and scares to come. Find it below, as well as the full list of titles and more on the Criterion Channel.
Criterion have released a nifty trailer encapsulating the spooks and scares to come. Find it below, as well as the full list of titles and more on the Criterion Channel.
- 9/22/2022
- by Nick Newman
- The Film Stage
Joachim Trier, writer/director of the multi-Oscar nominated film The Worst Person in the World, discusses his favorite movies with hosts Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
A History of Violence (2005)
Gremlins (1984) – Glenn Erickson’s Blu-ray review, Tfh’s retrospective links
Innerspace (1987) – Glenn Erickson’s Blu-ray review
The Worst Person In The World (2021)
Back To The Future (1985)
Hiroshima Mon Amour (1959)
Hour of the Wolf (1968)
2001: A Space Odyssey (1968) – John Landis’s trailer commentary, Dennis Cozzalio’s review
Mirror (1975)
Stalker (1979) – Glenn Erickson’s Criterion Blu-ray review
Soylent Green (1973)
Dr. Strangelove (1964) – Michael Lehmann’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
Last Year At Marienbad (1961)
The Hunt (1959)
Remonstrance (1972)
Don’t Look Now (1973) – John Landis’s trailer commentary
Bad Timing (1980) – Bernard Rose’s trailer commentary
Walkabout (1971) – Larry Karaszewski’s trailer commentary
Performance (1970) – Mark Goldblatt’s trailer commentary
Drive My Car (2021)
491 (1964)
The Seventh Seal (1957)
Persona (1966)
The Wild Strawberries...
Show Notes: Movies Referenced In This Episode
A History of Violence (2005)
Gremlins (1984) – Glenn Erickson’s Blu-ray review, Tfh’s retrospective links
Innerspace (1987) – Glenn Erickson’s Blu-ray review
The Worst Person In The World (2021)
Back To The Future (1985)
Hiroshima Mon Amour (1959)
Hour of the Wolf (1968)
2001: A Space Odyssey (1968) – John Landis’s trailer commentary, Dennis Cozzalio’s review
Mirror (1975)
Stalker (1979) – Glenn Erickson’s Criterion Blu-ray review
Soylent Green (1973)
Dr. Strangelove (1964) – Michael Lehmann’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
Last Year At Marienbad (1961)
The Hunt (1959)
Remonstrance (1972)
Don’t Look Now (1973) – John Landis’s trailer commentary
Bad Timing (1980) – Bernard Rose’s trailer commentary
Walkabout (1971) – Larry Karaszewski’s trailer commentary
Performance (1970) – Mark Goldblatt’s trailer commentary
Drive My Car (2021)
491 (1964)
The Seventh Seal (1957)
Persona (1966)
The Wild Strawberries...
- 3/15/2022
- by Kris Millsap
- Trailers from Hell
It’s ’60s style over substance in this soft-core spoof directed by Robert Freeman, best known for photographing The Beatles’ album covers. David Anthony plays a rock idol kidnapped by four adoring fans. True to Freeman’s background the Mod fashions and psychedelic settings take precedence over the slight story by Donald Cammell (before he teamed up with Nicolas Roeg for Performance).
The post The Touchables appeared first on Trailers From Hell.
The post The Touchables appeared first on Trailers From Hell.
- 10/22/2021
- by Charlie Largent
- Trailers from Hell
Celebrating the release of his new memoir, multi-hyphenate Steven Van Zandt joins hosts Josh Olson and Joe Dante to discuss a few of his favorite movies.
Show Notes: Movies Referenced In This Episode
Elevator To The Gallows (1958) – Glenn Erickson’s Criterion Blu-ray review
Breathless (1960) – Allan Arkush’s trailer commentary
Angels With Dirty Faces (1938)
The Fisher King (1991)
Tony Rome (1967)
Lady In Cement (1968)
Star Trek IV: The Voyage Home (1986)
Star Trek V: The Final Frontier (1989)
The Killer (1989)
True Romance (1993)
True Lies (1994)
Get Shorty (1995) – Allan Arkush’s trailer commentary
Point Blank (1967) – John Landis’s trailer commentary
Catch Us If You Can a.k.a. Sweet Memories (1965)
Double Trouble (1967)
Performance (1970) – Mark Goldblatt’s trailer commentary
The Driver (1978)
A Hard Day’s Night (1964) – Allan Arkush’s trailer commentary, Tfh’s Don’t Knock The Rock piece
Help! (1965) – Allan Arkush’s trailer commentary, Charlie Largent’s review
Blue Collar (1978) – Josh Olson’s trailer commentary, Randy Fuller’s...
Show Notes: Movies Referenced In This Episode
Elevator To The Gallows (1958) – Glenn Erickson’s Criterion Blu-ray review
Breathless (1960) – Allan Arkush’s trailer commentary
Angels With Dirty Faces (1938)
The Fisher King (1991)
Tony Rome (1967)
Lady In Cement (1968)
Star Trek IV: The Voyage Home (1986)
Star Trek V: The Final Frontier (1989)
The Killer (1989)
True Romance (1993)
True Lies (1994)
Get Shorty (1995) – Allan Arkush’s trailer commentary
Point Blank (1967) – John Landis’s trailer commentary
Catch Us If You Can a.k.a. Sweet Memories (1965)
Double Trouble (1967)
Performance (1970) – Mark Goldblatt’s trailer commentary
The Driver (1978)
A Hard Day’s Night (1964) – Allan Arkush’s trailer commentary, Tfh’s Don’t Knock The Rock piece
Help! (1965) – Allan Arkush’s trailer commentary, Charlie Largent’s review
Blue Collar (1978) – Josh Olson’s trailer commentary, Randy Fuller’s...
- 9/28/2021
- by Kris Millsap
- Trailers from Hell
October’s here and it’s time to get spooked. After last year’s superb “’70s Horror” lineup, the Criterion Channel commemorates October with a couple series: “Universal Horror,” which does what it says on the tin (with special notice to the Spanish-language Dracula), and “Home Invasion,” which runs the gamut from Romero to Oshima with Polanski and Haneke in the mix. Lest we disregard the programming of Cindy Sherman’s one feature, Office Killer, and Jennifer’s Body, whose lifespan has gone from gimmick to forgotten to Criterion Channel. And if you want to stretch ideas of genre just a hair, their “True Crime” selection gets at darker shades of human nature.
It’s not all chills and thrills, mind. October also boasts a Kirk Douglas repertoire, movies by Doris Wishman and Wayne Wang, plus Manoel de Oliveira’s rarely screened Porto of My Childhood. And Edgar Wright gets the “Adventures in Moviegoing” treatment,...
It’s not all chills and thrills, mind. October also boasts a Kirk Douglas repertoire, movies by Doris Wishman and Wayne Wang, plus Manoel de Oliveira’s rarely screened Porto of My Childhood. And Edgar Wright gets the “Adventures in Moviegoing” treatment,...
- 9/24/2021
- by Leonard Pearce
- The Film Stage
This review of “The Nowhere Inn” was first published after the film’s premiere at the 2020 Sundance Film Festival.
“The Nowhere Inn” — a new meta-concert doc produced, written by and starring Sleater-Kinney’s Carrie Brownstein and Annie “St. Vincent” Clark — is a collection of comedic and musical sketches that are not funny, weird or thoughtful enough to sell its creators’ insistent, but mostly trite and undeveloped, ideas about the performative nature of self-fashioning and creative authenticity.
Directed by Bill Benz (Brownstein’s semi-regular “Portlandia” collaborator), “The Nowhere Inn” is initially presented as a dramatized version of Brownstein and Clark’s real-life attempts at filming a St. Vincent concert movie. So at the start, the movie’s sketchier qualities appear to reflect both the surreal emotional peaks and troughs of a live musical tour.
Unfortunately, the movie’s cringe humor-style gags are mostly thin and monotonous, and even a few psychedelic...
“The Nowhere Inn” — a new meta-concert doc produced, written by and starring Sleater-Kinney’s Carrie Brownstein and Annie “St. Vincent” Clark — is a collection of comedic and musical sketches that are not funny, weird or thoughtful enough to sell its creators’ insistent, but mostly trite and undeveloped, ideas about the performative nature of self-fashioning and creative authenticity.
Directed by Bill Benz (Brownstein’s semi-regular “Portlandia” collaborator), “The Nowhere Inn” is initially presented as a dramatized version of Brownstein and Clark’s real-life attempts at filming a St. Vincent concert movie. So at the start, the movie’s sketchier qualities appear to reflect both the surreal emotional peaks and troughs of a live musical tour.
Unfortunately, the movie’s cringe humor-style gags are mostly thin and monotonous, and even a few psychedelic...
- 9/16/2021
- by Simon Abrams
- The Wrap
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By Mark Mawston
Luc Roeg is the son of seminal director Nicolas Roeg. He appeared in his father’s last narrative film as a cinematographer, and first as a solo director, the much-lauded Walkabout, which received a newly-restored release through Second Sight recently. Nic Roeg began his career as a camera operator on such titles as Cubby Broccoli’s pre-Bond production The Trials of Oscar Wilde and the infamous Dr. Blood’s Coffin before becoming cinematographer on films such as Dr. Crippen and Nothing but the Best. He was one of the many hands behind the camera on the unofficial 1967 Bond entry Casino Royale. Roeg senior also worked with such luminaries as François Truffaut (on the Ray Bradbury adaptation Fahrenheit 451), Richard Lester (A Funny Thing Happened on the Way to the Forum and Petulia) and John Schlesinger (Far from the Madding Crowd). However,...
By Mark Mawston
Luc Roeg is the son of seminal director Nicolas Roeg. He appeared in his father’s last narrative film as a cinematographer, and first as a solo director, the much-lauded Walkabout, which received a newly-restored release through Second Sight recently. Nic Roeg began his career as a camera operator on such titles as Cubby Broccoli’s pre-Bond production The Trials of Oscar Wilde and the infamous Dr. Blood’s Coffin before becoming cinematographer on films such as Dr. Crippen and Nothing but the Best. He was one of the many hands behind the camera on the unofficial 1967 Bond entry Casino Royale. Roeg senior also worked with such luminaries as François Truffaut (on the Ray Bradbury adaptation Fahrenheit 451), Richard Lester (A Funny Thing Happened on the Way to the Forum and Petulia) and John Schlesinger (Far from the Madding Crowd). However,...
- 8/27/2020
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Donald Cammell danced to his own tune; he only directed four films over twenty-six years before taking his own life, but each was unique and thrilling in their own peculiar way. Case in point: White of the Eye (1987), his meditation on toxic masculinity and dead ends told through the prism of an Americanized Giallo film; it’s a film that purposely piles on the unease until the images shatter the screen with style and sheen.
Released by Palisades Entertainment Group Stateside in May of ‘88, White actually premiered in its native U.K. the previous summer, as well as playing at Cannes that year. Prestigious? Sure, for those who followed Cammell’s unusual career trajectory through tumult and triumph. As for the general public, White was definitely a question mark - a horror film, a thriller, or an odd domestic drama? - and sank without a trace. But thirty-three years after its debut,...
Released by Palisades Entertainment Group Stateside in May of ‘88, White actually premiered in its native U.K. the previous summer, as well as playing at Cannes that year. Prestigious? Sure, for those who followed Cammell’s unusual career trajectory through tumult and triumph. As for the general public, White was definitely a question mark - a horror film, a thriller, or an odd domestic drama? - and sank without a trace. But thirty-three years after its debut,...
- 5/9/2020
- by Scott Drebit
- DailyDead
Tony Sokol Jul 25, 2019
Art heist film The Burnt Orange Heresy features Donald Sutherland catching rye and a Rolling Stone gathering moss.
Mick Jagger is making his movie comeback.
The lead singer of the Rolling Stones hasn't acted since 2001's The Man from Elysian Fields. He turned down the booty from a part in the Pirates of the Caribbean franchise but couldn't turn away from an erotic neo-noir art heist thriller. The Burnt Orange Heresy, which also stars Donald Sutherland as a reclusive artist in the Jd Salinger mold, will have its world premiere at the Venice International Film Festival on September 7, 2019, according to Variety. The film will close out the festival in with an out-of-competition screening in the Sala Grande after the awards ceremony.
Based on Charles Willeford's 1971 novel The Burnt Orange Heresy, the film was directed by Giuseppe Capotondi. When the movie was first announced, Christopher Walken was...
Art heist film The Burnt Orange Heresy features Donald Sutherland catching rye and a Rolling Stone gathering moss.
Mick Jagger is making his movie comeback.
The lead singer of the Rolling Stones hasn't acted since 2001's The Man from Elysian Fields. He turned down the booty from a part in the Pirates of the Caribbean franchise but couldn't turn away from an erotic neo-noir art heist thriller. The Burnt Orange Heresy, which also stars Donald Sutherland as a reclusive artist in the Jd Salinger mold, will have its world premiere at the Venice International Film Festival on September 7, 2019, according to Variety. The film will close out the festival in with an out-of-competition screening in the Sala Grande after the awards ceremony.
Based on Charles Willeford's 1971 novel The Burnt Orange Heresy, the film was directed by Giuseppe Capotondi. When the movie was first announced, Christopher Walken was...
- 7/25/2019
- Den of Geek
In the past four months or so since I last did this, the following on my @movieposterofthday (leave off the last e for elegance) Instagram has more than tripled, which makes this best-of round-up more competitive. Sadly, as is often the case, a lot of my posts were occasioned by the passing of an actor or director, or, in the case of the most popular poster yet, by a composer. The lovely two-color American half sheet for The Umbrellas of Cherbourg was posted in honor of Michel Legrand, who passed away in January at 86 just the day after Serbian director Dušan Makavejev, who was also 86 and whose ribald German poster for Sweet Movie also made the top 20. Other passings recognized were Stanley Donen (with a Japanese Funny Face), Nicolas Roeg (a Us Performance), and Bruno Ganz (a French Wings of Desire). It’s impossible to tell if people are liking...
- 3/22/2019
- MUBI
Jim Knipfel Mar 4, 2019
We look at some of the lesser-remembered but influential evil artificial intelligence computer movies, Colossus and Demon Seed.
The ugly turns taken by assorted historical vectors in the late 1960s and early ‘70s—a string of high-profile assassinations, race riots, Manson, the Weather Underground, Vietnam, Nixon, a broader awareness of impending environmental collapse—made the 1970s a particular golden era for dystopian cinema. All the above mentioned forces and more gave us the likes of Soylent Green, No Blade of Grass, Thx-1138, Frogs, The Omega Man, and countless other visions of our doomed future. In and amongst all our other inescapable anxieties and paranoias was an increasing awareness of the role computers were playing in our daily lives.
Technoparanoid fears of dehumanization and power-mad machines can of course be traced back to the silent era in cinema, and much earlier than that in literature and legend, but...
We look at some of the lesser-remembered but influential evil artificial intelligence computer movies, Colossus and Demon Seed.
The ugly turns taken by assorted historical vectors in the late 1960s and early ‘70s—a string of high-profile assassinations, race riots, Manson, the Weather Underground, Vietnam, Nixon, a broader awareness of impending environmental collapse—made the 1970s a particular golden era for dystopian cinema. All the above mentioned forces and more gave us the likes of Soylent Green, No Blade of Grass, Thx-1138, Frogs, The Omega Man, and countless other visions of our doomed future. In and amongst all our other inescapable anxieties and paranoias was an increasing awareness of the role computers were playing in our daily lives.
Technoparanoid fears of dehumanization and power-mad machines can of course be traced back to the silent era in cinema, and much earlier than that in literature and legend, but...
- 2/14/2019
- Den of Geek
“Even the bath water was dirty.” According to director Nicolas Roeg, that was the reaction of an appalled Warner Bros. executive at a test screening of “Performance” in 1968, one that went so badly that even studio staff walked out. It was shelved for 18 months before being unceremoniously dumped into cinemas in 1970.
Fifty years later, it’s considered a classic. In his critically acclaimed Channel 4 documentary miniseries, “The Story of Film,” director and critic Mark Cousins said: “If any movie should be compulsory viewing for filmmakers, maybe this is it.” Co-directed by Roeg and Donald Cammell, “Performance” is sex, drugs, and rock ‘n’ roll distilled to its purest visual expression. And now, a new limited-edition coffee-table book from Coattail Publications, “Performance: The Making of a Classic,” goes down the rabbit hole and reveals new details about the movie and its 1968 production.
In a phone interview, the book’s author admitted...
Fifty years later, it’s considered a classic. In his critically acclaimed Channel 4 documentary miniseries, “The Story of Film,” director and critic Mark Cousins said: “If any movie should be compulsory viewing for filmmakers, maybe this is it.” Co-directed by Roeg and Donald Cammell, “Performance” is sex, drugs, and rock ‘n’ roll distilled to its purest visual expression. And now, a new limited-edition coffee-table book from Coattail Publications, “Performance: The Making of a Classic,” goes down the rabbit hole and reveals new details about the movie and its 1968 production.
In a phone interview, the book’s author admitted...
- 2/13/2019
- by Christian Blauvelt
- Indiewire
15 August 1928 – 23 November 2018
The actor who starred in Roeg’s 1973 masterpiece, Don’t Look Now, remembers a visionary director, and cinematographer, who changed his life for ever
• Judy Blame remembered by Boy George
• Read the Observer’s obituaries of 2018 in full here
I was filming in Florida in the spring of 1972. My agent phoned to tell me a fellow named Nic Roeg wanted to speak with me about filming Daphne du Maurier’s Don’t Look Now. I didn’t know him. Didn’t know the story. So I bought a book of her stories and read it, read the script and then I screened Walkabout and Performance, the film he’d co-directed with Donald Cammell. I liked everything.
They gave me his phone number and I called him in London. He answered. There was a lot of background barking. A cacophonous chorus of Jack Russells. He and I talked through it.
The actor who starred in Roeg’s 1973 masterpiece, Don’t Look Now, remembers a visionary director, and cinematographer, who changed his life for ever
• Judy Blame remembered by Boy George
• Read the Observer’s obituaries of 2018 in full here
I was filming in Florida in the spring of 1972. My agent phoned to tell me a fellow named Nic Roeg wanted to speak with me about filming Daphne du Maurier’s Don’t Look Now. I didn’t know him. Didn’t know the story. So I bought a book of her stories and read it, read the script and then I screened Walkabout and Performance, the film he’d co-directed with Donald Cammell. I liked everything.
They gave me his phone number and I called him in London. He answered. There was a lot of background barking. A cacophonous chorus of Jack Russells. He and I talked through it.
- 12/16/2018
- by Donald Sutherland
- The Guardian - Film News
By Todd Garbarini
Laemmle’s Ahrya Fine Arts Theatre in Los Angeles will be presenting a 45th anniversary screening of Nicholas Roeg’s masterful 1973 thriller Don’t Look Now. The 110-minute film stars Donald Sutherland and Julie Christie as recently bereaved parents struggling to cope with the loss of their daughter, based upon the short story of the same name by author Daphne du Maurier and published in the 1971 story collection “Not After Midnight.”
The film will be screened on Tuesday, December 18th, 2018 at 7:30 pm.
Please Note: At press time the film’s cinematographer, Anthony Richmond, is scheduled to participate in a Q&A following the screening. Please Check Back With The Ahrya’S Website For Updates.
From the press release:
Laemmle Theatres and the Anniversary Classics Series present a tribute to director Nicolas Roeg with a screening of his eerie, atmospheric thriller, 'Don’t Look Now.' Roeg,...
Laemmle’s Ahrya Fine Arts Theatre in Los Angeles will be presenting a 45th anniversary screening of Nicholas Roeg’s masterful 1973 thriller Don’t Look Now. The 110-minute film stars Donald Sutherland and Julie Christie as recently bereaved parents struggling to cope with the loss of their daughter, based upon the short story of the same name by author Daphne du Maurier and published in the 1971 story collection “Not After Midnight.”
The film will be screened on Tuesday, December 18th, 2018 at 7:30 pm.
Please Note: At press time the film’s cinematographer, Anthony Richmond, is scheduled to participate in a Q&A following the screening. Please Check Back With The Ahrya’S Website For Updates.
From the press release:
Laemmle Theatres and the Anniversary Classics Series present a tribute to director Nicolas Roeg with a screening of his eerie, atmospheric thriller, 'Don’t Look Now.' Roeg,...
- 12/15/2018
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
It has become a cliché to quote the age-old maxim that you should never meet your heroes. I am also of the belief that you should never write about meeting them either. But I am going to make an exception for Nicolas Roeg, who passed away aged 90 on November 26, 2018. It’s commonly accepted, and certainly in the tributes that have flowed since his death, that Roeg was a genius of the cinema. In his lifetime he was not always held in such lofty regard, as his longtime friend and producing associate Jeremy Thomas was swift to point out when he chastised the U.K. film establishment for its neglect of one of its most visionary talents. “Roeg was one of the major figures but he wasn’t supported by the British Film Industry. There is something about our culture that we don’t revere our greatest filmmakers, especially if they...
- 12/10/2018
- MUBI
“ You’re a comical little geezer. You’ll look funny when you’re fifty.” James Fox as Chas to Mick Jagger as Turner in Performance.
Last weekend saw the loss of one of the UK’s finest and most admired filmmakers, Nicolas Roeg, who died at 90. 2018 also marks fifty years since the making of his first film as director, the BAFTA-nominated Performance, alongside co-director Donald Cammell starring James Fox, Mick Jagger and Anita Pallenberg.
To celebrate the anniversary a lavish 348 page book, Performance: The 50th Anniversary of the Donald Cammell and Nicolas Roeg Cinematic Classic, boasting over 500 images, many previously unseen by the public, will be published on 3rd December 2018, as James Kleinmann reports for HeyUGuys.
The book, by Jay Glennie, takes an in-depth look at the making of the hugely influential film, the reluctance of Warner Bros. to release it without substantial cuts, the initial critical reaction as well...
Last weekend saw the loss of one of the UK’s finest and most admired filmmakers, Nicolas Roeg, who died at 90. 2018 also marks fifty years since the making of his first film as director, the BAFTA-nominated Performance, alongside co-director Donald Cammell starring James Fox, Mick Jagger and Anita Pallenberg.
To celebrate the anniversary a lavish 348 page book, Performance: The 50th Anniversary of the Donald Cammell and Nicolas Roeg Cinematic Classic, boasting over 500 images, many previously unseen by the public, will be published on 3rd December 2018, as James Kleinmann reports for HeyUGuys.
The book, by Jay Glennie, takes an in-depth look at the making of the hugely influential film, the reluctance of Warner Bros. to release it without substantial cuts, the initial critical reaction as well...
- 11/28/2018
- by James Kleinmann
- HeyUGuys.co.uk
Thomas also suggested the UK film establishment undervalued Roeg in his lifetime.
Award-winning UK producer Jeremy Thomas has paid heartfelt tribute to Nicolas Roeg, with whom he collaborated on films including Insignificance, Bad Timing and Eureka.
Roeg died aged 90 on Saturday (November 26).
“I will miss him forever. I had a 10-year lesson from him about everything,” said Thomas, speaking from Rome this weekend. “He was one of the greatest, if not the greatest, director I worked with and he left a legacy of magnificent films.”
As well as his directorial credits Thomas cited Roeg’s work as a cinematographer on...
Award-winning UK producer Jeremy Thomas has paid heartfelt tribute to Nicolas Roeg, with whom he collaborated on films including Insignificance, Bad Timing and Eureka.
Roeg died aged 90 on Saturday (November 26).
“I will miss him forever. I had a 10-year lesson from him about everything,” said Thomas, speaking from Rome this weekend. “He was one of the greatest, if not the greatest, director I worked with and he left a legacy of magnificent films.”
As well as his directorial credits Thomas cited Roeg’s work as a cinematographer on...
- 11/27/2018
- by Geoffrey Macnab
- ScreenDaily
It’s always tough when giants shuffle off this mortal coil, but the twofer that hit film fans over the past few days has been a particularly hard blow. Early Saturday morning, word began to spread that Nicolas Roeg, the filmmaker behind The Man Who Fell to Earth, among others, had died at the age of 90. Then, just as folks were logging on to their computers today after a long holiday weekend, it was confirmed that Bernardo Bertolucci, the Oscar-winning director who helped channel what’s arguably Marlon Brando’s...
- 11/26/2018
- by David Fear
- Rollingstone.com
The year 2018 is shaping up to be a tragedy of epic proportions for lovers of world cinema. In April, Czech director Milos Forman passed away, and now, in late November, within a matter of days, we have lost avant garde maestro Nicolas Roeg and that great Italian iconoclast Bernardo Bertolucci.
Consider: Forman’s “Amadeus,” Roeg’s identity-shattering “Performance” (co-directed with Donald Cammell), and Bertolucci’s still unsurpassed exploration of moral ambiguity and personal compromise, “The Conformist.” The medium is inconceivable in its present form without these films, whose directors were hardly one-hit wonders, contributing masterpiece after masterpiece during the most fertile stretches of their careers. Though each had struggled to maintain his relevance in recent decades, any late-life disappointment seems inevitable when judged relative to the achievements that came before.
Of the three, Bertolucci was by far the most successful at sustaining his impact until the end, for his brand was controversy,...
Consider: Forman’s “Amadeus,” Roeg’s identity-shattering “Performance” (co-directed with Donald Cammell), and Bertolucci’s still unsurpassed exploration of moral ambiguity and personal compromise, “The Conformist.” The medium is inconceivable in its present form without these films, whose directors were hardly one-hit wonders, contributing masterpiece after masterpiece during the most fertile stretches of their careers. Though each had struggled to maintain his relevance in recent decades, any late-life disappointment seems inevitable when judged relative to the achievements that came before.
Of the three, Bertolucci was by far the most successful at sustaining his impact until the end, for his brand was controversy,...
- 11/26/2018
- by Peter Debruge
- Variety Film + TV
London-born Roeg directed Don’t Look Now, The Man Who Fell To Earth, The Witches and Performance.
Nicolas Roeg, director of Don’t Look Now, The Man Who Fell To Earth and The Witches, has died aged 90.
His son, Nicolas Roeg Jr, told the BBC that he passed away yesterday (23 November).
Roeg was born in north London in 1928, beginning his career at Marylebone Studios.
After working as a cinematographer he made his directing debut (alongside Donald Cammell) with the controversial 1970 film Performance starring Mick Jagger, which was delayed for two years bacsue of its sexual content and violence.
His first solo outing was 1971’s Walkabout,...
Nicolas Roeg, director of Don’t Look Now, The Man Who Fell To Earth and The Witches, has died aged 90.
His son, Nicolas Roeg Jr, told the BBC that he passed away yesterday (23 November).
Roeg was born in north London in 1928, beginning his career at Marylebone Studios.
After working as a cinematographer he made his directing debut (alongside Donald Cammell) with the controversial 1970 film Performance starring Mick Jagger, which was delayed for two years bacsue of its sexual content and violence.
His first solo outing was 1971’s Walkabout,...
- 11/26/2018
- by Screen staff
- ScreenDaily
The 1970s were the heyday of what was still known, with Victorian understatement, as the love scene: those writhing arenas of nude intimacy, which moviegoers experienced with a touch of voyeuristic awe, to the point that the scenes were talked about for years, or even decades. And except for the clashing close encounters in “Last Tango in Paris,” no love scene of the ’70s was as celebrated, as talked about, or as swooned over as the one that appeared a year later in “Don’t Look Now,” the splendidly creepy 1973 chiller that’s arguably the greatest movie directed by Nicolas Roeg, who died Friday at 90.
The film’s two stars, Donald Sutherland and Julie Christie, were both considered deliriously sexy at the time, though if you watch the movie today they look more or less like what they were playing — a handsome but ordinary middle-class couple still reeling in grief...
The film’s two stars, Donald Sutherland and Julie Christie, were both considered deliriously sexy at the time, though if you watch the movie today they look more or less like what they were playing — a handsome but ordinary middle-class couple still reeling in grief...
- 11/24/2018
- by Owen Gleiberman
- Variety Film + TV
Roeg's vision of Venice in Don't Look Now
Film fans have been paying tribute today to Nicolas Roeg, the director behind some of the 20th Century's most iconic films. The man behind Walkabout, Don't Look Now, The Man Who Fell To Earth and Performance (which he co-directed with Donald Cammell), he will be remembered as one of the greatest auteurs Britain has produced.
A Cbe and Fellow of the BFI, the London-born director was active in the industry for over six decades, releasing his last documentary, The Film That Buys the Cinema, in 2014. His last fiction film, Puffball, came out in 2007. Alongside directing, he won acclaim for his work as a cinematographer on films including Masque Of The Red Death, Fahrenheit 451, Lawrence Of Arabia and Far From The Madding Crowd. His own films often dealt with themes of death, grief, identity and mysticism.
"His films hypnotised me for years and still continue.
Film fans have been paying tribute today to Nicolas Roeg, the director behind some of the 20th Century's most iconic films. The man behind Walkabout, Don't Look Now, The Man Who Fell To Earth and Performance (which he co-directed with Donald Cammell), he will be remembered as one of the greatest auteurs Britain has produced.
A Cbe and Fellow of the BFI, the London-born director was active in the industry for over six decades, releasing his last documentary, The Film That Buys the Cinema, in 2014. His last fiction film, Puffball, came out in 2007. Alongside directing, he won acclaim for his work as a cinematographer on films including Masque Of The Red Death, Fahrenheit 451, Lawrence Of Arabia and Far From The Madding Crowd. His own films often dealt with themes of death, grief, identity and mysticism.
"His films hypnotised me for years and still continue.
- 11/24/2018
- by Jennie Kermode
- eyeforfilm.co.uk
Idiosyncratic film director Nicolas Roeg, whose odd but compelling films included Performance and The Man Who Fell To Earth, has died. He passed away on Friday night of undisclosed causes at age 90, according to his son.
Roeg’s work, which was often opaque and non-traditional, influenced a generation of filmmakers, but wasn’t widely accepted at first. Performance was almost not released, and later re-cut by Warner Bros., whose executives found it almost incomprehensible. It is now considered a classic, decades later.
Before directing, Roeg had built a solid reputation as a cinematographer, winning acclaim for his work on Far From The Madding Crowd and Fahrenheit 451, among others.
But it was his work on Performance that caused a stir. Co-directed with Donald Cammell, its non-linear narrative and dark tones recalled such auteurs as Jean-Luc Godard and Richard Lester. It became a signature piece, leading to such stylized and arty...
Roeg’s work, which was often opaque and non-traditional, influenced a generation of filmmakers, but wasn’t widely accepted at first. Performance was almost not released, and later re-cut by Warner Bros., whose executives found it almost incomprehensible. It is now considered a classic, decades later.
Before directing, Roeg had built a solid reputation as a cinematographer, winning acclaim for his work on Far From The Madding Crowd and Fahrenheit 451, among others.
But it was his work on Performance that caused a stir. Co-directed with Donald Cammell, its non-linear narrative and dark tones recalled such auteurs as Jean-Luc Godard and Richard Lester. It became a signature piece, leading to such stylized and arty...
- 11/24/2018
- by Bruce Haring
- Deadline Film + TV
London-born Roeg directed Don’t Look Now, The Man Who Fell To Earth, The Witches and Performance.
Nicolas Roeg, director of Don’t Look Now, The Man Who Fell To Earth and The Witches, has died aged 90.
His son, Nicolas Roeg Jr, told the BBC that he passed away yesterday (23 November).
Roeg was born in north London in 1928, beginning his career at Marylebone Studios.
After working as a cinematographer he made his directing debut (alongside Donald Cammell) with the controversial 1970 film Performance starring Mick Jagger, which was delayed for two years bacsue of its sexual content and violence.
His first solo outing was 1971’s Walkabout,...
Nicolas Roeg, director of Don’t Look Now, The Man Who Fell To Earth and The Witches, has died aged 90.
His son, Nicolas Roeg Jr, told the BBC that he passed away yesterday (23 November).
Roeg was born in north London in 1928, beginning his career at Marylebone Studios.
After working as a cinematographer he made his directing debut (alongside Donald Cammell) with the controversial 1970 film Performance starring Mick Jagger, which was delayed for two years bacsue of its sexual content and violence.
His first solo outing was 1971’s Walkabout,...
- 11/24/2018
- by Screen staff
- ScreenDaily
Director and noted cinematographer Nicolas Roeg, whose offbeat films included “Performance,” “Don’t Look Now,” “The Witches” and “The Man Who Fell to Earth,” has died. He was 90.
His son Nicolas Roeg Jr. told the BBC his father died Friday night.
A daring and influential craftsman, Roeg’s idiosyncratic films influenced filmmakers including Danny Boyle and Steven Soderbergh.
He worked his way up from the bottom of the business and by the 1960s was much in demand as a cinematographer, responsible for the lensing of films including “Petulia,” “Far From the Madding Crowd” and “Fahrenheit 451.”
The controversial, oddly compelling Mick Jagger-starring “Performance,” which Roeg co-directed with Donald Cammell, was almost not released and then was recut by Warner Bros.; execs at the studio found it incomprehensible as a gangster thriller. It was eventually recut, released in 1970 to modest business and decades later received widespread acclaim as a classic of British cinema.
His son Nicolas Roeg Jr. told the BBC his father died Friday night.
A daring and influential craftsman, Roeg’s idiosyncratic films influenced filmmakers including Danny Boyle and Steven Soderbergh.
He worked his way up from the bottom of the business and by the 1960s was much in demand as a cinematographer, responsible for the lensing of films including “Petulia,” “Far From the Madding Crowd” and “Fahrenheit 451.”
The controversial, oddly compelling Mick Jagger-starring “Performance,” which Roeg co-directed with Donald Cammell, was almost not released and then was recut by Warner Bros.; execs at the studio found it incomprehensible as a gangster thriller. It was eventually recut, released in 1970 to modest business and decades later received widespread acclaim as a classic of British cinema.
- 11/24/2018
- by Richard Natale
- Variety Film + TV
Nicolas Roeg, a visionary filmmaker whose enrapturing, sensuous movies transformed the way audiences and his fellow directors understood cinematic language, has died at the age of 90, his family confirmed to the BBC.
More concerned with blazing his own trail than catering to commercial concerns, Roeg created dramas that played with chronology and offended small-minded viewers, resulting in a body of work full of cult classics that were often rejected upon release, only to be reevaluated far more favorably in subsequent years as their pioneering qualities influenced future artists. In films such as Performance,...
More concerned with blazing his own trail than catering to commercial concerns, Roeg created dramas that played with chronology and offended small-minded viewers, resulting in a body of work full of cult classics that were often rejected upon release, only to be reevaluated far more favorably in subsequent years as their pioneering qualities influenced future artists. In films such as Performance,...
- 11/24/2018
- by Tim Grierson
- Rollingstone.com
Performance, the 1970 British crime drama best known as Mick Jagger’s acting debut, had a challenging route to screen. But despite troubles with studio Warner Bros, the film, which defines the bohemian London of the 1960s, has gone on to be considered one of the best British films of all time.
A new book, Performance: The 50th Anniversary, written and compiled by Jay Glennie, tells the story of its chaotic production, gives a glimpse behind-the-scenes with over 500 images including many never seen before, and looks at its legacy through the eyes of star Jagger, as well as Nic Roeg, who directed the film alongside Donald Cammell and producer Sandy Lieberson. Glennie has given Deadline an exclusive look at the book, which is released via Coattail Publishing on December 1.
Jagger says, “It’s actually hard to believe that we’re still talking about the film 50 years later. Not many films stick around that long.
A new book, Performance: The 50th Anniversary, written and compiled by Jay Glennie, tells the story of its chaotic production, gives a glimpse behind-the-scenes with over 500 images including many never seen before, and looks at its legacy through the eyes of star Jagger, as well as Nic Roeg, who directed the film alongside Donald Cammell and producer Sandy Lieberson. Glennie has given Deadline an exclusive look at the book, which is released via Coattail Publishing on December 1.
Jagger says, “It’s actually hard to believe that we’re still talking about the film 50 years later. Not many films stick around that long.
- 10/30/2018
- by Peter White
- Deadline Film + TV
Classic horror film lovers get excited, as Turner Classic Movies just unveiled its movie lineup for the Halloween season. I’d run through and list all the classics that will be popping up throughout the month, but there’s just too many to list. This is Turner Classic Movies after all. Check out the full lineup below, and let us know if you’re excited for any of these! (via Bloody Disgusting)
Wednesday October 3, 2018
8:00 Pm The Unknown (1927) Dir: Tod Browning
9:00 Pm The Phantom of the Opera (1925) Dir: Rupert Julian
10:45 Pm The Monster (1925) Dir: Roland West
Thursday October 4, 2018
12:30 Am The Penalty (1920) Dir: Wallace Worsley
2:15 Am The Unholy Three (1925) Dir: Tod Browning.
4:00 Am He Who Gets Slapped (1924) Dir: Victor Seastrom
Saturday October 6, 2018
2:00 Am Deadly Friend (1986) Dir: Wes Craven
3:45 Am Demon Seed (1977) Dir. Donald Cammell
Sunday October 7, 2018
8:00 Pm The Mummy’s Hand (1940) Dir: Christy...
Wednesday October 3, 2018
8:00 Pm The Unknown (1927) Dir: Tod Browning
9:00 Pm The Phantom of the Opera (1925) Dir: Rupert Julian
10:45 Pm The Monster (1925) Dir: Roland West
Thursday October 4, 2018
12:30 Am The Penalty (1920) Dir: Wallace Worsley
2:15 Am The Unholy Three (1925) Dir: Tod Browning.
4:00 Am He Who Gets Slapped (1924) Dir: Victor Seastrom
Saturday October 6, 2018
2:00 Am Deadly Friend (1986) Dir: Wes Craven
3:45 Am Demon Seed (1977) Dir. Donald Cammell
Sunday October 7, 2018
8:00 Pm The Mummy’s Hand (1940) Dir: Christy...
- 9/16/2018
- by Mick Joest
- GeekTyrant
This week’s list of horror-themed home entertainment releases is almost exhausting, as we have well over 30 titles coming our way on September 12th. For those who may have missed them in theaters earlier this year, you can now finally catch up with both The Mummy (2017) and It Comes At Night, as they’re both headed home on multiple formats.
Cult film fans should keep an eye out for an array of releases this Tuesday, including The Fox With A Velvet Tail, The Resurrected, the standard two-disc Blu-ray for Dario Argento’s Phenomena, The Creep Behind the Camera, Spider, and Don Coscarelli’s entire Phantasm series comes home in a five-disc DVD set from Well Go USA.
Other notable releases for September 12th include The Ghoul, Dead Again in Tombstone, The Hatred, Ruby, Tobor the Great, and Night Gallery: The Complete Series.
The Fox With A Velvet Tail (Mondo Macabro,...
Cult film fans should keep an eye out for an array of releases this Tuesday, including The Fox With A Velvet Tail, The Resurrected, the standard two-disc Blu-ray for Dario Argento’s Phenomena, The Creep Behind the Camera, Spider, and Don Coscarelli’s entire Phantasm series comes home in a five-disc DVD set from Well Go USA.
Other notable releases for September 12th include The Ghoul, Dead Again in Tombstone, The Hatred, Ruby, Tobor the Great, and Night Gallery: The Complete Series.
The Fox With A Velvet Tail (Mondo Macabro,...
- 9/12/2017
- by Heather Wixson
- DailyDead
Director Gareth Tunley’s The Ghoul (2016) will be available on Blu-ray September 12th from Arrow Video
From executive producer Ben Wheatley (Kill List, Free Fire) comes a mind-bending British psychological thriller to sit alongside such classics of the genre as Nicolas Roeg and Donald Cammell s Performance, David Lynch s Lost Highway and Christopher Nolan s Following.
Chris is a homicide detective called to London to investigate a strange double murder. Both victims appear to have continued moving towards their assailant despite multiple gunshots to the face and chest. On a hunch, and with the help of an old colleague and former girlfriend Chris decides to go undercover as a patient to investigate the suspect s psychotherapist, the mysterious Alexander Morland, who has a taste for the occult…
The debut feature of writer-director Gareth Tunley, starring Tom Meeten (Sightseers), Alice Lowe (Garth Marenghi s Darkplace) and Dan Renton Skinner (Notes on Blindness...
From executive producer Ben Wheatley (Kill List, Free Fire) comes a mind-bending British psychological thriller to sit alongside such classics of the genre as Nicolas Roeg and Donald Cammell s Performance, David Lynch s Lost Highway and Christopher Nolan s Following.
Chris is a homicide detective called to London to investigate a strange double murder. Both victims appear to have continued moving towards their assailant despite multiple gunshots to the face and chest. On a hunch, and with the help of an old colleague and former girlfriend Chris decides to go undercover as a patient to investigate the suspect s psychotherapist, the mysterious Alexander Morland, who has a taste for the occult…
The debut feature of writer-director Gareth Tunley, starring Tom Meeten (Sightseers), Alice Lowe (Garth Marenghi s Darkplace) and Dan Renton Skinner (Notes on Blindness...
- 8/31/2017
- by Tom Stockman
- WeAreMovieGeeks.com
“All the films in this book share an air of disreputability… I have tried to avoid using the word art about the movies in this book, not just because I didn’t want to inflate my claims for them, but because the word is used far too often to shut down discussion rather than open it up. If something has been acclaimed as art, it’s not just beyond criticism but often seen as above the mere mortals for whom its presumably been made. It’s a sealed artifact that offers no way in. It is as much a lie to claim we can be moved only by what has been given the imprimatur of art as it would be to deny that there are, in these scruffy movies, the very things we expect from art: avenues into human emotion and psychology, or into the character and texture of the time the films were made,...
- 8/6/2017
- by Dennis Cozzalio
- Trailers from Hell
Despite its nightmarish production history this innovative 1968 collaboration between Donald Cammell and Nicolas Roeg has emerged as one of the most influential movies of its era. Years of midnight screenings have turned around the critical consensus from “worthless” (Richard Schickel) to “a sophisticated visual and aural knockout” (Glenn Erickson). Jack Nitzsche’s score was one of the first to utilize the Moog synthesizer. Mick Jagger’s “Memo from Turner” segment is widely considered the first rock video.
- 3/8/2017
- by TFH Team
- Trailers from Hell
Tony Sokol Nov 26, 2018
The Man Who Fell to Earth gains its vision by losing sight of the stars.
The Man Who Fell to Earth isn’t like any other science fiction movie, even though it inspired and continues to pour new life into the genre. It is subtle, ethereal and a wholly human story. Indeed, David Bowie’s Thomas Jerome Newton is the most human character in the film. If not more human, certainly one with more humanity. He is an ideal that the people who betray him, and that’s almost everyone in the film, could only aspire to. Bowie’s alien is an outsider, a visitor suffering from hyperopia who becomes more myopic as he is corrupted by the temptations of his new home. At first he is focused on the plight of his home planet, but that gets hazy through the tunnel vision of the problems of a suspicious and greedy world.
The Man Who Fell to Earth gains its vision by losing sight of the stars.
The Man Who Fell to Earth isn’t like any other science fiction movie, even though it inspired and continues to pour new life into the genre. It is subtle, ethereal and a wholly human story. Indeed, David Bowie’s Thomas Jerome Newton is the most human character in the film. If not more human, certainly one with more humanity. He is an ideal that the people who betray him, and that’s almost everyone in the film, could only aspire to. Bowie’s alien is an outsider, a visitor suffering from hyperopia who becomes more myopic as he is corrupted by the temptations of his new home. At first he is focused on the plight of his home planet, but that gets hazy through the tunnel vision of the problems of a suspicious and greedy world.
- 2/6/2017
- Den of Geek
Writer-director Gee Malik Linton has disowned this drama about a woman who sees angels, and it’s easy to see why
In the mid-90s, the director Donald Cammell disowned his final film Wild Side after producers at Nu Image recut it as an embarrassingly sleazy lesbian erotic thriller. After the director’s death, the screenwriter China Kong and the editor Frank Mazzola reconstructed Cammell’s original vision and the result was a revelation – a film that bore little or no relation to the producers’ bastardised incarnation. The same may (or may not?) be true of the Jamaican-American writer-director Gee Malik Linton’s debut feature Daughter of God, which surfaces here in a shambolic Lionsgate-approved version under the new title Exposed, with directorial chores now pseudonymously credited to “Declan Dale”.
Originally envisaged as a surreal, bilingual sociopolitical drama centring on a Latina woman (Ana de Armas) who believes that she’s been visited by angels,...
In the mid-90s, the director Donald Cammell disowned his final film Wild Side after producers at Nu Image recut it as an embarrassingly sleazy lesbian erotic thriller. After the director’s death, the screenwriter China Kong and the editor Frank Mazzola reconstructed Cammell’s original vision and the result was a revelation – a film that bore little or no relation to the producers’ bastardised incarnation. The same may (or may not?) be true of the Jamaican-American writer-director Gee Malik Linton’s debut feature Daughter of God, which surfaces here in a shambolic Lionsgate-approved version under the new title Exposed, with directorial chores now pseudonymously credited to “Declan Dale”.
Originally envisaged as a surreal, bilingual sociopolitical drama centring on a Latina woman (Ana de Armas) who believes that she’s been visited by angels,...
- 2/28/2016
- by Mark Kermode, Observer film critic
- The Guardian - Film News
We begin today's roundup of goings on around the world in New York with notes on revivals of Todd Solondz's Welcome to the Dollhouse, Claire Denis's Trouble Every Day, Donald Cammell's White of the Eye, Freddie Francis's Dracula Has Risen from the Grave, Quentin Tarantino's Jackie Brown, John Ford's How Green was My Valley and Jean Eustache's The Mother and the Whore. Plus: Raya Martin and Mark Peranson's La última película and works by Sharon Lockhart, Manoel de Oliveira and Lewis Klahr in Los Angeles, Michael Haneke in London, fresh filmmakers in Switzerland and Hong Kong—and more. » - David Hudson...
- 1/13/2016
- Keyframe
We begin today's roundup of goings on around the world in New York with notes on revivals of Todd Solondz's Welcome to the Dollhouse, Claire Denis's Trouble Every Day, Donald Cammell's White of the Eye, Freddie Francis's Dracula Has Risen from the Grave, Quentin Tarantino's Jackie Brown, John Ford's How Green was My Valley and Jean Eustache's The Mother and the Whore. Plus: Raya Martin and Mark Peranson's La última película and works by Sharon Lockhart, Manoel de Oliveira and Lewis Klahr in Los Angeles, Michael Haneke in London, fresh filmmakers in Switzerland and Hong Kong—and more. » - David Hudson...
- 1/13/2016
- Fandor: Keyframe
For the first time ever, Donald Cammell’s obscure 1987 serial killer thriller White of the Eye is available on DVD and Blu-ray in the United States (the UK arm of Arrow Video brandished its own striking package of the title in early 2014). Director of only four features, including his iconic 1970 debut Performance (co-directed by Nicolas Roeg), Cammell’s quartet of features were all labors of love, the filmmaker undergoing significant set backs on each project up until his death following 1995’s Wild Side.
With seven to ten years in-between each outing, this feature marked the end of a decade long hiatus following 1977’s adaptation of the Dean Koontz novel Demon Seed starring Julie Christie. Adapting from an obscure novel by brothers Laurence and Andrew Klavan (a notable writer of mystery thrillers) writing under the pseudonym Margaret Tracy, Cammell’s wife and actress China Kong co-wrote the screenplay. With his experience...
With seven to ten years in-between each outing, this feature marked the end of a decade long hiatus following 1977’s adaptation of the Dean Koontz novel Demon Seed starring Julie Christie. Adapting from an obscure novel by brothers Laurence and Andrew Klavan (a notable writer of mystery thrillers) writing under the pseudonym Margaret Tracy, Cammell’s wife and actress China Kong co-wrote the screenplay. With his experience...
- 12/1/2015
- by Nicholas Bell
- IONCINEMA.com
What if you discovered that the person you married was capable of the unthinkable? One answer to that question is presented in Donald Cammell's 1987 thriller White of the Eye, coming out on Blu-ray and DVD tomorrow from Scream Factory. Ahead of the film's high-def home media release, we've been provided with three White of the Eye Blu-ray copies to give away.
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Prize Details: (3) Winners will receive (1) Blu-ray copy of White of the Eye.
How to Enter: For a chance to win, email contest@dailydead.com with the subject “White of the Eye Contest”. Be sure to include your name and mailing address.
Entry Details: The contest will end at 12:01am Est on November 22nd. This contest is only open to those who are eighteen years of age or older that live in the United States. Only one entry per household will be accepted.
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White of the Eye...
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Prize Details: (3) Winners will receive (1) Blu-ray copy of White of the Eye.
How to Enter: For a chance to win, email contest@dailydead.com with the subject “White of the Eye Contest”. Be sure to include your name and mailing address.
Entry Details: The contest will end at 12:01am Est on November 22nd. This contest is only open to those who are eighteen years of age or older that live in the United States. Only one entry per household will be accepted.
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White of the Eye...
- 11/16/2015
- by Derek Anderson
- DailyDead
Much like Stephen King's novella A Good Marriage, Donald Cammell's White of the Eye asks the question, "How well do you really know your spouse?" Ahead of Scream Factory's November 17th Blu-ray and DVD release of the thriller, we have high-definition clips from the film.
White of the Eye Blu-ray / DVD: "A twisted killer is on the loose. He tortures and dissects his victims as part of a primitive ritual. If you’re a wealthy, attractive woman, stay out of isolated desert community, because you are fair game. Housewife Joan White gradually comes to suspect that her opera-loving husband Paul might know more than he’s letting on... All the clues lead to one man who is clearly innocent. But nothing is as simple as black and white in Donald Cammell’s 1987 suspense thriller White Of The Eye, arriving for the first time on Blu-ray™ in a special...
White of the Eye Blu-ray / DVD: "A twisted killer is on the loose. He tortures and dissects his victims as part of a primitive ritual. If you’re a wealthy, attractive woman, stay out of isolated desert community, because you are fair game. Housewife Joan White gradually comes to suspect that her opera-loving husband Paul might know more than he’s letting on... All the clues lead to one man who is clearly innocent. But nothing is as simple as black and white in Donald Cammell’s 1987 suspense thriller White Of The Eye, arriving for the first time on Blu-ray™ in a special...
- 11/13/2015
- by Derek Anderson
- DailyDead
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