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Rambo 3 - Official Trailer ? Rambo's Vietnam commanding officer Colonel Trautman is held hostage in Afghanistan, and its up to Rambo to rescue him. Released on 1. 98. Starring; Sylvester Stallone, Richard Crenna, Sasson Gabai. Editorial: The Lives and Deaths of the Yuppie on the American Screen by Daniel Lindvall. Rich and Strange: The Yuppie horror film. The outer reaches of franchise extremities are being reached by Sylvester Stallone. No star in the history of Hollywood has been so dedicated towards squeezing blood. Johnson. Angling To Catch a Thiefby Murray Pomerance. Translating Highsmith to Cinemaby Marc Rosenberg. The Lady from Shanghai: Concluding Welles’s American century interrogationby Tony Williams. The International Film- Making Adventures of Po Chih Leongby Andy Willis and Felicia Chan. Before Going Away: An interview with Clancy Sigalby Patrick Mc. Gilligan. Ryan. Post- Wall Berlin Documentary Filmsby Katrina Sark. A Madcap Heart: The twisted allure of Gloria Grahameby Peter Kurtz. Frozen, Homosexuality and Masochismby Robert Geal.
The Film’s the Thing: Truth in nested narratives in the films of Almod. Zoppellettoby Paul Risker. Review: The Confidence of Competence: Howard Hawks’ Rio Bravoby Jeremy Carr. Book Review: Welles, Act III and Orson on the Street (Orson Welles: One Man Band, At the End of the Street in the Shadow: Orson Welles and the City)by Tony Williams. Criterion Core: A Distant Kind of Intimacy (Hiroshima mon amour, Fantastic Planet, Inside Llewyn Davis)by Jacob Mertens. Around the Festival Circuit: The 2. Cannes Film Festivalby Joseph Pomp. Parting Words: The Cloak of Patriotismby Jacob Mertens. SUBSCRIBE HERE. Volume 1. Issue 1. Editorialby Daniel Lindvall. Crisis in the Digital Visual Effects Industry and Hollywood Cinemaby Rama Venkatasawmy. Play It Again, Diane: Woody Allen’s portrayal of female characters to promote the male leadby Brianne Jewett Brenneman. Creating the Traumatic Body: Female genitals as wounds in Antichristby Harriet Earle. Everything We Want and the Documenting of Personal Questsby Katrina Sark. Films We Will Never See: An account of Andr? Melodrama in It’s a Wonderful Life and The Waste Landby Garry Leonard. The Fall of the House of Ambersonby Tony Williams. The Aviator: Film- making, capitalism, flying and the psychopathologicalby Leighton Grist. Absorbing from Collaborators: A conversation with Gina Leibrechtby Paul Risker. Distributing Chinese Independent Cinema in the United States: A conversation with Karin Chienby Lisa Patti. Show Me a Hero: Alan Zweig on Steve Fonyo and Hurtby Tom Ue. Review: Genius as Madman: The Stanford Prison Experimentby Matthew Sorrento. Criterion Core: Noir Protagonists and Conspiring g Nightcapes (I Wake Up Screaming, Ride the Pink Horse, Night and the City, Insomnia)by Brandon Konecny. Cinematic Inception: Ben Wheatley and Down Terraceby Chris Neilan. Book Review: Hollywood Presents Jules Verne: The Father of Science Fiction on Screenby Tony Williams. Parting Words: Video and Politicsby Jacob Mertens. SUBSCRIBE HERE. Volume 1. Issue 4. Editorialby Daniel Lindvall. Film Title Sequences and Widescreen Aestheticsby Deborah Allison“Morale Boosting Necklines” and Other Forms of Support: Propaganda aimed at American women in World War II filmsby Brianne Brenneman. Atomic Cinema: Nuclear proliferation and deterrence theory as refracted through the camera lensby Si Sheppard. Fear and Self- Loving: Masturbation in teen movie comediesby Brian C. Johnson. The Insurrection of Time: Temporality, modernity and The Battle of Algiersby Kevin Chabot. Folktales, Female Martyrs and Flaubert in Tunisian Filmsby Matthew Fullerton. The Renaissance of Kurdish Cinemaby Abdulla Al- Dabbagh. Mothering, Modernizing, and the Power of Horror: Mother images in Korean art films Mother and Piet. Kramer. The Eyes of Cronenberg, Russell and “The Time Warp”: An interview with cult cinematographer Peter Suschitzkyby David A. Ellis“Artsploitation” for the Masses: Ray Murray on art house genre distributionby Irv Slifkin. Review: David Fincher’s Alien Autopsyby Mike Miley. Review: The Ninth Gate and the Realm of Divinityby Stephen Sigl. Criterion Core: Framing Domestic Loneliness (The Long Day Closes, Love Streams, All That Heaven Allows)by Brandon Konecny. Parting Words: Decisive Momentsby Jacob Mertens. SUBSCRIBE HERE. Volume 1. Issue 2. Editorial: Diversity in U. S. Cinemaby Daniel Lindvall. Before The Sheik: Rudolph Valentino and sexual melancholiaby Elisabetta Girelli“Death, Thou Shalt Die!”: Heathers and the culture industryby Logan Wiedenfeld. Some Further Thoughts on Vera Cruzby Tony Williams“The Merchant Is Become the Sovereign”: Corporate imperialism in James Cameron’s Avatarby Si Sheppard. Jia Zhangke and His A Touch of Sin: Social violence, the criminal knight and chilling fantasyby Shenshen Cai. The Essence of African Cinema: Diverging media ideologies in sub- Saharan African cinemaby Manouchka Kelly Labouba. Unconquered, Our Better Selves: On Jackie Robinson (4. Nelson Mandela (Invictus) and sports as social reconciliationby Daniel Garrett. At Home with H. R. Giger: A conversation with director Belinda Sallinby John Duncan Talbird. Ned Rifle and the Peculiarity of Hal Hartley: An interviewby Amir Ganjavie“Done In”: Adam Stephen Kelly on his Cannes debutby Tom Ue. Review: Faust and the Abandonment of the Metaphysicalby Stephen Sigl. Criterion Core: Vengeance is Theirs! Because We Were Preparing to Go to the Movies!” Actress Lassie Lou Ahern reminiscences about her gorgeous career in Hollywood silent picturesby Jeffrey Crouse. Time and Pace: Synchrony in the city of Make Way for Tomorrowby Thomas Zachary Toles. Assheton Gorton: A Life in Film. An interview with Murray Pomerance. Humanist Ethics in John Sayles’s Casa de los Babysby Wyatt Moss- Wellington. Shades of Activism: Jon Raymond on Night Movesby Matthew Sorrento. Filming in Toronto: An interview with Elan Mastai on What Ifby Tom Ue. A Veteran’s Next Step: Rolf de Heer on Charlie’s Countryby Paul Risker. Criterion Core: Fabled Facts, Factual Fables and the Domain of the Fringe Documentary (My Winnipeg, The Blues Accordin’ to Lightnin’ Hopkins, F For Fake)by Jacob Mertens. Director Spotlight: Marco Berger and the Intimate Portrayal of Sexual Tensionby Gary M. Kramer. Celluloid Politics: Monolith and Montageby William Repass. Parting Words: The Inertia of the Academy Awardsby Jacob Mertens. SUBSCRIBE HERE. Volume 1. Issue 4. Editorialby Daniel Lindvall. Naked for Lunch: Alex Radivojevi. Griffin. Like a Mirror Walking Alongside a Road: An interview with Volker Schl. Ellis. Review: Cosmopolisby James Slaymaker. Criterion Core: The Sound of Silence (Safety Last!, City Lights, Master of the House)by Brandon Konecny. Around the Circuit: Toronto International Film Festivalby Barry Keith Grant. Parting Words: The Problem with Perfectionby Jacob Mertens. SUBSCRIBE HERE. Volume 1. Issue 3. Editorialby Daniel Lindvall. INDEPENDENT IRANIAN CINEMA SPECIALIntroduction: Contemporary Independent Iranian Cinemaby Parviz Jahed (Guest Editor) and Amir Ganjavie (Associate Guest Editor)The Question of National Cinema in Iranian Independent Cinemaby Amir Ganjavie. The Myth of Bastoor and the Children of Iranian Independent Cinemaby Farshad Zahedi. Independent Cinema in Post- 1. Revolution Iranby Mansoor Behnam. An Independent Voice with a Famous Face: Interview with Niki Karimiby Ali Moosavi. Iranian Independent Cinema Does Not Exist! Milad Dokhanchi. Melodrama and Censorship in Iranian Cinemaby Niklaus Reichle. Keeping It Reelby Roxanne Varzi. Back at the . Hyland. My Noir: Touch of Evilby Jamie Graham. My Noir: Shock Corridorby Andrew K. Kramer. Spotlight on Cristina Commenciniby Anna Weinstein. DVD / Blu- ray Reviews: The Blue Angel, The First Films of Akira Kurosawa, Branded to Kill, The Secret of the Grain, A High Wind in Jamaica, Bigger Than Life. Book Reviews: Directory of World Cinema: France, War, Politics and Superheroes, The Cinema of Michael Winterbottom, A Social History of Iranian Cinema, The Actor Within: Intimate Conversations with Great Actors. Film review: Interior. Leather Bar. SUBSCRIBE HERE. Volume 1. 1 Issue 3- 4. Editorialby Daniel Lindvall. The Engels Projectby Mike Wayne and Deirdre O’Neill. Desiring to Merge: Restoring value in niche- interest adult DVDsby David Church. Transvestite Mammy Caricature: Its cinematic and social evolution in Hollywood cinemaby Yjarvoe Jensen. Last Man (With)Standing: The character- disaster filmby Matthew Sorrento. Hitchcock Goes to the Dogsby Murray Pomerance. The Invisible and the True Story of Italy: An interview with Giovanna Tavianiby Giovanna Summerfield. CEBUANO CINEMA SPECIALAng Pelikulang Binisaya: Cebuano film and the search for a regional cinematic heritageby Paul Douglas Grant. Our Decaying Object of Desire: The lost (and found) Cebuano film, Badlis sa Kinabuhi/Lifelineby Misha Anissimov. The Theology of Gamblingby Radel Paredes. One Take, Many (Hi)Stories: Notes for an appreciation of Ang Damgo ni Eleuteriaby Stefano Ciammaroni. A Cebuano Zombie Invasion: Di Ingon . Towfique- E- Elahi. Representation of Poverty in Indian Mainstream Hindi Films (1. A case studyby Pallav Mukhopadhyay. Spotlight on Marleen Gorriesby Anna Weinstein. DVD / Blu- ray Reviews: David Lean directs Noel Coward, Walkabout, Guilty of Romance, Che, The Haunted Castle, Alice’s Adventures in Wonderland, Junebug, The Samurai Trilogy, La Signora di tutti, Pigsty. Book Reviews: Love in the Time of Cinema, Thomas Ince, Greek Cinema, Scotland, The Neorealist Body in Postwar Italian Cinema, World Film Locations: London, Popular Italian Cinema, Korean Cinema of the Global Era. Film reviews: Meat Hooked!, Big Joy: The Adventures of James Broughton. SUBSCRIBE HERE. More details here. Volume 1. 1 Issue 2. Editorialby Daniel Lindvall. Voeltz. Time is Money: the acceleration of time and the vanquishing of space in Melancholia, Another Earth and In Timeby William Anselmi and Lise Hogan. Spotlight on Gillian Armstrongby Anna Weinstein. Catching up with The Silver Goat: an interview with Tom Colleyby Tom Ue. DVD / Blu- ray Reviews: The Warped World of Koreyoshi Kurahara, Hwang hae/The Yellow Sea, Tokyo Drifter, Ruggles of Red Gap, Underwater Love, Two Lane Blacktop, Harakiri, Accattone. Book Reviews: The Film Theory Reader, Reeling: Do the Movies Have a Future?, The Films of P. More details here. Volume 1. 1 Issue 1. Editorial: Wadjda, Saudi Arabian Cinema and Women’s Rightsby Daniel Lindvall. How to Escape from Brazil: Interview with Slovenian philosopher Slavoj . Lazy. Town - Robbie's Dream Team (w/ subtitles)Lazytown is a show featuring the importance of health, fitness, and being good friends. Set in a fantasy world known as Lazy. Town, which is populated by inactive residents, we meet a visitor named Stephanie who is determined to coax her friends and relatives into adopting a healthful, active life style. She wins over her new friends, Ziggy, Stingy, Trixie and Pixel, convincing them to leave their gaming consoles and candy stashes at home so they can go outside and play. She persuades her uncle, Mayor Milford Meanswell, and his friend Ms. Busybody to support her efforts. Robbie Rotten, who lives underground, and is determined to return Lazy Town to its former state of inactivity and quiet, constantly foils the characters' efforts. Coming to the rescue is the athlete Sportacus who lives in a zeppelin- like aircraft and receives signals from the kids or the Mayor whenever they need help. Sportacus has two goals, to keep the peace and to promote healthful, positive living. When Robbie Rotten is discovered and contained through comic pratfalls, he returns to his underground lair and all is well in Lazy Town, until another day and another time when Robbie will rise again.- -- -- -- -- -- -- -- -- -- Things is upside- down up in Lazy. Town. I aint talkin' bout chicken n' gravy biatch. Stephanie, a optimistic playa wit bright pink hair, comes ta live up in Lazy. Town n' meets a zany mix of townspeople, includin tha ghetto's laziest super- villain, Robbie Rotten. Fortunately fo' Stephanie, Lazy. HBO's official website contains schedule information, original video content, episode guides, polls, bulletin boards, and more! Rosewood - Episode 2.21 - Amparo & the American Dream - Promo, Promotional Photos & Press Release. With Brian Benben, Denny Dillon, Wendie Malick, Chris Demetral. Cult adult comedy about dreamer Martin Tupper, whose life is full of colourful characters. Town be also under tha watchful eye of Sportacus, a athletic, super- active, slightly- above- average hero, whoz ass runs, jumps, flips n' flies ta tha rescue up in his wild lil' Air. Ship. Sportacus always manages ta save tha dizzle n' ta help tha lil playaz of Lazy. Town foil Robbie's sickest lazy schemes. Da other lil playaz of Lazy. Town is inquisitive, adventurous, playful, n' like Stephanie, just tryin ta figure up they own ghettos. Each of dem has strengths n' weaknesses dat all lil playas can identify with. Tune up in fo' freshly smoked up adventures, every mornin at 7am ET on tha telly. Righ'on Homies!- -- -- -- -- -- -- -- -- -Stephanie, la protagonista de la serie, una ni.
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Leaky plumbing becomes an unlikely source of spine- tingling terror in this J- Horror offering from director Hideo Nakata, the man who had previously attached creepy connotations onto video cassettes and cold- calling in the first two Ringu films. Sharing some narrative ground with his earlier horror hits, Dark Water finds Nakata once again casting a supernatural child as his primary wellspring of unsettlement, as the spirit of Mitsuko (Mirei Oguchi) seeks some redress for her premature demise. The red of Mitsuko’s lost bag and the prevalence of water in the movie both establish a link to Nicholas Roeg’s Don’t Look Now, and the blend served up on this occasion by Nakata was beguiling enough to inspire Hollywood to deliver an unexceptional 2. Jennifer Connolly. Spectral seadogs resurface to wreak vengeance upon the small coastal town of Antonio Bay, as Jamie Lee Curtis collaborates with director John Carpenter on a more expansive chiller than their earlier Halloween. The Fog sees Curtis cast alongside her mother, Janet Leigh, and although the shock ending of Carpenter’s movie is certainly not up to Psycho standard, the enveloping mist of the title provides an effectively eerie shroud under which the succession of revenge killings can be enacted. And, as ever with horror aficionado Carpenter, there some teasing little genre nods too – such as a twosome of characters turning up bearing tributary monikers to Robert Fuests’s Abominable Dr. Phibes and Great God Pan writer Arthur Machen. The Devil’s Backbone (2. Better known for the bizarre, tactile mutant bodies that inhabited his Pan’s Labyrinth and Hellboy movies, The Devil’s Backbone saw Guillermo del Toro adopting a rather less- outr. Death looms large over the film’s scenario, with the Spanish Civil War- era action taking place in an orphanage in which roams the restless spirit of deceased young resident Santi (Junio Valverde). A sense of unease stalks The Devil’s Backbone throughout, as the darkest facets of human behaviour overshadow Santi’s baleful haunting – although del Toro himself might have felt like he was the one coming back from the dead, as he fully grasped the opportunity to rebuild following the production difficulties and poor reception of Mimic. Poltergeist (1. 98. And we reach the first haunted house movie of the list. Tempted as I was to include The Legend of Hell House (which sees the astral presence of Michael Gough’s devilish Emeric Belasco spreading misery as an expression of the resentment he harboured about his titchy little legs), I decided to plump for this successful collaboration between writer- producer Steven Spielberg and director Tobe Hooper. The sense of wonder one has come to typically associate with The Beard’s output is given a darker tint here, with Carol Anne Freeling (Heather O’Rourke) being ripped away from her family and subsumed by the static of the television set. Meanwhile, Texas Chainsaw Massacre helmer Hooper keeps the schlock coming; as evinced by Martin Casella’s psychic researcher clawing his own face to shreds, and some slightly bathetic final revelations about a defiled burial ground. The Haunting (1. 96. Blimey, wait for one haunted house movie and then a pair of the blighters show up at once. Well, probably significantly better than finding someone who prefers the Jan de Bont- directed remake of The Haunting to the 1. Coming as it did between his work on West Side Story and The Sound of Music, The Haunting perhaps represents a slightly unlikely interjection in the production schedule of the period for its director Robert Wise. However Wise brings the kind of intelligence to proceedings that you might expect from the man who cut Citizen Kane, delivering a disquieting thriller that is high on aesthetic quality and psychological sophistication. |
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September 2017
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