ISSN 1717-9559
Keyword Category : Popular Genre
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1.
A review of the NFB's much anticipated DVD box set of Pierre Perrault's seminal Île-aux-Coudres trilogy.
2.
A close textual analysis of Elie Suleiman’s Chronicle of a Disappearance which demonstrates how the director's understanding of form informs the complex political landscape of the everyday Palestinian experience.
3.
Author Guan-Soon wrestles through the virutes and ambiguities of Zhang Yimou’s Hero, a film which, according to Guan-Soon, negotiates between a Hollywood style blockbuster and a culturally savvy Chinese martial arts epic.
4.
An theoretical analysis of what makes the cult film fan tick, from a psychoanalytical standpoint.
5.
A review essay of one of the most intriguing low budget American horror films ever made, taking into account production history and how director Herk Harvey uses the film's technical limitations to its benefit.
6.
A tribute to the Hammer great Freddie Francis, cinematographer par excellence and director of countless horror films, including the film given extensive analysis here, The Creeping Flesh.
7.
A thoughtful overview of the 13th rendition of the Bradford International Film Festival, which ran from March 9-24, 2007.
8.
In-depth review of the Fantasia International Film Festival's first DVD release, a compilation of outstanding shorts shown at the festival over the past several years.
9.
In-depth review of the three short film DVDs from Cinema 16, with volumes dedicated to British, American and European cinema. Includes early short films by Ridley Scott, Asif Kapadia, Lynne Ramsey, Christopher Nolan, DA Pennebaker, Tim Burton, Todd Solondz, Jean-Luc Godard, Tom Tykwer, and Lars von Trier.
10.
An in-depth analysis of David Lynch's animated series Dumbland that convincingly argues for its likeness to Dadiast art and Absurdist drama.
11.
An historical contextualisation of Santiago Álvarez' bold political/experimental short films.
12.
An overview of Richard Kerr's multimedia installation, Industrie/Industry.
13.
The recent video work series of four 50-minute filmic essays by Québécois giant Jean Pierre Lefebvre is analyzed for its cultural and aesthetic depth.
14.
An in-depth interview with one of the driving forces behind the promotion and critical appreciation of Asian cinema, Tony Rayns.
15.
A report on the 2006 edition of the Festival of New Cinema in Montreal, with a preamble on the etiquette of big theatre experience in the era of the multiplex experience.
16.
A broad survey of the trends and patterns of the American horror film since 1991, the year Silence of the Lambs won several Academy Awards.
17.
An interview with director, cast and select production people of the refreshingly original indie horror film, Shallow Ground.
18.
A look at how two recent documentaries on the slasher/stalker film signals a paradigm shift in the horror genre.
19.
An analysis of how the representation of the modern male plays out in visceral dynamics of Alexandre Aja's The Hills Have Eyes, while also comparing it to Wes Craven's original.
20.
An analysis of the representation of the disabled across the broad spectrum of fantastic cinemas.
21.
Rist celebrates the Honk Kong Film Festival as it celebrates its 30th Year Anniversary.
22.
A report on Fantasia Film Festival 2006, discussing issues related to form-content, style for style's sake, and short films featuring man eating cats.
23.
An interview with the director of Strange Circus and The Suicide Club, Sion Sono.
24.
A report on the 10th Year Anniversary of Fantasia, focusing on films featuring particularly nasty male pyschos.
25.
A review of François Miron's revisionist, Sapphic film noir, which imagines a world where women act like Humphrey Bogart and men are nervous, jittery and timid.
26.
An interview with San Francisco-based curator, critic, theorist, writer, producer Jenni Olson
27.
A review essay on three recent books, two focusing on Charlie Chaplin and one on the American critic/playright James Agee.
28.
A review essay of a multi-author reader on one of the greatest of Scottish films, The Wicker Man.
29.
A trans-gendered analysis of Hitchcock's Marnie.
30.
Using the critical status of Stanley Kubrick, David Church analyzes how the films of a revered art film auteur can also be held up examples of cult cinema.
31.
An interview with David Grieco, Italian director of serial killer film Evilenko.
33.
A psychoanalytical defense of Dario Argento against claims of misogyny.
34.
An report on teh 26th installment of the Syracuse based Cinefest festival, a four-day fiesta of early cinema.
35.
An exploration of the art of fight choreography as defined by wuxia pan master King Hu.
36.
An analysis of curator Jenni Olson's collection of Black American Cinema Trailers, 1946 - 1976.
37.
Review essay of Guy Maddin's The Saddest Music in the World which concentrates on issues of National and cultural identity.
38.
A review essay of Maddin's most recent docu-short on Roberto Rossellini.
39.
A comparative analysis of social/political meaning in Charlie Chaplin's The Immigrant and Busby Berkeley and Mervyn Le Roy's Golddiggers of 1933.
40.
A cultural analysis of the Canadian comic phenomena of the Trailer Park Boys.
41.
An overview analysis of Spain's enfant terrible, unique auteruist Agustin Villaronga, director of In A Glass Cage, 99.9, and others.
42.
A report on the 46th International Film Festival of Thessaloniki, Greece (TIFF, 18 – 27 November 2005).
43.
An in-depth review essay of the notorious horror film In a Glass Cage, released on DVD by Cult Epics.
44.
An analysis of the recent Index DVD compilation of Austrian experimental director Peter Tscherkassky.
45.
A report on the 29th International Hong Kong Film festival.
46.
An in-depth interview with co-writer and co-director of the Canadian noirish horror film Eternal.
48.
A narratological study of The Little Shop Around the Corner and its remake by Nora Ephron.
49.
An analysis of Werner Herzog's mockumentary Incident at Loch Ness
50.
An in-depth report on the Fantasia International film festival, with a focus on the Thai films, the shorts, and some impressive US films.
51.
Writer Randolph Jordan weaves through a thematic pattern of pregnancy/death/rebirth which left its mark on FanTasia 2005.
52.
Montreal's animator/filmmaker Rick Trembles interviews the living legend of fantastic cinema, stop-motion animator extraordinaire, Ray Harryhausen.
53.
An interview with the director of the indie reality-based melodrama (in the good sense) Firecracker.
54.
An interview with director Tomoko Matsunashi on her film The Way of the Director.
55.
A theoretical analysis of the value of Gus Van Sant's Psycho.
56.
Dario Argento lives up to his often noted and inappropriate monicker, The Italian Hitchcock.
57.
A look back at the underappreciated films of Bill Forsyth, with an emphasis on Comfort and Joy.
58.
Psychoanalytical reading of Hawks' Bringing up Baby and Hitchcock's Vertigo
59.
An in-depth interview with Brazil's horror master Jose Mojica Marins.
60.
An review of the Jose Mojica Marins DVD box-set.
61.
An in-depth essay on the 10th anniversary of Robert Lepage's impressive debut feature Le Confessional
62.
Revisiting a classic of Quebec cinema, La Petite Aurore, L’enfant Martyre.
63.
On the occasion of the launch of the NFB's DVD box set L’oeuvre documentaire intégrale de Denys Arcand 1962-1981, Isabelle Morissette meets with Denys Arcand on the subject of On est au coton and the influence that the documentary has had on his creative process.
64.
Interview with makers of the poetic science-fiction parable The City without Windows (La Dernière Voix).
65.
The evolution of Québécois popular hero IXE-13 from serial novel to film.
66.
A narratological comparison between the epistolary novel Les Liaisons Dangereuses and its most recent filmic adaptation, Cruel Intentions.
67.
Mondo film, ethnographic film, Mondo Cane, Russ Meyers
68.
Woody Allen, Melinda and Melinda, Eros, Wong Kar-wai, Michelangelo Antonioni, Crash
71.
Festival report on the 15th edition of the San Sebastian Horror fest.
72.
An analysis of the film's engagement with philosophical discourse in a comedic mode.
73.
In October 2004 New Zealand held its first ever Korean Film Festival in Auckland, not only revealing that Asians have other pastimes than boy racing, kidnapping, and pouring their money into the NZ education system, but also showing how one small country has turned its film industry into a force to be reckoned with on the global scene.
74.
One of the most impressive publishing endeavors in the area of film scholarship in recent years is the mammoth nine-year undertaking which resulted in this 720 page tome, This Film is Dangerous: A Celebration of Nitrate Film.
75.
The fact that Decasia (USA, Bill Morrison, 2002) has had many screenings at an equal amount of very diverse feature and documentary film festivals is testament to its slippery nature.
76.
Fortunately in Aotearoa, we have the New Zealand International Film Festival not only to break up the slate of gray scheduled every year from June through August, but also to give us some food for thought about what kind of future we’re setting ourselves up for in the next few hundred years.
77.
On the occasion of Fuon (The Crying Wind, Japan, 2004, 106 mins.) showing in competition at the 2004 Festival des Films du Monde (World Film Festival), in Montreal, the director of the film, Higashi Yoichi, along with principal actor, Uema Muneo, and Yamagami Tetsujiro, the film’s producer were interviewed by Peter Rist for Offscreen.
78.
As I said in my most recent Fantasia International Film festival report, the director of “Bottled Fool”, Hiroki Yamaguchi, is a good bet to become the next big thing out of Japan. After making a prize winning short in 1999 at the age of 21 (“Shinya Zoki”/“Midnight Viscera”) he soon completed his first feature film in the same year, “Hateshinai tameiki” (1999).
79.
Masterclass! short film workshops with UK writer/director/actor/educator Simon van der Borgh and US short film guru Kim Adelman.
80.
I was fortunate to catch this low budget chiller at a late night screening at Montreal’s Cinema du Parc theatre on April 23, 2004. It had been a long time since I had seen this film, but for reasons soon apparent, it has remained finely etched in my memory.
82.
Festival report which covers events from 2002 to 2004.
83.
Part-two of Fantasia Festival report.
84.
Fantasia is back after a one year hiatus, stonger than ever.
87.
A Mäori proverb says you spend your life walking backwards because you can see the past but not the future—that’s why we trip.
88.
Book review essay on that indomitable beast known as the film noir.
89.
An ideological analysis of the form-content bias in Birth of a Nation (1915).
90.
With Gus Van Sant currently on the hard road back to relevance - the gnomic, impressive achievement that was Gerry (2002) having been so closely followed by his Cannes triumph with Elephant (2003) - the time may be ripe to revisit one of his most eccentric and reviled (and very nearly forgotten) projects, his 1998 near-shot-for-shot remake of Alfred Hitchcock’s Psycho.
91.
Gus Van Sant's re-appropriation of Hitchcock's classic is given another (close) look.
92.
In this essay Garrett asks of himself: “What is a minor work of art, and what a major one? How do the perceptions about the social value of characters in film translate into one’s estimation of a film’s importance?” These are questions that occur when Garrett views two films focusing on Native Americans, Randy Redroad’s Haircuts Hurt and Norma Bailey’s Cowboys and Indians: The J.J. Harper Story, and then sees Denys Arcand’s The Barbarian Invasions.
93.
Cult classic of the 1970s rediscovered and gets a small theatrical and DVD release.
94.
Our man in Italy visits Spain's horror and fantasy festival extravaganza.
96.
Offscreen is pleased to announce the recent publication of a book co-written by author Tommaso La Selva and Offscreen’s man-in-Italy, Roberto Curti: Sex and Violence: journey into the cinema of the extreme. Totaro reviews this important Italian contribution to horror film scholarship.
97.
A thematic-based analysis of Shyamalan's narrative structure, with an emphasis on temporality.
98.
Donato Totaro looks at Shyamalan's visual style in his extensive two-part analysis of Shyamalan's (The Sixth Sense, Unbreakable, Signs).
99.
Donato Totaro looks at Shyamalan's visual style in his extensive two-part analysis of Shyamalan's 'trilogy' (The Sixth Sense, Unbreakable, Signs).
100.
Randolph Jordan stretches his writer's arms in his two-part Fantasia 2003 report, using part one to reflect on cult cinema spectatorship.
101.
Jordan uses part two of his report as an extended mediation on Fantasia (and Jordan) favorite Takashi Miike.
103.
The cinematic image of Baron von Munchausen examined.
104.
Early cinema and the representation of Baron von Munchausen.
105.
In September 2002, at the Toronto International Film Festival, I was very pleased to meet Cheng-Sim Lim, the Head of Programming at the UCLA Film and Television Archive, who told me she was curating a series of films celebrating the history of Chinese Martial Arts on film!
106.
The long wait is over. After a one year hiatus for economic and logistical reasons, the FanTasia International Film Festival is back (July 17-August 10, 2003).
107.
Sometimes it is a fine line between homage and imitation. With the plentiful allusions to George Romero’s classic zombie trilogy (Night of the Living Dead, 1968, Dawn of the Dead, 1979, and Day of the Dead, 1985) the line is perilously treaded in Danny Boyle’s latest pseudo zombie, science-fiction action thriller 28 Days Later.
108.
Review of Criterion's new transfer of Sam Peckinpah's early 70s classic.
109.
Director Teruo Ishii was a featured director at the 5th Udine Far East Film Festival. Curti analyzes Ishii's ero-guro (erotic-grotesque) cinema.
110.
An interview with Georgian short film expert, diirector Mikhäil Kobakhidzé.
112.
The Association of Moving Image Archivists journal's flagship issue.
113.
A round-up of some of the best from one of the more interesting National cinemas of the past few years.
114.
All of Italy is in mourning after the death of actor-director Alberto Sordi.
115.
The home video revolution, especially with the success of the DVD format and the massive availability of alternative cinemas in this format, has, for better or for worse, altered the function of the repertory theatre.
116.
While lamenting the FCMM's decision to eliminate live performances (at least for this year), Randolph Jordan points to the short film as the one area where the FCMM continues its cutting edge, innovative programming.
117.
As an invited guest to Pi-Fan, Professor Rist was asked to share his knowledge of King Hu to interested observers. Offscreen extends the privilege to its readers.
118.
Splashy, wild, sexy, and stylish describes the world of the Italian fumetti ('black' adult comic books). But what happens to the fumetti when translated to the screen? A distant cousin to the giallo ('yellow' serial thrillers), the fumetti neri have been mainstays of Italian pop culture since their inception in the early 1960's. Curti traces their lineage from comic strip to movie screen.
119.
An in-depth analysis of Criterion's swank release of Sir Carol Reed's British noir classic.
120.
The long wait for Tarkovskians is finally over. Stalker (Andrei Tarkovsky) is out on DVD!
121.
Vesia offers a culturally based analysis of the Gangster film, Hong Kong style.
122.
Often overlooked in action cinema, the art of choreography gets its due. Includes an interview with Hong Kong choreographer Loon Sheng.
123.
Professor Peter Rist visits and revisits one of the most exciting Film Fests anywhere.
124.
Perhaps not the best giallo ever made, but an interesting entry into the female paranoia film.
125.
It is usually thought that reflexivity in art comes with maturation and development. Hardly, as Morissette demonstrates with her in-depth analysis of reflexivity in early cinema.
126.
Perhaps still an appendice to the mega-Just For Laughs Comedy Festival, the new programming crew are out to make a mark.
127.
A focus on the documentaries and shorts, with a special attention given to How's Your News?
128.
Sándor Lau treats us to coverage of New Zealand's wackiest and most challenging festival
129.
A long overdue look at Zulueta's lost cult classic, Arrebato.
130.
Just when you thought it was safe to go to the movies, actor turned director Bill Paxton turns in an unsettling religious horror film.
131.
A report on the fourth edition (2002) of one of the fastest growing Asian film festivals around.
132.
Steven Soderbergh balances arthouse modernism with conventions of the classical genre to produce nouveau gangster chic.
133.
An interview with Montreal-based filmmaker Roshell Bissett on her first feature, the horror film Winter Lily.
134.
Offscreen welcomes Italian freelance writer Roberto Curti as he analyzes the work of lesser known Italian cineaste Cavallone.
135.
PhD candidate Morissette follows up last month's interview with another brief chat with the late, great Phil Serling.
136.
An overview report on New Zealand's International Short film festival.
137.
An in-depth analysis of an overlooked silent film classic by Russian emigré Dimitri Kirsanov.
138.
In wake of the untimely death of its founder Phil Serling, Offscreen looks at the first post-Serling Cinefest.
139.
With the sudden passing away of its founder Phil Serling, Offscreen looks back fondly at the unique film festival known as Cinefest.
141.
An interview with long time Cinefester and film historian Leonard Maltin.
142.
Professor Peter Rist, former student and long time friend of historian, archivist, scholar, and film collector William K. Everson, reminisces.
144.
Should feminist scholarship be looking beyond American horror for a more varied representation of female desire and sexuality?
145.
A roundtable discussion with filmmakers Robin Schlaht, Roy Cross, Michael Crochetière, and film critic/writer/teacher Johanne Larue.
146.
Although there is a fear among film purists where digital revolution is concerned, those of us who study film are more often inclined to acknowledge the benefits of digital technology. For such reasons as the recent DVD-Rom entitled Masterpieces of Silent Japanese Cinema.
147.
Throughout, Tati contrasts the cold colors and industrial sounds of the Arpel’s and the Plastac factory to the warm, earth tone colors, traditional French music, and human sounds of the old quarter. Tati may prefer this idealized vision of the past, but he remains the realist.
148.
The most gratifying aspect of Criterion's new digital transfer of Mario Monicelli's classic comedy caper film I Soliti Ignoti (Big Deal on Madonna Street) is the fuller appreciation of the stunning black and white cinematography by Gianni Di Venanzo.
149.
The subject of Cane Toads is so bizarre, and the reaction of the people interviewed so emotionally polarized, that it feels like a mockumentary. On the broad scope of things, Cane Toads tells the cautionary tale of what can happen when nature is tampered with.
150.
A relatively new breed of film comedy hybrid has emerged in the past 20 or so years, the 'mockumentary.'
151.
Josef von Sternberg once said that he would not mind if his films were projected upside down, so much was his contempt for 'conventional' Hollywood storytelling.
152.
Offscreen presents this probing interview with the Brothers Quay, conducted in Trieste, Italy.
153.
Early in 2001 Hors Champ presented a 4-day event featuring a selected program of vintage works by one of America's leading visual artists, experimental filmmaker Stan Brakhage. Nicolas Renaud recounts what was for many an extremely moving 4-day aesthetic experience.
154.
Randolph Jordan summarizes Fantasia 2001 in light of the tragic event of 9/11, an event which may perhaps change how reality-based violence is treated in films and other forms of entertainment.
155.
Fantasia, in its 6th year, continues to grow and mature as an important and eclectic film festival.
156.
Offscreen presents for the first time in its orginal English language, this revised version of an essay that appeared in a French translation in Séquence magazine in 1995. Read on to see how Peter Jackson revolutionized horror (or comedy?) with his startling early feature films.
157.
Offscreen rarely reviews big budget Hollywood. But I am making an exception with the latest remake of Planet of the Apes, if only to reaffirm why it is that Offscreen treads cautiously when it comes to current Hollywood.
158.
Offscreen welcomes Randolph Jordan with his first of a two-part festival report on Fantasia 2001.
159.
Image Entertainment presents for the first time in North America, the uncut, English dub version of Mario Bava's gothic masterpiece, The Mask of Satan (re-titled Black Sunday by AIP for its US release in 1961).
160.
The definitive interview on one of Montreal's most notorious independent feature films, Subconscious Cruelty. Enough said.
161.
An in-depth festival report on the fifth installment of the Fantasia Film Festival (2000).
162.
Using the theories of Lacan, Freud, and Zizek, Gullatz explores the depth of psychic horror across a selection of classic and contemporary horror films.
163.
Interview with Republic of Korea director Park Ki-Hyung on his smash debut horror hit Whispering Corridors (1998).
164.
One of the most influential and important horror magazines, Fangoria horror magazine, selects Spanish director Nacho Cerda as one of the 13 rising Horror stars to keep on eye on.
165.
The Montreal-based Tana discusses these films and his experiences as an Italian-Canadian filmmaker.
166.
What happens when Hollywood begins to copy Hong Kong, and Hong Kong begins to copy Hollywood?
167.
A look back to Fantasia 1999 and a look forward to Fantasia 2000.
168.
Read here about The 24th International Hong Kong Film Festival.
170.
An in-depth interview with the director of the smash horror hit series Ring.
171.
Will Buster Keaton ever date? Unlikely, as this recent retrospective demonstrates.
173.
Historically, Halloween has its origins with the ancient Druids, who believed that on the eve of All Saints' Day, the lord of the dead, Saman, would summon a host of evil spirits. In modern days the only evil spirits called on during Halloween (excluding all those little tyrants running around in costumes!) are those emanating from movie screens.
174.
An in-depth historical analysis of pre-Revolution Iranian cinema.
175.
My curiosity about a film entitled Burn, Witch, Burn has been peaked since the day I purchased an original one-sheet of the film in the mid-1970's. With the film still unavailable on video, I had written off the likelihood of every seeing the film.
176.
For its annual benefit screening, La Cinémathèque Québécoise offered a restored 35-mm print of Paul Leni's searing expressionistic historical drama, The Man Who Laughs.
177.
The continual blur of Montreal Film festivals does not allow the seasoned filmgoer much chance to breathe, let alone contemplate each individual festival within the city’s cinematic global whole.
178.
Leslie Nielsen was in Montreal this past summer shooting the (Canadian-German co-production) film, 2001: A Space Travesty, which he not only stars in but also co-wrote with Joseph Bitonti, Francesco Lucente, and Olimpia Lucente, and served as executive producer. The following interview took place during a set visit on August 25th, 1999.
179.
During the 1999 Fantasia Film Festival Montrealers were “graced” with the presence of Grace Quek (alias Annabel Chong), in town promoting a documentary about her life entitled SEX: The Annabel Chong Story, directed by Canadian filmmaker Gough Lewis.
180.
The distinguished Italian director Mario Monicelli was in Montreal to serve as Jury Member at the 1999 Montreal World Film Festival. I spoke to Mr. Monicelli about Italian comedy in general and, more specifically, one of the first films to gain both critical and popular success and help cement the Italian comedy film's international reputation, I Soliti Ignoti (Big Deal on Madonna Street), 1958.
181.
From May 19th to May 30th Montreal will host an historically important cultural event when The Mel Hoppenheim School of Cinema and IITS at Concordia University in association with Ciné-Asia present the film series: Chinese Cinema: 1933-1949.
182.
As part of their April-May program la Cinémathèque québécoise featured a mini-retrospective of one of Italy's oldest living directors, Alberto Lattuada (born, 1914).
183.
No one to be Missed, which in Zhang Yimou's words is one of my best movies, deals with a rural town's school drop-out problem. Zhang Yimou is a director known for having excellent work relations with his film crew.
184.
Brain Yuzna was one of many invited guests of the Montreal Fant-Asia 1998 Film Festival (July 10-August 9). Yuzna's two most recent films were featured in the festival's International section, Progeny and The Dentist 2.
185.
Brain Yuzna was one of many invited guests of the Montreal Fant-Asia 1998 Film Festival (July 10-August 9). Yuzna's two most recent films were featured in the festival's International section, Progeny and The Dentist 2.
186.
Brain Yuzna was one of many invited guests of the Montreal Fant-Asia 1998 Film Festival (July 10-August 9). Yuzna's two most recent films were featured in the festival's International section, Progeny and The Dentist 2.
187.
Brain Yuzna was one of many invited guests of the Montreal Fant-Asia 1998 Film Festival (July 10-August 9). Yuzna's two most recent films were featured in the festival's International section, Progeny and The Dentist 2.
188.
Interview conducted by Donato Totaro, Mitch Davis, and Jason J. Slater in Montreal, Canada during the 1999 Fantasia Film Festival. Photos taken by King-Wai Chou.
189.
Interview conducted by Donato Totaro, Mitch Davis, and Jason J. Slater in Montreal, Canada during the 1999 Fantasia Film Festival. Photos taken by King-Wai Chou.
190.
In two years short years, American Independent director Douglas Buck has becomes a Fant-Asia fan favorite for his uncompromising brand of “domestic horror”; Douglas Buck was back at Fant-Asia '98 with his short film Home , a companion piece of sorts to last year's Cutting Moments (the film that had people crying OUCH).
191.
The extreme levels of violence found in Hong Kong and Japanese films confounds many Western viewers because Western culture, unlike most Eastern cultures, tends to moralize violence. Read on for a cultural contextualisation of violence Asian style.
192.
Montreal's Fantasia Film Festival returns for its third successful year, presenting challenging Asian and International films. Read here for in-depth converage of Montreal's most popular (populist?) film fest.
193.
Following up on Part 1 by looking at the effects of May 1968 on filmmakers outside of France, concentrating on Michelangelo Antonioni.
194.
“The film image is an alienated reflection -an imitation of life perilously similar to the original.”
196.
Every now and then a horror film comes out that reaffirms one's tenuous faith in the Hollywood “major” Independent studios. The Prophecy is one such film.
197.
« A quietly dark, sinister reworking of The Island of Dr. Moreau and various children's tales (Tom Thumb, Jack the Giant Killer)»
198.
Freaked is an offbeat, somewhat juvenile contemporary rehash of Island of Lost Souls (Erle C. Kenton, 1932) and Freaks (Tod Browning, 1932).
199.
Germany has a rich tradition of serial killer films, going back to Fritz Lang's classic M (1931), but not much will prepare you for serial killer condoms!
200.
Carpenter's In the Mouth of Madness, though not based on any specific work of H.P. Lovecraft, is one of the most Lovecraftian films ever made.
201.
This is by far the best Freddie film since the original in 1984. Only a fresh comparison between them would decide which of the two is better.
202.
The Untold Story: Bun Man is a cracker of a serial killer film, Hong Kong style.
203.
For the uninitiated (which included me) Eurofest is a one-day smorgasbord of European horror and sleaze that has included over its four-year life-span zombie mayhem, giallo madness and action-adventure.
204.
In 1996 James Quandt, programmer for the Cinematheque Ontario in collaboration with the Audio-Visual Division of the Japan Foundation,Tokyo organized the film series, Mizoguchi The Master.
205.
In “Asian potpourri”, the adventurous reader will find a series of loosely connected reviews of films from Iran (from this past year's Festival of International Cinema and New Media) and Central Asia.
206.
The Asian Cinema Studies Society held its fifth biennial Conference for the first time ever in Canada. The result was a hotbed of wide-ranging activities and academic pursuits from scholars across the world.
207.
The whirlwind that was Fant-Asia has come and gone, leaving in its wake some 70,000 spectators and a trail of cinematic blood and bullet-ridden body parts.
208.
The affable, soft-spoken Nacho Cerda is perhaps not what you'd expect from the director of one of Fant-Asia's most notorious films, Aftermath. But perhaps after reading this interview with Cerda you may feel that there is certainly more than meets the ...
209.
A Gun for Jennifer is a ballsy, energetic feminist revisionist take on the traditionally male revenge action film. After a successful festival run, it has seen comparisons to such female revenge films as Ms. 45 and Thelma and Louise, though...
210.
The inimitable Richard Stanley's films thus far include the cyper-punk cult science-fiction film Hardware (1990), the poetic experimental documentary on the Russian invasion of Afghanistan, Voices of the Moon (1991) and the oneiric horror film...
211.
Fantasia ’97 promises to be as spectacular as last year’s edition, Montreal’s first festival of commercial (Fantasy and Action) Asian cinema, Fantasia, which was arguably the city’s most popular film festival of all time.
212.
Both the Canadian Kissed and Spanish Aftermath deal with the taboo subject of necrophilia. However, the respective filmmakers Lynne Stopkewich and Nacho Cerdà are as far apart in approach as there native countries are geographically.
213.
I'm writing this nine days into Fant-Asia , Saturday the 19th, and one thing is clear, any doubts the organisers may have had concerning year two can rest in peace: the fest is a success far beyond their wildest dreams.
214.
The Love God is easily one of the most wildly inventive, original American genre films of recent years.
215.
With a healthy majority of Fant-Asia's International section devoted to Italian horror I thought it would be appropriate to get things rolling with some thoughts on Italian style horror.
216.
After wishing to visit the city since childhood, I finally got the opportunity in 1997 to attend what is probably the best of the Asian film festivals and perhaps the finest non-competitive film festival anywhere in the world, the Hong Kong International Film Festival (HKIFF).
217.
During the Hollywood Studio period (roughly 1920 to 1950), the demarcation line between the majors and the independents was quite clear. The majors, the “Big Five” (Warners, MGM, RKO, Paramount, Fox) and “Little Three” (Columbia, Universal, United).
219.
Lucio Fulci's archetypical Italian zombie epic The Beyond plays at Fantasia in a pristine 35mm print.
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Last summer’s surprising smash-hit festival Fant-Asia is back with the same look, location and principal organizers, but with an added International component.
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