OUR LAST TANGO (Un tango más) executive produced by Wim Wenders (Pina, Buena Vista Social Club, Wings of Desire) and directed by German Kral, will be released in the UK on 22nd September by Celluloid Circus in partnership with the Argentine Film Festival, London. Continue reading
Peccadillo’s REAL BOY, its first VOD release, is available now on all platforms including BFI Player, FilmDoo, Amazon Instant, Sky Store, Vimeo On Demand, and Google Play. Directed by Shaleece Haas, an LA-based documentary filmmaker, the film is an intimate story of a family in transition. It’s already proven to be a favourite of BFI Flare and winner of Iris Prize Best Feature Award .2016.
In 1957, Hammer’s first ever horror film in colour was released: The Curse of Frankenstein. Its huge success spawned many more Hammer Horror films and the studio’s domination of the horror genre, which was to last for a decade and a half. So 60 years on, to commemorate this anniversary, Studiocanal and Park Circus, in conjunction with FrightFest, Scalarama and more tbc, are releasing brand new restorations of eight classic Hammer Horror titles at cinemas and on DVD/Blu-ray doubleplay. From the gothic horrors Scars of Dracula, Blood From The Mummy’s Tomb, Dr Jekyll & Sister Hyde,Horror Of Frankenstein and psychological chillers Fear In The Night, Straight On Till Morning and Demons Of The Mind to Hammer’s last horror film of the 20th century To The Devil A Daughter, the eight films are selected from the glory years of the iconic house of horror. On Sunday 27th August 2017, FrightFest will host the restoration premieres of Demons Of The Mind and Blood From The Mummy’s Tomb at the Prince Charles Cinema, London. On 19th September 2017 Scalarama’s annual month-long celebration of movies presents ‘Hammer Day’, with screenings across the UK of all eight restored Hammer films, in conjunction with Park Circus. 19th September would have been the birthday of Hammer producer/screenwriter Anthony Hinds. Studiocanal will release the newly restored films as Doubleplay editions on 23rd October 2017 [Blood From The Mommy’s Tomb, Demons Of The Mind, Fear In The Night, Scars of Dracula] and on 13th November 2017 [Dr. Jekyll and Sister Hyde, Straight On ‘Til Morning, To The Devil A Daughter, Horror Of Frankenstein]. Extra features are to be confirmed.
Barry Forshaw writes: I’ve written about Mario Bava in Italian Cinema, and I’ve worked on Blu-rays for Arrow with producer Michael MacKenzie, but had no input into their latest Mario Bava special, the gorgeously colourful Erik the Conqueror. It’s Michael hmself who’s provided an enjoyable visual essay on the film’s indebtedness (homage or ripoff?) to Richard Fleischer’s The Vikings.
We’ll Always Have Casablanca by Noah Isenberg reviewed by Barry Forshaw William Goldman once said about Hollywood that ‘nobody knows anything’, and the enduring success of the Michael Curtiz classic Casablanca surely proves that notion: nobody involved with its making was quite able to explain why it became the most beloved film of Hollywood’s golden age. Actually, the answer is easy — the production line elements assembled for the film (stars – Bogart, Bergman, Lorre, Rains et al, director – Curtiz , writers – the Epsteins, score – Steiner, etc. ) were at the peaks of their creativity, though most regarded this as just another film. But here (particularly regarding the superb screenplay – ‘Round up the usual suspects!’- every element was perfectly judged. And Noah Isenberg’s insightful analysis of the success of the film fully justifies the book’s subtitle ‘The Life, Legend and Afterlife of Hollywood’s Most Beloved Movie’. The publisher Faber has a long and impressive record as a source of film books, and this fascinating study will add further lustre to their reputation. We’ll Always have Casablanca by Noah Isenberg is published by Faber
As someone who earns their crust writing about crime fiction and films, I have to confess that I particularly enjoy covering (whenever I can) another passion of mine: horror films. But in that area, I defer to my friend and colleague Kim Newman, who is the unchallenged doyen in this territory. His intelligent and often unsparing reviews have graced the pages of magazines from Empire to Sight and Sound to the late, lamented Video Watchdog. Although he and I have our disagreements about films (Kim doesn’t get The Exorcist), we concur on a great many things. But reading this weighty and fascinating collection of reviews written for his column in Empire magazine (heavily repurposed here – Newman is like Stanley Kubrick in that something by him is rarely finished), I realised – as if I needed reminding – that he is an omnivore of the horror field who brooks no rivals. In fact, I got to page 73 of the book before I encountered a film I’d seen (and I consider myself a connoisseur of the obscure). As a trawl through the (mostly modern) lesser-known byways of the genre, this collection will become a must-have addition for any collector’s library, particularly for those seeking something off the beaten track. You will search in vain for mainstream fare here; it is simply off the agenda. One of the real pleasures of the book (apart from the quality of the writing) is the fact that Newman is utterly even-handed in his discussion of the films under review, applying an unflinching cudgel to the dully meretricious, but finding merit in the films that try to do something unusual with the genre. It is an essential collection – but those with solely mainstream tastes will not be tempted.
Kim Newman’s Video Dungeon: The Collected Reviews is published by Titan