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The Vault / Re: Jean Rollin: The Stray Dreamer - Documentary
« Last post by wilder on March 21, 2017, 05:17:13 PM »
via Spectacular Optical

Canadian micro-publisher Spectacular Optical is pleased to announce a new book focused on the career of French fantasy and horror filmmaker Jean Rollin, LOST GIRLS: THE PHANTASMAGORICAL CINEMA OF JEAN ROLLIN, penned by all women critics, scholars and film historians. Set to be released in the summer of 2017, this collection of essays covers the wide range of Rollin’s career from 1968’s LE VIOL DU VAMPIRE through his 2010 swansong, LE MASQUE DE LA MÉDUSE, touching upon his horror, fantasy, crime and sex films—including many lesser seen titles. The book closely examines Rollin’s core themes: his focus on overwhelmingly female protagonists, his use of horror genre and exploitation tropes, his reinterpretations of the fairy tale and fantastique, the influence of crime serials, Gothic literature and the occult, as well as much more.

LOST GIRLS is the third book in Spectacular Optical’s ongoing series of limited run film and pop culture books, which includes KID POWER! (2014) and SATANIC PANIC: POP CULTURAL PARANOIA IN THE 1980s (2015) and will precede the previously announced YULETIDE TERROR: CHRISTMAS HORROR IN FILM AND TELEVISION, which will be released in fall of 2017.

Curated and edited by Samm Deighan (DIABOLIQUE), contributors to LOST GIRLS include some of the most important critical voices to emerge over the last decade of genre journalism: Alexandra Heller-Nicholas (SENSES OF CINEMA), Kat Ellinger (DIABOLIQUE), Virginie Selavy (ELECTRIC SHEEP), Alison Nastasi (SATANIC PANIC: POP-CULTURAL PARANOIA IN THE 1980s), Marcelline Block (ART DECADES), Rebecca Booth (DIABOLIQUE), Michelle Alexander (CINEMADROME), Lisa Cunningham (THE LAUGHING DEAD: THE HORROR-COMEDY FILM FROM BRIDE OF FRANKENSTEIN TO ZOMBIELAND), Heather Drain (DANGEROUS MINDS), Erin Miskell (THAT’S NOT CURRENT), Gianna D’Emilio (DIABOLIQUE)—and more to be confirmed.

More details, including cover art, full table of contents, and information about the book’s forthcoming crowdfunding campaign will be announced in April 2017.


About Spectacular Optical:

Owned and operated by film writer and programmer Kier-La Janisse (HOUSE OF PSYCHOTIC WOMEN) with managing editor Paul Corupe (, Spectacular Optical is a Canadian indie press that specializes in film and pop culture books, in addition to featuring articles, essays and interviews on the Spectacular Optical website on a year-round basis.
The Director's Chair / Re: Yorgos Lanthimos
« Last post by wilder on March 21, 2017, 04:58:23 PM »
Yorgos Lanthimos & Colin Farrell Reteam For New Amazon Series
via The Playlist

Variety reveals that Farrell will star, and Lanthimos will direct a developing Amazon series based on Oliver North and the Iran-Contra affair. Enzo Mileti and Scott Wilson are working on the scripts, which Lanthimos will also put a pen to, with Ben Stiller and his Red Hour Films among the producers.
News and Theory / Nominate! – 2017 Xixax Awards
« Last post by Jeremy Blackman on March 21, 2017, 03:19:37 PM »
The Basics

We're continuing with our simplified process:

  • In this thread, members suggest nominations in whatever fashion they choose.
  • Admins & mods will decide final nominees in an authoritarian yet benevolent fashion, largely drawing on this thread.
  • We'll post polls for each category, and that will be the final vote.

Let's get started! We'd like to get public nominations done in just a week or two, so don't delay!

Post your nominations here, in any format or quantity you'd like. Doesn't matter. You don't even need to read the rest of this post. Make several posts if you want; post what you can think of now, and come back for more later.

Further Guidance (optional to read)

Is there an underrated film you're especially passionate about, or an incredible performance that no one is discussing? We're especially interested in those unusual choices to fill out categories. If you'd rather keep it private, you can PM me nominations.

Just a few changes from last year. Best Trailer is gone (no interest). There are brand new, completely revamped acting categories! Should be self-explanatory. "Best Cast" is geared toward ensembles.

We were very happy with the TV categories — those remain intact. If you need to review how they work:

Our one-hour/half-hour division is meant to roughly divide dramas from comedies. (Longer shows can go in one-hour.) For "Best TV Performance," simply nominate an actor in a thing (not a specific scene or episode). For Best TV Episode, we do want to get more specific. If you're not sure if a TV show is eligible, ask here; but we're going by common sense rules, i.e. did it mostly air in 2016?

This will be our third year with "Most Disappointing Film." Remember, it's not Worst Film. What were you genuinely disappointed by in 2016? What was supposed to be good or great but just wasn't? This is for the heartbreakers. (For example, Tomorrowland won last year.)

Here are the categories. Suggest nominations for whatever you want — one, two, or all of them.

Best Film
Best Director

Best Female Performance
Best Male Performance
Best Cast
Best Minor Role Performance

Best Screenplay
Best Cinematography
Best Original Music
Best Debut Film
Best Documentary
Best Film Poster
Most Disappointing Film
Best Film of 2015 - Redux

Best One-Hour TV Show
Best Half-Hour TV Show
Best TV Performance
Best TV Episode

For movies released in 2016, consult this list!

The Lobster is not eligible. We did that last year.
DVD Talk / Re: Random DVD and Blu-ray announcements
« Last post by wilder on March 20, 2017, 07:49:45 PM »
May 30, 2017

Alfred Hitchcock's The Paradine Case (1947) from Kino

The lovely Mrs. Paradine (Ann Todd) is accused of poisoning her older, blind husband. She hires lawyer Anthony Keane (Gregory Peck) to represent her. Though Keane is married to a striking and devoted woman, he finds himself strangely attracted to his glamorous defendant. His deepening feelings convince him of her innocence, even though the evidence and his sense of reason may indicate otherwise.

DVD Talk / Re: Random DVD and Blu-ray announcements
« Last post by wilder on March 20, 2017, 04:04:43 AM »
April 4, 2017

Douglas Sirk’s Interlude (1957) on blu-ray from Elephant Films (France)

A U.S. newswoman (June Allyson) falls in love with a married symphony composer (Rossano Brazzi) in Munich.

Interlude (1957)- Amazon France

Douglas Sirk’s Magnificent Obsession (1954) on blu-ray from Elephant Films (France)

Reckless playboy Bob Merrick (Rock Hudson) crashes his speedboat, requiring emergency attention from the town's only resuscitator — at the very moment that beloved local Dr. Phillips has a heart attack and dies waiting for the life-saving device. Thus begins one of Douglas Sirk's most flamboyant master classes in melodrama, in which Bob and the doctor's widow, Helen (Jane Wyman), find themselves inextricably linked amid a series of increasingly wild twists, turns, trials and tribulations.

Magnificent Obsession (1954) - Amazon France

Douglas Sirk’s Captain Lightfoot (1955) on blu-ray from Elephant Films (France)

An Irish swashbuckler (Rock Hudson) woos a rebel leader's (Jeff Morrow) daughter (Barbara Rush) in 19th-century Ireland.

Captain Lightfoot (1955)- Amazon France

The Director's Chair / Re: Andrew Dominik
« Last post by Lottery on March 19, 2017, 05:25:42 AM »
Well, we'll never see Blonde...

So goddamn disappointing if that's the case. I'm sure War Party will be decent, but I'd match rather watch Blonde. I've been waiting too long for that movie.
I really really liked it. They did right by the characters and the original film, which is one of my favorites.

I was a little concerned from the trailer that it was going to try and be a 'greatest-hits' version of the original and fall short, but all of the call-backs to the first film are totally warranted because the story is about the intoxicating power of nostalgia and longing for lost youth. The characters are stuck in the past and have to reckon with it, each in their own way, and the way Boyle is able to play with our own nostalgic feelings for the original is really fucking cool and ultimately incredibly satisfying. It's not rare these days to have films and tv series come back years later to cash in on our collective longing for the past and try and get us to eat the 'member berries, but its unique to have a film deal with those feelings directly; to make them the thematic through-line of the story.
This Year In Film / Re: Kong: Skull Island
« Last post by jenkins on March 18, 2017, 07:15:55 PM »
They also injected the project with a lot of style

King Kong was colossal in terms of its cinematic imagination, i thought.

i went to the movie to have fun and i don't actually quite believe in serious movies anymore, by the way. because it's through life where you learn about life. a movie is always a lie. yes that may convey my idea that it's better to feel like a movie.

i liked the very first sequence with the swordfight in the sunset, then when they were approaching the island on the helicopters and a lightning storm happened while pilot/leader Sam L talked about his mother in a calm voice, then the entire rest of the movie.

i almost spontaneously clapped at least five times. a couple of times i felt like i was losing my shit.

when the guy pulled the two grenades he'd hold! when King Kong surprised me by eating! when i watched King Kong eat a person from a helicopter! when John C explained things!

really for the fact of John C alone it's a perfectly tuned 30s movie here in 2017. one thing to the next, that's how you do it. you're on a motorcycle in your narrative, that's the law of a fun narrative. really the question is was it rushed enough? emotional complexities are for other movies. this story was small and tuned to specific responses from characters experiencing the mania.

the final battle between King Kong and Godzilla is really a matter of movie magic, and it sounds to me like the odds are on the ape's side in terms of surprising the audience.
This Year In Film / Re: Kong: Skull Island
« Last post by Lottery on March 18, 2017, 08:24:49 AM »
The writers must have really been into Apocalypse Now and Moby Dick when working on this movie.

It didn't have the colossal scale and terror of Godzilla but I enjoyed it.
Actually, it felt a bit small for a story like this. It was kinda rushed and some of the characters felt extraneous- very few of the characters got any development at all.

Legendary must have really taken the fan notes to heart, that monkey was on screen a whole lot. They also injected the project with a lot of style and occasionally succesful humour to contrast with Godzilla.

I'd say 'ten times as good as Jurassic World' is pretty accurate.


Though really, how is Kong supposed to take on Godzilla? He'd get stomped. He's supposed to still be growing but he doesn't seem like much of a threat after MUTOS, Mothra, Rodan and Ghidorah.
DVD Talk / Re: Random DVD and Blu-ray announcements
« Last post by wilder on March 17, 2017, 03:19:50 PM »
June 19/20, 2017

Dario Argento’s The Bird With the Crystal Plumage (1970) on limited edition blu-ray from Arrow UK and Arrow US, from a new 4K restoration from the camera negative

In 1970, young first-time director Dario Argento (Deep Red, Suspiria) made his indelible mark on Italian cinema with The Bird with the Crystal Plumage – a film which redefined the 'giallo' genre of murder-mystery thrillers and catapulted him to international stardom.

Sam Dalmas (Tony Musante, We Own the Night), an American writer living in Rome, inadvertently witnesses a brutal attack on a woman (Eva Renzi, Funeral in Berlin) in a modern art gallery. Powerless to help, he grows increasingly obsessed with the incident. Convinced that something he saw that night holds the key to identifying the maniac terrorising Rome, he launches his own investigation parallel to that of the police, heedless of the danger to both himself and his girlfriend Giulia (Suzy Kendall, Spasmo)…

A staggeringly assured debut, The Bird with the Crystal Plumage establishes the key traits that would define Argento's filmography, including lavish visuals and a flare for wildly inventive, brutal scenes of violence. With sumptuous cinematography by Vittorio Storaro (Apocalypse Now) and a seductive score by legendary composer Ennio Morricone (Once Upon a Time in the West).
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