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Frame Of Mind
Cinema Fearité Presents ‘The Whip And The Body’ – Mario Bava Explores Sexual Torture Fifty Years Before ‘Fifty Shades Of Grey’
With the semi-ironic popularity of the Fifty Shades of Grey movies, film fans everywhere are discovering the wonders of S&M and B&D. Okay, not really, but the movie/book franchise has piqued the interest of “square” people and brought sexual domination to the pop culture forefront. Of course, for horror fans, it was always there. Way back in 1963, Italian uber-director Mario Bava (Hatchet for the Honeymoon, A Bay of Blood) played with the trend with the aptly named The Whip and the Body.
New York, New York. A hell of a town. The Bronx is up, but the Battery’s down. And it’s a great backdrop for movies, horror or otherwise. Even when that movie is as surreal and fantastical as The Warriors.
Documentaries about subcultures are usually fun because they give the viewer a glimpse into a world that they might otherwise have never even known existed. The new film from Jon Manning, Burlesque: Heart of the Glitter Tribe does just that, and does it in a way that is both informative and entertaining.
This past weekend, a remake/reboot of Flatliners opened in theaters to little fanfare. Not only was it not screened ahead of time for press, but there were no early paid showings on Thursday night in most markets, with the first opportunity for anyone to see the film coming on Friday morning. Well, in celebration of a movie that the studios seem to be hiding, this week’s Cinema Fearité is taking a look at the original 1990 movie upon which it is based, also called Flatliners.
After getting his start in nonfiction television, documentary filmmaker John Scheinfeld has carved out a nice little niche for himself in the music film world with his The U.S. vs. John Lennon and Who Is Harry Nilsson (And Why Is Everybody Talkin’ About Him?). Keeping up the momentum, he now explores the life of jazz saxophonist John Coltrane in his newest film, Chasing Trane: The John Coltrane Documentary.
Out of all of the elements of the polarizing mother! to be controversial, one wouldn’t expect the title to be one of them, but the awkward non-capitalization at the beginning coupled with the exclamation point at the end has been playing hell with the auto-correct of critics everywhere (including my own). But mother! is hardly the first movie to feature strange characters in its name; from Airplane! to Land Ho!, movie titles have gotten creative with their punctuation. Because this is Cinema Fearité, we’re going to take a gander at a horror movie with an exclamation – 1961’s Bloodlust!
In the rapidly declining world of print journalism, newspapers are known for their different sections. There’s the news and politics section, the funny papers, the sports page…and the obituary column. Obit takes a good look at the surprisingly lively writers who are responsible for producing the content for that last section.
Cinema Fearité Presents ‘Hello Mary Lou: Prom Night II’ – Not Much Of A Sequel, But A Hell Of A Lot Of Fun
Generally speaking, sequels pick up somewhere after the events of their predecessor, whether a few minutes, weeks, or years, and continue to tell the story. Some take place within the same cinematic universe, but with different sets of characters and circumstances (Book of Shadows: Blair Witch 2/Blair Witch, 10 Cloverfield Lane). Others are prequels, telling the story that leads up to the events of the first film (Ouija: Origin of Evil, Annabelle: Creation). Still others, however, are sequels in name only. Such is the case with Hello Mary Lou: Prom Night II.
Last week, in honor of the recent spike in Stephen King movies, Cinema Fearité took a look at King’s one and only directorial effort Maximum Overdrive. Well, after the record setting weekend that IT just had, we’re doubling down on King. This week, we’re going to dive into one of his most disturbing adaptations: 1998’s Apt Pupil.
American rock and roll music is seen as a smorgasbord of musical influences, borrowing liberally from both European and African sources. But the influence of the Native American culture on rock music has rarely been acknowledged. Documentarian Catherine Bainbridge (who also explored Native Americans in Hollywood movies with Reel Injun) and cinematographer Alfonso Maiorana (who worked with Bainbridge on the TV series “Mohawk Girls”) explore the Indians that have had an impact on rock and roll in their fascinating new movie Rumble: The Indians Who Rocked the World.
Stephen King has always been a prolific writer, and filmmakers have always loved making movies out of his works, but Hollywood seems to be in the midst of a “Kingaissance” as of late, with the disappointing The Dark Tower releasing this past summer, the terrifying IT opening this weekend, and the “how are they gonna film THAT?” Gerald’s Game making its premiere on Netflix at the end of the month. For all of his novels and short stories that have been adapted into movies, King has surprisingly only stepped behind the camera to direct one of them himself – the 1986 technology-run-amok thriller Maximum Overdrive.
Revisiting old technologies can be fun. The analog warmth of vinyl records sounds better than the harsh digital compression of CDs. The feeling of flipping the pages of a good book in your hands beats the hell out of scrolling through that same book on a tablet. And, as any avid movie collector will tell you, VHS tapes often have way cooler artwork than their DVD/Blu-ray counterparts. But no one ever thinks about that other lost form of communication – the typewriter. No one, that is, until music video director-turned-documentarian Doug Nichol made California Typewriter.
Cinema Fearité Pays Tribute To Tobe Hooper With One Of The Most Influential Movies Ever Made - ‘The Texas Chain Saw Massacre’
It’s been less than two months since the passing of the legendary George Romero, and the horror world has been struck by another huge loss; celebrated director Tobe Hooper died last weekend at the age of 74. Although Hooper’s biggest box office success was the Steven Spielberg-produced (and some say directed) Poltergeist, his claim to fame is much more influential. In 1974, he made the most infamous of all American horror movies: The Texas Chain Saw Massacre.
Hampton Lansdon Fancher. You may not recognize the name, but you are no doubt familiar with his work. His biggest claim to fame is that he wrote the first drafts of the script for Ridley Scott’s Blade Runner, but he also had an extremely prolific career as a b-level character actor. But even behind the scenes, Fancher has led a fascinating life. So fascinating, in fact, that his filmmaker pal Michael Almereyda (Experimenter) made a movie about him. That movie is called Escapes.