DOCSLIB.ORG

Nightmare Usa: the Untold Story of the Exploitation Independents Pdf, Epub, Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Nightmare Usa: the Untold Story of the Exploitation Independents Pdf, Epub, Ebook NIGHTMARE USA: THE UNTOLD STORY OF THE EXPLOITATION INDEPENDENTS PDF, EPUB, EBOOK Stephen Edward Thrower | 528 pages | 01 Jun 2007 | FAB Press | 9781903254462 | English | Godalming, United Kingdom Nightmare USA: The Untold Story of the Exploitation Independents PDF Book One flaw, if a flaw it be, is that i was constantly wanting more colour in my gaudy bloody fleshy images. Consegne illimitate in 1 giorno. Vast quantities of previously unpublished stills, posters, press-books, plus behind-the-scenes photographs from the filmmakers' own collections. What is more impressive is that the author is an English person and not an American. Amazon Business Servizio per clienti business. His observations are always valid, and even if you don't always agree with his opinions, there's no getting around the fact that the guy simply knows whereof he writes. This book — the first in a two-volume set — delves into the first half of Franco's career and shines a light into the darkest corners of the Franco filmography and uncovers previously unknown and unsuspected facts about their casts, crews and production histories. The "off" amount and percentage simply signifies the calculated difference between the seller-provided price for the item elsewhere and the seller's price on eBay. See details for additional description. Shopbop Designer, Marche, Fashion e stile. Massively popular around the world, American exploitation movies added immensely to the richness of the nation's cinema. I've already read up upon some interesting film titles and have immediately followed these up from watching them on You Tube such as Most relevant reviews. That's because, between and , American Exploitation movies went berserk. Ships within weeks. Running to large-format pages, Nightmare USA is a veritable encyclopedia of grindhouse cinema - it's one of the most acclaimed genre film books ever published, and after having Sold Out three times over already, it's finally back in print From Quentin Tarantino Kill Bill to Eli Roth Hostel , the young guns of modern Hollywood just can't get enough of that exploitation film high. Lest this review consist solely of gushing fanboy hyperbole, I feel I must point out one or two "sections" not so much "chapters" as particular favorites. It should rile a whole new generation of young filmmakers, writers, effects artists, and would-be producers to swift action. It really is as simple as that. I checked it out on Amazon, and everyone liked it a lot. The book weighs a ton. This is the price excluding shipping and handling fees a seller has provided at which the same item, or one that is nearly identical to it, is being offered for sale or has been offered for sale in the recent past. Chi ha acquistato questo articolo ha acquistato anche. Stephen Thrower has written an amazing tome on the history of exploitation films and their visionary independent directors. Makes the wait for Murderous Passions 2 slightly more bearable. In this weighty volume, Thrower first creates and explains the context of the era, exploring precisely why America from proved to be such a fertile climate for low-budget exploitation films. You won't regret it. With censorship relaxed, and the gate to excess wide open, horror offered a vibrant alternative to the mainstream of American cinema. Hours of Play:. Bibliografische Informationen. Add to Cart. Kindle Direct Publishing Pubblica i tuoi libri in formato elettronico. The director of more than films, at his most prolific he reached a supercharged frenzy that yielded as many as twelve films per year, making him one of the most prolific filmmakers of all time. I have found in some cases that reading about them is better than sitting through them. The word passion is overused these days but Thrower has it in spades. I checked it out on Amazon, and everyone liked it a lot. Sleepwalkers Eureka Classics Blu-ray []. With censorship relaxed, and the gate to excess wide open, horror - the Exploitation genre par excellence - offered a vibrant alternative to the mainstream of American cinema. Utgiven See all 5 - All listings for this product. Publication Date: His delirious improvisations and raw, punkish spontaneity turn the basics of popular cinema, sex and violence, into a whirl of sensations, a seductive and bewitching spectacle that could only be the work of one man. The price may be the seller's own price elsewhere or another seller's price. Greenlights by Matthew McConaughey Hardcover 5. Thank you. Metodi di pagamento Amazon. Select Parent Grandparent Teacher Kid at heart. If you are decadent and jaded or simply want to be impressed by a more obsessive fan than should be able to write so well, then this is essential for the sturdier of ones bookshelves.. Nightmare USA: The Untold Story of the Exploitation Independents Writer The word passion is overused these days but Thrower has it in spades. Running to large-format pages, Nightmare USA is a veritable encyclopedia of grindhouse cinema - it's one of the most acclaimed genre film books ever published, and after having Sold Out three times over already, it's finally back in print! To see if pickup is available, select a store. Stephen Thrower has devoted five years to examining each and every Franco film. He has also written about horror and 'off-mainstream' cinema in the following books: Shock Xpress Vol. Questi articoli sono spediti e venduti da venditori diversi. Recensione Digs right down into the fetid underbelly of the filmmaking scene. Questa promozione non si applica ai prodotti digitali. Account Options Anmelden. The writer strikes a balance between the scholarly, the personal and the deeply funny like nobody else. Again, I can't stress this enough, if you're hungry for knowledge, then this book is like a ever-lovin' Super Sized Meal 'o' Horror. Vast quantities of previously unpublished stills, posters, press-books, plus behind-the-scenes photographs from the filmmakers' own collections. In fact, Thrower's writing and approach to the exploitation underground in general is characterised by both intelligence and jaw-dropping dedication. Tutti i titoli ed i bestseller del momento Scopri. Massively popular around the world, American exploitation movies added immensely to the richness of the nation's cinema. Nightmare USA is the reader's guide to what lies beyond the mainstream of American horror, dispelling the shadows to meet the men and women behind fifteen years of screen terror: the Exploitation Independents! No doubt. He could probably write about the Eurovision song contest and make it interesting. ISBN - Save on Nonfiction Trending price is based on prices over last 90 days. Hardcover Stephen Crane. Any condition Any condition. About this product. Consegne illimitate in 1 giorno. Add to Cart. This item doesn't belong on this page. Highest possible recommendation. Acquisto verificato. A proposed second volume is apparently on the way, which indicates just how much fascinating, previously untouched information Thrower has unearthed. New other. Hardback Books Stephen King It. Traduci recensione in Italiano. Nightmare USA is the reader's guide to what lies beyond the mainstream of American horror, dispelling the shadows to meet the men and women behind 15 years of screen terror: The Exploitation Independents! Stephen Thrower has written an amazing tome on the history of exploitation films and their visionary independent directors. I have found in some cases that reading about them is better than sitting through them. And as the author admits, he's still just getting started - it should be the first of two volumes, but he doesn't think he'll have time for the second Dillo alla casa editrice. Ci sono 0 recensioni e 0 valutazioni dall'Italia. Vikt gram. Hardback Books Stephen Crane. By a British writer, and he's really very good. Add to cart. Pages: Many of you are familiar with FAB Press' "standard" format Offerte speciali e promozioni Acquista questo prodotto e ricevi 90 giorni gratis di streaming musicale con Amazon Music Unlimited Dopo l'acquisto, riceverai un'email contenete informazioni su come iscriverti ad Amazon Music Unlimited. This is a fact of which the good folks at FAB are no doubt aware, and I hope they consistently pat themselves on their backs in richly- deserved self-congratulatory gestures. Nightmare USA: The Untold Story of the Exploitation Independents Reviews Meine Mediathek Hilfe Erweiterte Buchsuche. Youll learn so much about the golden age of 70s and 80s grindhouse cinema Spesso comprati insieme. M Eel rated it really liked it Sep 05, Comprehensive is an understatement. Breadcrumb Home Contributors Stephen Thrower. This book — the first in a two-volume set — delves into the first half of Franco's career and shines a light into the darkest corners of the Franco filmography and uncovers previously unknown and unsuspected facts about their casts, crews and production histories. This book — the first in a two-volume set — delves into the first half of Franco's career and shines a light into the darkest corners of the Franco filmography and uncovers previously unknown and unsuspected facts about their casts, crews and production histories. Scott Dwyer rated it it was amazing Mar 03, This absolutely massive book is certainly the most devotedly in-depth exploration of American exploitation cinema, and is worth owning for anyone interested in the genre if only for its garish and appropriately lurid visual material. Aggiungi i tre articoli al carrello. Luridly titled wonders like The Headless Eyes, Scream Bloody Murder and Hitch Hike to Hell were everywhere, from the drive-ins of Texas to the grindhouses of New York, touting a combination of mind-bruising violence, weird sex and drug-soaked delirium. Read on Recensioni clienti. Hardcover Stephen Hunter.
Load more

Recommended publications
  • Quentin Tarantino's KILL BILL: VOL
    Presents QUENTIN TARANTINO’S DEATH PROOF Only at the Grindhouse Final Production Notes as of 5/15/07 International Press Contacts: PREMIER PR (CANNES FILM FESTIVAL) THE WEINSTEIN COMPANY Matthew Sanders / Emma Robinson Jill DiRaffaele Villa Ste Hélène 5700 Wilshire Blvd., Suite 600 45, Bd d’Alsace Los Angeles, CA 90036 06400 Cannes Tel: 323 207 3092 Tel: +33 493 99 03 02 [email protected] [email protected] [email protected] From the longtime collaborators (FROM DUSK TILL DAWN, FOUR ROOMS, SIN CITY), two of the most renowned filmmakers this summer present two original, complete grindhouse films packed to the gills with guns and guts. Quentin Tarantino’s DEATH PROOF is a white knuckle ride behind the wheel of a psycho serial killer’s roving, revving, racing death machine. Robert Rodriguez’s PLANET TERROR is a heart-pounding trip to a town ravaged by a mysterious plague. Inspired by the unique distribution of independent horror classics of the sixties and seventies, these are two shockingly bold features replete with missing reels and plenty of exploitative mayhem. The impetus for grindhouse films began in the US during a time before the multiplex and state-of- the-art home theaters ruled the movie-going experience. The origins of the term “Grindhouse” are fuzzy: some cite the types of films shown (as in “Bump-and-Grind”) in run down former movie palaces; others point to a method of presentation -- movies were “grinded out” in ancient projectors one after another. Frequently, the movies were grouped by exploitation subgenre. Splatter, slasher, sexploitation, blaxploitation, cannibal and mondo movies would be grouped together and shown with graphic trailers.
    [Show full text]
  • Netflix and the Development of the Internet Television Network
    Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation.
    [Show full text]
  • 1. Introducing the Splat Pack
    1. INTRODUCING THE SPLAT PACK The ‘New Blood’: a Name Catches On Excitement about the Splat Pack seems to have been ignited with the April 2006 issue of the British film magazine Total Film. The issue featured an article by Alan Jones, entitled ‘The New Blood’. Its title was accentuated by a ‘Parental Advisory: Explicit Content’ label to let readers know they were about to enter forbidden, dangerous territory. Evidently, the local cineplex had been transformed into dangerous territory because ‘a host of bold new horror flicks’, such as Eli Roth’s Hostel and Alexandre Aja’s 2006 remake of Wes Craven’s 1977 shocker The Hills Have Eyes, had assaulted audiences with levels of brutality missing in ‘all those toothless remakes of Asian hits starring Jennifer Connelly, Naomi Watts and Sarah Michelle Gellar’ (Jones, 2006: 101, 102). Jones devotes his article to showcasing the young directors who were ‘taking back’ horror from purveyors of ‘watered-down’ genre movies (2006: 102). One of the auteurs in the movement featured in Jones’s article is Eli Roth who positions himself as one of the power players of this movement. Jones’s article features a photo of Roth brandishing a chainsaw, a devilish smirk on his face, surrounded by photos of bloody carnage from Roth’s Hostel, including an image of a man being castrated with a pair of bolt cutters. These grisly visuals imply that Roth can deliver the gory goods. In the article, Roth – a graduate of New York University’s film school whose father and mother are, respectively, a Harvard professor and fine artist – comes across as forcefully as these images 13 BERNARD 9780748685493 PRINT.indd 13 13/01/2014 10:43 Grahams HD:Users:Graham:Public:GRAHAM'S IMAC JOBS:14636 - EUP - BERNARD (TWC):BERNARD 9780748685493 PRINT SELLING THE SPLAT PACK would suggest.
    [Show full text]
  • Dr. Sylvia Earle
    DR. SYLVIA EARLE National Geographic Society Explorer in Residence Dr. Sylvia A. Earle, called Her Deepness by the New Yorker and the New York Times, Living Legend by the Library of Congress, and first Hero for the Planet by Time Magazine, is an oceanographer, explorer, author and lecturer with experience as a field research scientist, government official, and director for corporate and non-profit organizations including the Kerr McGee Corporation, Dresser Industries, Oryx Energy, the Aspen Institute, the Conservation Fund, American Rivers, Mote Marine Laboratory, Duke University Marine Laboratory, Rutgers Institute for Marine Science, the Woods Hole Oceanographic Institution, National Marine Sanctuary Foundation, and Ocean Futures. Formerly Chief Scientist of NOAA, Dr. Earle is the Founder of Deep Ocean Exploration and Research, Inc. (DOER), Founder of the Sylvia Earle Alliance (S.E.A.) / Mission Blue, Chair of the Advisory Council of the Harte Research Institute, inspiration for the ocean in Google Earth, leader of the NGS Sustainable Seas Expeditions, and the subject of the 2014 Netflix film, Mission Blue. She has a B.S. degree from Florida State University, M.S. and PhD. from Duke University, 27 honorary degrees and has authored more than 200 scientific, technical and popular publications including 13 books (most recently Blue Hope in 2014), lectured in more than 90 countries, and appeared in hundreds of radio and television productions. She has led more than 100 expeditions and logged more than 7,000 hours underwater including leading the first team of women aquanauts during the Tektite Project in 1970, participating in ten saturation dives, most recently in July 2012, and setting a record for solo diving in 1,000 meters depth.
    [Show full text]
  • Feminism, Speech and Sound in Quentin Tarantino's Death Proof
    Listen to the Chick Habit: Feminism, Speech and Sound in Quentin Tarantino’s Death Proof by Danielle Barr It is tempting to misread Quentin Tarantino’s Death Proof (2007) as a simple, relatively tame exploitation flm, especially if one is familiar with his earlier, testosterone-motored flms like Reservoir Dogs (1992). Yet this film functions differently, exercising a feminist agenda of sorts that manifests in the redistribution of the primacy of voice, music, sound, and noise, to produce a unique soundscape that foregrounds the female voice. To this effect, Tarantino blurs the distinctions between dialogue and song, between music and noise, efectively presenting an alternative to the way we traditionally hear flm and flm characters. We could argue that Death Proof’s women’s corporeal and aural fgurations challenge Western phallocentric language: they privilege a form of ‘female writing’ of woman and her experiences/desires. Trough rhythmically pleasing orchestrations of female linguistic authority Death Proof ofers a new/diferent/self-defned woman. In so doing, Tarantino disrupts a passive male-centric spectatorship, as he calls attention to the way in which we typically hear female voices, particularly in mainstream cinema. Death Proof is roughly divided into two parts (or super segments) each showcasing two diverse yet convergent groups of women (referred to as the Girls1 and Girls2) and their sadistic stalker, Stuntman Mike. Te Girls1—radio personality Jungle Julia Lucai, 1 Caméra Stylo Shanna and Arlene—casually drive around town and arrive at a bar where they eventually encounter the aging Stuntman Mike. In the second super segment, Te Girls2—Kim, Abernathy, Lee, and Zoë — ‘test drive’ a vintage 1970s Dodge Challenger.
    [Show full text]
  • The Contemporary American Horror Film Remake, 2003-2013
    RE-ANIMATED: THE CONTEMPORARY AMERICAN HORROR FILM REMAKE, 2003-2013 Thesis submitted by Laura Mee In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, March 2014 Abstract This doctoral thesis is a study of American horror remakes produced in the years 2003-2013, and it represents a significant academic intervention into an understanding of the horror remaking trend. It addresses the remaking process as one of adaptation, examines the remakes as texts in their own right, and situates them within key cultural, industry and reception contexts. It also shows how remakes have contributed to the horror genre’s evolution over the last decade, despite their frequent denigration by critics and scholars. Chapter One introduces the topic, and sets out the context, scope and approach of the work. Chapter Two reviews the key literature which informs this study, considering studies in adaptation, remaking, horror remakes specifically, and the genre more broadly. Chapter Three explores broad theoretical questions surrounding the remake’s position in a wider culture of cinematic recycling and repetition, and issues of fidelity and taxonomy. Chapter Four examines the ‘reboots’ of one key production company, exploring how changes are made across versions even as promotion relies on nostalgic connections with the originals. Chapter Five discusses a diverse range of slasher film remakes to show how they represent variety and contribute to genre development. Chapter Six considers socio-political themes in 1970s horror films and their contemporary post-9/11 remakes, and Chapter Seven focuses on gender representation and recent genre trends in the rape-revenge remake.
    [Show full text]
  • Open Final Version of Thesis.Pdf
    The Pennsylvania State University The Graduate School College of Communications HORROR GLOBAL, HORROR LOCAL: A CROSS-CULTURAL ANALYSIS OF TORTURE PORN, J-HORROR, AND GIALLO AS CONTEMPORARY MANIFESTATIONS OF THE HORROR GENRE A Thesis in Media Studies by Lauren J. DeCarvalho © 2009 Lauren J. DeCarvalho Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts August 2009 ii The thesis of Lauren J. DeCarvalho was reviewed and approved* by the following: John S. Nichols Professor of Communications Associate Dean for Graduate Studies and Research Matthew F. Jordan Assistant Professor of Media Studies Thesis Advisor Marie C. Hardin Associate Professor of Journalism Jeanne L. Hall Associate Professor of Film and Video *Signatures are on file in the Graduate School. iii ABSTRACT The overbearing effects of Hollywood continue to blur the lines of distinction between national and global cinema, leaving scholars to wonder whether the latter type of cinema has since trumped the former. This thesis explores the depths of this perplexity by looking at the cultural differences in post-1990s horror films from three countries: the United States, Japan, and Italy. Scholarship on women in horror films continues to focus on the feminist sensitivities, without the slightest regard for possible cultural specificities, within the horror genre. This, in turn, often collapses the study of women in horror films into a transnational genre, thereby contributing to the perception of a dominant global cinema. Therefore, it is the aim of the author to look at three culturally-specific subgenres of the horror film to explore their differences and similarities.
    [Show full text]
  • The Critical-Industrial Practices of Contemporary Horror Cinema
    Off-Screen Scares: The Critical-Industrial Practices of Contemporary Horror Cinema A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joseph F Tompkins IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Richard Leppert, Adviser January 2013 © Joseph F Tompkins, 2013 Acknowledgements I would like to extend my thanks to the many friends, colleagues, teachers, and family members who provided the necessary support and advice to usher me through both the dissertation writing process and my time as a graduate student. I am grateful to the members of my dissertation committee: Mary Vavrus, Gil Rodman, John Mowitt and Gary Thomas, for their lasting guidance, scholarly advice, and critical feedback. In particular, this project was hatched in Mary Vavrus’s Political Economy of Media seminar, and for that, I’m especially indebted. Also, to Gary Thomas, who taught me, among other things, the power of good, clean prose as well as the radical possibilities of making the classroom into a vitalizing, “heterotopian” space—a rampart against the “mechanical encrustation on the living.” I would also like to convey my sincerest appreciation to my mentor, Richard Leppert, who, since my earliest days as an undergraduate, has been a source of both professional guidance and companionship. Richard is my model—as an educator and a friend. I would also like to thank Jochen Schulte-Sasse, Robin Brown, Cesare Casarino, Liz Kotz, Keya Ganguly, Timothy Brennan, Siobhan Craig, and Laurie Ouellette for their sage advice during my graduate studies. Many friends and colleagues provided me intellectual and emotional support throughout the years: Mathew Stoddard, Tony Nadler, Alice Leppert, Manny Wessels, Mark Martinez, Doyle “Mickey” Greene, Kathie Smith, and Eleanor McGough.
    [Show full text]
  • Inglourious Basterds AUDIENCE (2009) 87 Liked It Average Rating: 3.9/5 User Ratings: 761,324
    Inglourious Basterds AUDIENCE (2009) 87 liked it Average Rating: 3.9/5 User Ratings: 761,324 Movie Info A group of hardened Nazi killers stalk their prey in Nazi- occupied France as a Jewish cinema owner plots to take down top-ranking SS officers during the official premiere of a high-profile German propaganda film. As far as Lt. Aldo Raine (aka “Aldo the Apache,” Brad Pitt) -- is concerned, the only good Nazi is a dead Nazi. Raine's mission is to strike fear into the heart of Adolf Hitler by brutally murdering as many goose-steppers as possible, or die trying. In order to accomplish that goal, Lt. Raine recruits a ruthless team of cold-blooded killers known as "The Basterds" which includes baseball-bat- wielding Bostonian Sgt. Donnie Donowitz (aka "The Bear Jew," Eli Roth) and steely psychopath Sgt. Hugo Stiglitz (Til Schweiger), among others. When the Basterds' secret rendezvous with turncoat German actress Bridget von Hammersmark (Diane Kruger) goes awry, they learn that the Nazis will be staging the French premiere of "The Nation's Pride," a rousing propaganda film based on the exploits of German hero Fredrick Zoller (Daniel Brühl), at a modest theater owned by Jewish cinephile Shoshanna Dreyfus (Mélanie Laurent), posing as a Gentile after the brutal murder of her family by the ruthless Col. Hans Landa Theatrical release poster (Wikipedia) (Christoph Waltz). As the Basterds hatch an explosive TOMATOMETER plan to take out as many Nazis as possible at the premiere, they remain completely oblivious to the fact All Critics that Shoshanna, too, longs to bring the Third Reich to its knees, and that she's willing to sacrifice her beloved 89 theater in the process.
    [Show full text]
  • 1 Amanda Beech Exploding Horror Horror Trivia It's Difficult to Make A
    Amanda Beech Exploding Horror Horror Trivia It’s difficult to make a good horror film these days and we know it. The genre has situated itself in retrospective feedback loops of the sequel, the prequel the remake as well as the ironic tragic replay of itself as farce, where horror makes its own antirealist wink into the blood spattered lens and knows the condition of its own constraint to horror.1 In this sense what we expect from horror and what we often get are very different. Horror promises the experience of the ungrounding of certain norms, the kind of fear that we might be unprepared for, and the kind of experience that comes from nowhere. But more often than not we see horror instead as a labour upon the recuperation of itself as a set of norms, habits and styles reinstated ironically as a claim to the meta-genre of new transgressions within the genre. Films like Hostel, (2005 dir. Eli Roth), extrapolate this dance of horror’s meta- genre. Hostel foregrounds the connections between knowledge and money/power, entangling these discourses in the central narrative framework. Here, the constraints of the horror genre are made equivalent to the administration of neo-liberal economies, where the film features various modes of torture as artistic spectacle that is paid for in full by rich masochists. The victims of such terror are victims only because they are naively unaware of the traditional allegories of the horror genre: Don’t trust anyone, don’t go backpacking in Eastern Europe, don’t go out alone at night, don’t be a slut, etc.
    [Show full text]
  • FOR IMMEDIATE RELEASE ENZIAN ANNOUNCES “13 Films of Halloween” LINEUP THROUGHOUT OCTOBER Orlando, FL (August 24, 2017)
    Media Contact: Valerie Cisneros [email protected] 407-629-1088 x302 FOR IMMEDIATE RELEASE ENZIAN ANNOUNCES “13 Films of Halloween” LINEUP THROUGHOUT OCTOBER Orlando, FL (August 24, 2017) – Enzian is showcasing a series of scary movies and events so you can celebrate Halloween all month long. The lineup features programs for all ages and includes a free outdoor screening, parties, midnight films, and cult classics. Matthew Curtis, Programming Director of Enzian, remarked, “We’ve truly outdone ourselves with this year’s incredible lineup for our month-long ‘13 Films of Halloween’ in October. With films from all over the world--including the USA, UK, Italy, France and Germany—made over the course of the last century (1920–2015), our Halloween programming has never been so diverse and chock full of thrills and chills for every taste. Where else can one go and see landmark films on the big screen from the likes of Tobe Hooper, Danny Boyle, Eli Roth, William Friedkin, Brian De Palma, Francis Ford Coppola, Mario Bava, Alexandre Aja, and Wes Craven, not to mention a free outdoor screening under the stars of the original version of THE BLOB with Steve McQueen, all within a 4-week period?” WHAT: Cult Classics: Poltergeist Tuesday, October 3rd at 9:30PM Strange and creepy happenings beset an average California family, the Freelings — Steve (Craig T. Nelson), Diane (JoBeth Williams), teenaged Dana (Dominique Dunne), eight-year-old Robbie (Oliver Robins), and five-year-old Carol Ann (Heather O’Rourke) — when ghosts commune with them through the television set. Initially friendly and playful, the spirits turn unexpectedly menacing, and, when Carol Ann goes missing, Steve and Diane turn to a parapsychologist and eventually an exorcist for help.
    [Show full text]
  • Disturbing Hostel Not for Faint of Heart W Ali Bhanpuri W Managing Editor
    February 10, 2006 Disturbing Hostel not for faint of heart w Ali Bhanpuri w Managing Editor Horror movies have transformed from implausible psychotic killer movies into a more realistic, mind-twisting genre that evokes the deepest and darkest fears from its audience. There is no question that violence, gore and sex continue to play a role in this new breed of films, but the sick mentality hidden within the underlying premise of movies likeHostel, are quite disturbing. Eli Roth’s latest film far surpasses the undeniably unpleasant residue left whenCabin Fever touched the big screen. Hostel, features an almost unknown cast in a story that is filled with nudity and blood in an extremely perverse manner. The film stars two American college students, Josh (Derek Richardson) and Paxton, (Jay Hernandez) and one slightly older and more vulgar, Icelandic character named Oli, (Eythor Gudjonsson) who are backing through Europe. Upon hearing about the women and entertainment found in the small country of Slovakia, the trio hops on a train to fulfill their most animalistic fantasies. When Oli winds up missing from their hostel, Paxton and Josh notice that not everything is as it seems in the small country. The first forty-five minutes of the film is raunchy and many parts are almost unnecessary. Although it sets the stage for the character’s desires and dreams of sleeping with women, it goes on for far too long. The beginning of the movie is riddled with foreshadowing and quirky allusions to producer Quentin Tarantino. For example, as the three men walk into the Slovakian hostel, Pulp Fiction is playing on the television.
    [Show full text]