Since its premiere on February 27, FX on Hulu’s “Shōgun” has become one of the most popular limited series of this Emmy cycle. Based on James Clavell’s 1975 titular novel, the historical series created by Rachel Kondo and Justin Marks revolves around an English sailor (Cosmo Jarvis) shipwrecked in Japan at the start of the 17th century in the midst of political upheaval surrounding a powerful daimyō (Hiroyuki Sanada) and a samurai (Anna Sawai) torn between her loyalty and faith. With the series already midway through its run and receiving critical acclaim and awards attention, let’s re-examine NBC’s original 1980 miniseries — which garnered 14 Emmy nominations and three wins –- to determine potential categories for the current program.
Here are the 1981 Emmy nominations and wins for the first “Shōgun” television adaptation:
Best Limited Series (Won)
James Clavell, Executive Producer
Eric Bercovici, Producer
Best Movie/Limited Actor
Richard Chamberlain as John...
Here are the 1981 Emmy nominations and wins for the first “Shōgun” television adaptation:
Best Limited Series (Won)
James Clavell, Executive Producer
Eric Bercovici, Producer
Best Movie/Limited Actor
Richard Chamberlain as John...
- 3/19/2024
- by Christopher Tsang
- Gold Derby
Tobe Hooper.
At the mere mention of his name, which of the late filmmaker’s works leap to mind?
The Texas Chain Saw Massacre, of course. Certainly his most iconic film, and surely his masterpiece.
How about that film’s gonzo 80s sequel? Or perhaps Eaten Alive, his EC-tinged grindhouse film featuring a maniacal hotel proprietor and his pet crocodile? Maybe your mind leaps to his blockbuster spook story Poltergeist, his nightmarish alien invasion remake Invaders from Mars, or his superb television miniseries adaptation of Stephen King’s Salem’s Lot?
But what of The Funhouse, Hooper’s stylish, scary entry in the then-burgeoning teen slasher boom? Released in 1981, a golden year for releases in that subgenre, The Funhouse stands as a vital entry in the filmmaker’s canon, marrying his penchant for dark humor and grisly horror with a studio budget, paving the way for much of his work throughout the next decade.
At the mere mention of his name, which of the late filmmaker’s works leap to mind?
The Texas Chain Saw Massacre, of course. Certainly his most iconic film, and surely his masterpiece.
How about that film’s gonzo 80s sequel? Or perhaps Eaten Alive, his EC-tinged grindhouse film featuring a maniacal hotel proprietor and his pet crocodile? Maybe your mind leaps to his blockbuster spook story Poltergeist, his nightmarish alien invasion remake Invaders from Mars, or his superb television miniseries adaptation of Stephen King’s Salem’s Lot?
But what of The Funhouse, Hooper’s stylish, scary entry in the then-burgeoning teen slasher boom? Released in 1981, a golden year for releases in that subgenre, The Funhouse stands as a vital entry in the filmmaker’s canon, marrying his penchant for dark humor and grisly horror with a studio budget, paving the way for much of his work throughout the next decade.
- 9/9/2022
- by Jason Jenkins
- bloody-disgusting.com
Everyone needs an escape from time to time. A place apart from reality, where the strange whisper with the miraculous, and cheap trinkets are bartered with greasy denizens of the night. What better place to set a horror film than the carnival, where the potential for mystery awaits around every crimson tent and distorted mirror? If you’re so inclined, step right up and buy a ticket to The Funhouse (1981), the late Tobe Hooper’s wonderful tribute to the seedy shadowed world of carnies, caramel apples, and Universal monsters.
Released in March by Universal, The Funhouse underperformed at the box office, but critics (including Gene Siskel) admired it for focusing on suspense and thrills rather than gruesome mayhem. In a landscape littered with severed limbs and phallically inclined urban legends, Mr. Hooper used his genius to once again showcase the underbelly of the American psyche, this time with a major studio’s dollars.
Released in March by Universal, The Funhouse underperformed at the box office, but critics (including Gene Siskel) admired it for focusing on suspense and thrills rather than gruesome mayhem. In a landscape littered with severed limbs and phallically inclined urban legends, Mr. Hooper used his genius to once again showcase the underbelly of the American psyche, this time with a major studio’s dollars.
- 9/2/2017
- by Scott Drebit
- DailyDead
If you've ever clinked bottles on your fingers while chanting "War-ri-orssss, come and out and pla-ayyyy," dressed as a member of the Baseball Furies for Halloween, watched a Xenomorph scurry around darkened spaceship hallways or enjoyed that foul-mouthed poetry of Deadwood's pilot, then you owe Walter Hill a serious debt. The 74-year-old writer, director and producer has had a hand in some of the more memorable tough-guy films and genre flicks of the past 40 years. He's the man who gave us the colorful New York gang movie The Warriors,...
- 9/16/2016
- Rollingstone.com
In the 1980s, bored film critics sometimes claimed to see homoerotic themes in any 'buddy picture' about guys being friends with guys. Only one bold comedy dared to confront this notion directly -- in this show, Dennis Quaid spends a full two hours inside Martin Short, yet the finished picture is still perfectly suitable for all audiences and age groups! Savant Blu-ray Review Warner Home Video 1987 / Color /1.78:1 / 116 min. / Street Date August 4, 2015/ available through Warner Bros. / 13.09 Starring Dennis Quaid, Martin Short, Meg Ryan, Kevin McCarthy, Fiona Lewis, Vernon Wells, Robert Picardo Cinematography Andrew Laszlo Visual Effects Supervisor Dennis Muren Art Direction James H. Spencer Film Editor Kent Beyda Original Music Jerry Goldsmith Written by Jeffrey Boam, Chip Proser, story by Chip Proser Produced by Michael Finnell, Peter Guber, Kathleen Kennedy, Frank Marshall, Jon Peters, Chip Proser, Steven Spielberg Directed by Joe Dante
Reviewed by Glenn Erickson
Warner Home Video shows...
Reviewed by Glenn Erickson
Warner Home Video shows...
- 8/31/2015
- by Glenn Erickson
- Trailers from Hell
(Walter Hill, 1981; Second Sight, 15)
Walter Hill was one of the most accomplished directors of narrative cinema during the last quarter of the 20th century, carrying on the classic tradition of Walsh, Hawks and Ford. His terse, precise action movies from the mid-70s to the early 80s – Hard Times, The Driver, The Warriors, The Long Riders, Southern Comfort and 48 Hrs – are unequalled.
The greatest perhaps is Southern Comfort, a violent fable of ill-trained Louisiana National Guardsmen on a weekend exercise in 1973, inventing their own accidental war with the local Cajun community as they wade through the swampy bayou. It's an allegory about the Vietnam war, a study of American character and a national propensity for violence. This Blu-ray version does full justice to cinematographer Andrew Laszlo's depiction of the bayou as a cold, wet misty hell, of greys, greens and browns, and the twangy, Cajun-inflected score by Ry Cooder provides a mournful,...
Walter Hill was one of the most accomplished directors of narrative cinema during the last quarter of the 20th century, carrying on the classic tradition of Walsh, Hawks and Ford. His terse, precise action movies from the mid-70s to the early 80s – Hard Times, The Driver, The Warriors, The Long Riders, Southern Comfort and 48 Hrs – are unequalled.
The greatest perhaps is Southern Comfort, a violent fable of ill-trained Louisiana National Guardsmen on a weekend exercise in 1973, inventing their own accidental war with the local Cajun community as they wade through the swampy bayou. It's an allegory about the Vietnam war, a study of American character and a national propensity for violence. This Blu-ray version does full justice to cinematographer Andrew Laszlo's depiction of the bayou as a cold, wet misty hell, of greys, greens and browns, and the twangy, Cajun-inflected score by Ry Cooder provides a mournful,...
- 1/6/2013
- by Philip French
- The Guardian - Film News
The definition of a slasher film varies depending on who you ask, but in general, it contains several specific traits that feed into the genre’s formula. Author Vera Dika rather strictly defines the sub-genre in her book Games of Terror by only including films made between 1978 and 1984. In other words, she saw it as a movement. When someone describes Brick, they don’t define it as a noir, but instead neo-noir . In other words, it’s a modern motion picture that prominently utilizes elements of film noir, but with updated themes, content, style, visual elements or media that were absent in those from the 1940s and 1950s. So does one consider Scream a slasher film or a neo-slasher, or simply put, a modern slasher?
Some consider Thirteen Women to be the earliest slasher – released all the way back in 1932. Personally I think that is rubbish. Thirteen Women is more like Desperate Housewives on sedatives.
Some consider Thirteen Women to be the earliest slasher – released all the way back in 1932. Personally I think that is rubbish. Thirteen Women is more like Desperate Housewives on sedatives.
- 10/29/2012
- by Ricky
- SoundOnSight
The Funhouse
Stars: Elizabeth Berridge, Shawn Carson, Jeanne Austin, Jack McDermott, Cooper Huckabee, Kevin Conway | Written by Lawrence Block | Directed by Tobe Hooper
Tobe Hooper has had a very diverse career, and I say that with nary a blurb of hyperbole. For every The Texas Chainsaw Massacre, you get Crocodile. I love the majority of his films because they give me the feeling of warm and fuzzy nostalgia. But, with The Funhouse which came out at the height of the slasher craze, he was still shaping his now wild career. And the film is drastically different from some of his other films, yet it still retains some of Hooper’s erraticism. There are crazed characters and most of the carnival folk feel very, very real. Hell, the carnival feels real, it’s like it may have visited your hometown. It’s also a great slow burn film, you get to...
Stars: Elizabeth Berridge, Shawn Carson, Jeanne Austin, Jack McDermott, Cooper Huckabee, Kevin Conway | Written by Lawrence Block | Directed by Tobe Hooper
Tobe Hooper has had a very diverse career, and I say that with nary a blurb of hyperbole. For every The Texas Chainsaw Massacre, you get Crocodile. I love the majority of his films because they give me the feeling of warm and fuzzy nostalgia. But, with The Funhouse which came out at the height of the slasher craze, he was still shaping his now wild career. And the film is drastically different from some of his other films, yet it still retains some of Hooper’s erraticism. There are crazed characters and most of the carnival folk feel very, very real. Hell, the carnival feels real, it’s like it may have visited your hometown. It’s also a great slow burn film, you get to...
- 10/16/2012
- by Nathan Smith
- Nerdly
Cinematographer famed for his action sequences filmed on location
There are fundamentally two types of cinematographers in American mainstream cinema: hired hands who simply point at and shoot what the director tells them to, and those who work closely with the director to make a substantial contribution to the "look" of a movie. On the whole, Andrew Laszlo, who has died aged 85, qualified as the more creative type.
Consequently, Laszlo declared that the peak of his career and his happiest working relationship was as Walter Hill's director of photography on three of the director's best films: The Warriors (1979), Southern Comfort (1981) and Streets of Fire (1984). He was also proud of his work on Rambo: First Blood (1982), probably the most recognisable title in his filmography. Because of the latter, Laszlo gained a reputation as a consummate cinematographer of filmed-on-location action sequences. It was a long way from Laszlo's beginnings in...
There are fundamentally two types of cinematographers in American mainstream cinema: hired hands who simply point at and shoot what the director tells them to, and those who work closely with the director to make a substantial contribution to the "look" of a movie. On the whole, Andrew Laszlo, who has died aged 85, qualified as the more creative type.
Consequently, Laszlo declared that the peak of his career and his happiest working relationship was as Walter Hill's director of photography on three of the director's best films: The Warriors (1979), Southern Comfort (1981) and Streets of Fire (1984). He was also proud of his work on Rambo: First Blood (1982), probably the most recognisable title in his filmography. Because of the latter, Laszlo gained a reputation as a consummate cinematographer of filmed-on-location action sequences. It was a long way from Laszlo's beginnings in...
- 11/11/2011
- by Ronald Bergan
- The Guardian - Film News
By yesterday afternoon, word was out that the New York Film Festival's surprise film later that evening would be Hugo, introduced by Martin Scorsese himself. Of course, it's a work-in-progress, with color correction, a proper score and evidently much more still on the to-do list. "Scorsese and his Aviator screenwriter John Logan have adapted Brian Selznick's acclaimed novel-comic hybrid The Invention of Hugo Cabret as a pure tribute to not only cinema, but also the endangered legacies of its earliest practitioners," writes Movieline's St VanAirsdale before laying out an array of first impressions: "Surprises are fun, but the jury is out." IFC's Matt Singer: "The film's schmaltzy trailer may have left some die-hard Marty fans scratching their heads why Mr Mean Streets would make a heartwarming family film, but Hugo is actually the Scorsesiest Scorsese movie in years." The Playlist finds Hugo to be "one of his most deeply personal films.
- 10/11/2011
- MUBI
Despite frequently being listed among the great horror directors, Tobe Hooper will always have the hardest job of pleasing his fans. No matter what film he makes, it will always be compared to his 1974 classic The Texas Chainsaw Massacre. To this day it remains one of the greatest and most chilling horror films of all time and a true work of genius.
The same can‘t really be said of Crocodile or the overly goofy and unpleasant Texas Chainsaw Massacre 2. Yet people seem to forget Hooper is capable of making films as good as Poltergeist or Salem’s Lot. Sitting somewhere in the middle is 1981’s The Funhouse, now re-released on a deluxe Blu-ray from Arrow Video from yesterday.
Released at the peak of the early 80’s slasher film craze, The Funhouse was Hooper’s first big budget feature. Despite working with a larger budget and studio pressure, the film...
The same can‘t really be said of Crocodile or the overly goofy and unpleasant Texas Chainsaw Massacre 2. Yet people seem to forget Hooper is capable of making films as good as Poltergeist or Salem’s Lot. Sitting somewhere in the middle is 1981’s The Funhouse, now re-released on a deluxe Blu-ray from Arrow Video from yesterday.
Released at the peak of the early 80’s slasher film craze, The Funhouse was Hooper’s first big budget feature. Despite working with a larger budget and studio pressure, the film...
- 7/19/2011
- by Stephen Leigh
- Obsessed with Film
For every classic theme song, a dozen are seemingly forgotten. Here’s our list of ten movie tunes that deserve to be rediscovered…
It seems like every studio-released movie today comes pre-packaged with a shiny soundtrack (Iron Man 2's AC/DC fest is a riff on 1986's Maximum Overdrive).
Sometimes a big hit emerges from the mix, but most often, songs used to promote the film in another venue, say iTunes, quickly disappear into the ether.
Gone, but not entirely forgotten, most, if not all, of the following songs from movies have found their way to the afterlife of YouTube.
Here are ten top tunes to seek out...
Sweet Talkin' Candy Man (Beyond The Valley Of The Dolls)
Beyond The Valley Of The Dolls features the usual perks of a Russ Meyer flick (including a star turn by Dolly Read), great rapid-fire editing, and boasts a script full of quotable lines by Roger Ebert.
It seems like every studio-released movie today comes pre-packaged with a shiny soundtrack (Iron Man 2's AC/DC fest is a riff on 1986's Maximum Overdrive).
Sometimes a big hit emerges from the mix, but most often, songs used to promote the film in another venue, say iTunes, quickly disappear into the ether.
Gone, but not entirely forgotten, most, if not all, of the following songs from movies have found their way to the afterlife of YouTube.
Here are ten top tunes to seek out...
Sweet Talkin' Candy Man (Beyond The Valley Of The Dolls)
Beyond The Valley Of The Dolls features the usual perks of a Russ Meyer flick (including a star turn by Dolly Read), great rapid-fire editing, and boasts a script full of quotable lines by Roger Ebert.
- 9/23/2010
- Den of Geek
The Dabel Brothers adapted the Paramount Pictures gang film The Warriors and now they have announced plans for an original sequel. Jailbreak will be a four-part event, beginning this July. According to a release, the series picks up shortly after the end of the 1979 film, when the Warriors plan to break one of their members out of jail.
The adaptation of Walter Hill’s stylish movie, based on Sol Yurick’s novel, saw its debut in February and wraps up in June so the sequel follows immediately. Written by Erik Henriksen, penciled by Todd Herman and Herb Apon, inked by Nick Nix, and colored by Jeremy Treece, the first issue will feature a cover by Tom Feister.
As described by Paramount Home Video, which has the ultimate director’s cut on sale, the film is about: “A battle of gigantic proportions is looming in the neon underground of New York City.
The adaptation of Walter Hill’s stylish movie, based on Sol Yurick’s novel, saw its debut in February and wraps up in June so the sequel follows immediately. Written by Erik Henriksen, penciled by Todd Herman and Herb Apon, inked by Nick Nix, and colored by Jeremy Treece, the first issue will feature a cover by Tom Feister.
As described by Paramount Home Video, which has the ultimate director’s cut on sale, the film is about: “A battle of gigantic proportions is looming in the neon underground of New York City.
- 4/14/2009
- by Robert Greenberger
- Comicmix.com
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