In the 1930s, Universal laid claim to the two biggest horror stars of the era, Boris Karloff and Bela Lugosi, and it was only a matter of time before the pair would meet on screen. In 1932, only months after each rocketed to stardom in Dracula and Frankenstein respectively, the two were dressed in tuxedoes and brought together for a genial photoshoot that simultaneously announced their partnership and implied a rivalry. Through a series of circumstances, it was another two years before the pair would star in a film together. As one might expect, it was in the most transgressive horror film of the era, 1934’s The Black Cat, a film that remains shocking not only for the early 1930s but even more surprising as a product overseen by the newly enforced Hays Code.
The Code had been established in 1927 as a self-censoring wing of the motion picture industry and an attempt to avoid government censorship.
The Code had been established in 1927 as a self-censoring wing of the motion picture industry and an attempt to avoid government censorship.
- 2/26/2024
- by Brian Keiper
- bloody-disgusting.com
When night falls and darkness engulfs the land, some roads become portals to the unknown, shrouded in eerie tales and chilling encounters. These haunted highways, scattered across the globe, have earned their reputation as harbingers of the supernatural, drawing thrill-seekers, skeptics, and believers in the paranormal alike. With ghostly apparitions, urban legends, and spine-tingling phenomena, these spectral thoroughfares have not only captivated the curious but have also inspired bone-chilling fascination. Join us as we embark on a journey down some of the most haunted roads in the world, where reality meets the realms of the unknown.
So, buckle up, keep your wits about you, and dig in! Who knows, you may just find yourself racing to one of these haunted roads…
Clinton Road | Tyler Zenmarn
Clinton Road, USA: A Haunting in West Milford
Our first destination is nestled in the heart of the United States, in West Milford, New Jersey.
So, buckle up, keep your wits about you, and dig in! Who knows, you may just find yourself racing to one of these haunted roads…
Clinton Road | Tyler Zenmarn
Clinton Road, USA: A Haunting in West Milford
Our first destination is nestled in the heart of the United States, in West Milford, New Jersey.
- 7/26/2023
- by Ian Banks
Every week, IndieWire asks a select handful of film and TV critics two questions and publishes the results on Monday. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)
This week’s question: In honor of Christopher Nolan’s “Dunkirk,” what is the best war movie ever made?
Read More‘Dunkirk’ Review: Christopher Nolan’s Monumental War Epic Is The Best Film He’s Ever Made Richard Brody (@tnyfrontrow), The New Yorker
Howard Hawks’ “The Dawn Patrol,” from 1930, shows soldiers and officers cracking up from the cruelty of their missions — and shows the ones who manage not to, singing and clowning with an exuberance that suggests the rictus of a death mask. There’s courage and heroism, virtue and honor — at a price that makes the words themselves seem foul. John Ford’s “The Lost Patrol,...
This week’s question: In honor of Christopher Nolan’s “Dunkirk,” what is the best war movie ever made?
Read More‘Dunkirk’ Review: Christopher Nolan’s Monumental War Epic Is The Best Film He’s Ever Made Richard Brody (@tnyfrontrow), The New Yorker
Howard Hawks’ “The Dawn Patrol,” from 1930, shows soldiers and officers cracking up from the cruelty of their missions — and shows the ones who manage not to, singing and clowning with an exuberance that suggests the rictus of a death mask. There’s courage and heroism, virtue and honor — at a price that makes the words themselves seem foul. John Ford’s “The Lost Patrol,...
- 7/24/2017
- by David Ehrlich
- Indiewire
Humankind’s collision with otherworldly life forms can make for unforgettable cinema.
This article will highlight the best of live-action human vs. alien films. The creatures may be from other planets or may be non-demonic entities from other dimensions.
Excluded from consideration were giant monster films as the diakaiju genre would make a great subject for separate articles.
Readers looking for “friendly alien” films such as The Day the Earth Stood Still (1951), It Came from Outer Space (1953) and the comically overrated Close Encounters of the Third Kind (1977) are advised to keep watching the skies because they won’t find them here.
Film writing being the game of knowledge filtered through personal taste that it is, some readers’ subgenre favorites might not have made the list such as War of the Worlds (1953) and 20 Million Miles to Earth (1957).
Now let’s take a chronological look at the cinema’s best battles between Us and Them.
This article will highlight the best of live-action human vs. alien films. The creatures may be from other planets or may be non-demonic entities from other dimensions.
Excluded from consideration were giant monster films as the diakaiju genre would make a great subject for separate articles.
Readers looking for “friendly alien” films such as The Day the Earth Stood Still (1951), It Came from Outer Space (1953) and the comically overrated Close Encounters of the Third Kind (1977) are advised to keep watching the skies because they won’t find them here.
Film writing being the game of knowledge filtered through personal taste that it is, some readers’ subgenre favorites might not have made the list such as War of the Worlds (1953) and 20 Million Miles to Earth (1957).
Now let’s take a chronological look at the cinema’s best battles between Us and Them.
- 7/13/2014
- by Terek Puckett
- SoundOnSight
Rudolph Valentino, Agnes Ayres in George Melford's The Sheik Long before they became Hollywood's favorite terrorists, Arabs were generally portrayed as lusty, uncouth, infantile beings in myriad Hollywood movies. Turner Classic Movies returns this month with their annual "Race & Hollywood" film series. The "race" this time around: Arabs. Frank Lloyd's long but generally entertaining 1924 epic The Sea Hawk is almost over. TCM has shown this one before a few times; long-thought lost, The Sea Hawk was restored about a decade ago. Popular leading man Milton Sills stars. Next are two silents starring movie idols of the 1920s: The Thief of Bagdad (1924) and The Sheik (1921). One of Douglas Fairbanks' biggest hits, The Thief of Bagdad was directed by Raoul Walsh; this Arabian Nights romp is probably Fairbanks' most enjoyable vehicle of that era. Quite possibly, it's Fairbanks best movie, period. Starring Rudolph Valentino, who set as many hearts aflutter as Justin Bieber,...
- 7/6/2011
- by Andre Soares
- Alt Film Guide
Come, meet me between silent cinema and sound, and between the Soviets and the Americans, at Mikhail Romm's The Thirteen (1936), a crypto-remake, set in the Afghani desert of the 30s, of John Ford’s The Lost Patrol. A squad traveling home runs out of water and is holed up on a deserted Afghani camp and kept under siege by a roving band of locals, and Romm surprises by having next to no interest in tension (how little water, how few bullets, how many men left) or individuation of the squad to elicit laughter or sympathy (a Soviet trait?). The poetry is formed in the zeroing in of every poetic-material-compositional detail when it is introduced into the film world: the cascading rivers of sand (Teshigahara stole wholesale for Woman in the Dunes), deep space of the desert siege (one tremendous shot: in foreground a Soviet machinegun nest, in focus deep...
- 2/7/2011
- MUBI
Brought to you in partnership with Prepare To Be Scared the Ultimate hub of all things horror: facebook.com/PrepareToBeScared
Day three of the Mayhem Horror Festival opened with a film that’s been high on my “must see” list for a while: Gareth Edwards’ Monsters.
I’d heard good things and bad, and kept hoping I’d get the chance to catch a screening. Expectations were high. Mayhem’s previous films were shown in Broadway’s Screen 2, but for day 3 the proceedings shifted to the much larger screen 1 to accommodate the pretty impressive turnout for Monsters.
I’ll not go into too much detail on Monsters, but I will say I loved it, and it deserves to be seen on as a big a screen as you can manage (so the move to Screen 2 was much appreciated). I’m incredibly grateful to the organisers, Broadway, and Bafta for setting the screening up and,...
Day three of the Mayhem Horror Festival opened with a film that’s been high on my “must see” list for a while: Gareth Edwards’ Monsters.
I’d heard good things and bad, and kept hoping I’d get the chance to catch a screening. Expectations were high. Mayhem’s previous films were shown in Broadway’s Screen 2, but for day 3 the proceedings shifted to the much larger screen 1 to accommodate the pretty impressive turnout for Monsters.
I’ll not go into too much detail on Monsters, but I will say I loved it, and it deserves to be seen on as a big a screen as you can manage (so the move to Screen 2 was much appreciated). I’m incredibly grateful to the organisers, Broadway, and Bafta for setting the screening up and,...
- 11/14/2010
- by Dan
- Nerdly
Stephen Norrington (Blade, The League of Extraordinary Gentlemen) will direct The Lost Patrol for Legendary Pictures, from a spec script by Andrew Hilton and with rewrites by Matt Cirulnick.
No genre fans, this is not a remake of the 1934 Victor McLaglen/Boris Karloff war-adventure pic by John Ford (anyone who knows what I’m talking about gets a cookie), this Lost Patrol is described as a “supernatural action-thriller” set in World War II.
Norrington says the project hits all his “geek buttons,” and features “hardware, heroes, grime, insane monsters.”
Cool.
Producing for Legendary are Rick Porras (The Lord of the Rings trilogy) and Steven Boyd (Beowulf, Cast Away).
No genre fans, this is not a remake of the 1934 Victor McLaglen/Boris Karloff war-adventure pic by John Ford (anyone who knows what I’m talking about gets a cookie), this Lost Patrol is described as a “supernatural action-thriller” set in World War II.
Norrington says the project hits all his “geek buttons,” and features “hardware, heroes, grime, insane monsters.”
Cool.
Producing for Legendary are Rick Porras (The Lord of the Rings trilogy) and Steven Boyd (Beowulf, Cast Away).
- 1/13/2010
- by Jesse
- FamousMonsters of Filmland
"Despite his commitment to forward-actuated narratives and his characters' ability to move—and fast; they often run—through the world, Jean-Pierre Melville makes meaty films, a cinema of heft." Ryland Walker Knight begins his review of Le Doulos by lining it up against Army of Shadows: "Both films adhere to a delimited set (often trios, sometimes quartets) of masculine characters with little narrative space for women...; both films are 'about' the world's tests for fraternal bonds; both are about failure; both are marked by a curious attention to giveaway interstitials of clocks, of a look up, of walls empty and plentiful, so many things) and inward trajectories where the end game is less fatal than illuminative, however brutal and deliberate the swath carved across desolate earth winds."
Also in the Auteurs' Notebook is Glenn Kenny's "Tuesday Morning Foreign Region DVD Report": "The Warner John Ford Collection, a six-picture sampling...
Also in the Auteurs' Notebook is Glenn Kenny's "Tuesday Morning Foreign Region DVD Report": "The Warner John Ford Collection, a six-picture sampling...
- 10/7/2008
- by underdog
- GreenCine
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