An 8-year-old boy has won over the hearts of the Internet with his impressive dance routine to Michael Jackson’s “Thriller.” Autistic Boy Wins Dancing Competition A cottage leasing agency in Britain hosted a dance challenge by setting up a webcam outside their office in St. Ives and inviting people to dance outside in order to win […]
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The post Autistic Boy William Ryan Stuns With “Thriller” Dance Moves appeared first on uInterview.
- 11/1/2016
- by Hillary Luehring-Jones
- Uinterview
An eight-year-old boy and his killer dance moves are charming the pants off the Internet this week. William Ryan’s performance of Michael Jackson’s “Thriller” choreography has gone viral after the young autistic child aced the dance for a webcam competition in St Ives, England. A local cottage rental agency asked passersby to show off their […]...
- 10/31/2016
- by Sylvia Ogweng
- ET Canada
[caption id="attachment_24623" align="aligncenter" width="575"] Edgar G. Ulmer/caption]
Seeing Edgar G. Ulmer’s The Black Cat (1934) again recently, my appetite was whetted to re-read Theodore Roszak’s Flicker, which uses Ulmer’s strange career as a master stylist exiled to a career toiling in B-movie obscurity as a jumping-off point for a sinister story engorged with a decadent and whispered history of movies. Three years ago I was commissioned to write about Flicker for writer Bill Ryan’s annual October consideration of horror at his great blog The Kind of Face You Hate. I had to admit, I never really thought of Flicker as a horror novel in the strictest sense while I was immersed in it-- the first half reads more like an indulgent orgy of movie lore woven expertly into a pleasingly reluctant, expertly teased detective story. But the book certainly qualifies as horror in that it shares the obsessive nature of its protagonist,...
Seeing Edgar G. Ulmer’s The Black Cat (1934) again recently, my appetite was whetted to re-read Theodore Roszak’s Flicker, which uses Ulmer’s strange career as a master stylist exiled to a career toiling in B-movie obscurity as a jumping-off point for a sinister story engorged with a decadent and whispered history of movies. Three years ago I was commissioned to write about Flicker for writer Bill Ryan’s annual October consideration of horror at his great blog The Kind of Face You Hate. I had to admit, I never really thought of Flicker as a horror novel in the strictest sense while I was immersed in it-- the first half reads more like an indulgent orgy of movie lore woven expertly into a pleasingly reluctant, expertly teased detective story. But the book certainly qualifies as horror in that it shares the obsessive nature of its protagonist,...
- 4/2/2016
- by Dennis Cozzalio
- Trailers from Hell
The Shoes of the Fisherman
By Mike Malloy
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Complex and arcane religious rituals wouldn’t seem to make for good filmed entertainment. And yet, the Vatican’s papal election process – occurring again this week to name a successor to Pope Benedict XVI – has been detailed in cinema almost as many times as the more Hollywood-sounding subject of papal assassination attempts.
And while the workings of the pontifical election conclave might not be surprising in a religious film, they were even deemed dramatic enough for inclusion in The Godfather Part III. Yep, Francis Ford Coppola’s 1990 crime epic takes a break between whackings to portray the 1978 conclave that elected the first Pope John Paul.
But more impressive than the fact that cinema has depicted this process is the fact that, on occasion, the movies seem to have gotten it right. When a...
By Mike Malloy
800x600
Normal 0 false false false En-us X-none X-none MicrosoftInternetExplorer4
Complex and arcane religious rituals wouldn’t seem to make for good filmed entertainment. And yet, the Vatican’s papal election process – occurring again this week to name a successor to Pope Benedict XVI – has been detailed in cinema almost as many times as the more Hollywood-sounding subject of papal assassination attempts.
And while the workings of the pontifical election conclave might not be surprising in a religious film, they were even deemed dramatic enough for inclusion in The Godfather Part III. Yep, Francis Ford Coppola’s 1990 crime epic takes a break between whackings to portray the 1978 conclave that elected the first Pope John Paul.
But more impressive than the fact that cinema has depicted this process is the fact that, on occasion, the movies seem to have gotten it right. When a...
- 3/13/2013
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
"It may not be true that 'the three most written-about subjects of all time are Jesus, the Civil War, and the Titanic,' as one historian has put it, but it's not much of an exaggeration," writes Daniel Mendelsohn in this week's New Yorker. "Since the early morning of April 15, 1912, when the great liner went to the bottom of the Atlantic Ocean, taking with it five grand pianos, eight thousand dinner forks, an automobile, a fifty-line telephone switchboard, twenty-nine boilers, a jeweled copy of The Rubáiyát of Omar Khayyam, and more than fifteen hundred lives, the writing hasn't stopped."
What follows is an epic and irresistibly readable survey of 100 years' worth of Titanic lore. The disaster immediately inspired a "glut" of poems, "more than a hundred songs," countless histories, novels and plays and, of course, innumerable films, both narrative and documentary:
A scant month after the sinking, a one-reel movie...
What follows is an epic and irresistibly readable survey of 100 years' worth of Titanic lore. The disaster immediately inspired a "glut" of poems, "more than a hundred songs," countless histories, novels and plays and, of course, innumerable films, both narrative and documentary:
A scant month after the sinking, a one-reel movie...
- 4/10/2012
- MUBI
"From the scary thuds and mysterious roars that accompany the no-frills titles to the bizarrely poignant final image of the monster, alone at the bottom of the ocean, Ishiro Honda's 1954 Godzilla is all business and pure dream." So begins the essay by J Hoberman included in the typically extensive Criterion DVD and Blu-ray packages, out today, reviewed and recommended by David Anderson at Ioncinema and Bill Ryan; Gary Tooze takes a close look and listen to the image and audio quality. Related reading: Sean Axmaker's Godzilla primer at GreenCine. Updates, 1/25: Budd Wilkins reviews the "monstrously entertaining package" for Slant, giving it 4.5 out of 5 stars. More from Steven James Snyder in Time.
R Emmet Sweeney at Movie Morlocks: "The intrepid Twilight Time label continues their line of limited edition Blu-Ray releases with an absolutely gorgeous version of Picnic, Columbia's romantic smash of 1955-1956. Sold exclusively through on-line retailer Screen Archives,...
R Emmet Sweeney at Movie Morlocks: "The intrepid Twilight Time label continues their line of limited edition Blu-Ray releases with an absolutely gorgeous version of Picnic, Columbia's romantic smash of 1955-1956. Sold exclusively through on-line retailer Screen Archives,...
- 1/25/2012
- MUBI
Leo Goldsmith introduces Late Hitchcock, a series running all week at Not Coming to a Theater Near You: "The border between guilt and innocence is fuzzier than ever in this phase, as is the line that separates sex from violence. The formation of the couple, the overriding principle of Hitchcock's work from the very start of his career, is especially embattled throughout Hitchcock's later films, challenged in the most shocking fashion in Marnie's marital rape scene, all but totally ignored in smothering political endgames of Topaz, and brutally cut short through violent sex-murder in Frenzy." Not Coming will be presenting Marnie at 92Y Tribeca on Friday.
In other news. At Film Studies for Free, Catherine Grant alerts us to a new issue of Screening the Past, "Screen Attachments," edited by Catherine Fowler and Paola Voci: "The obvious highlight is a brilliant article by Francesco Casetti ["Cinema Lost and Found: Trajectories of Relocation"], but a quick glance at...
In other news. At Film Studies for Free, Catherine Grant alerts us to a new issue of Screening the Past, "Screen Attachments," edited by Catherine Fowler and Paola Voci: "The obvious highlight is a brilliant article by Francesco Casetti ["Cinema Lost and Found: Trajectories of Relocation"], but a quick glance at...
- 12/14/2011
- MUBI
Peter Kubelka's Schwechater (1958)
Filmmaker Paul Clipson, profiled last month on the occasion of his winning a Goldie from the Bay Guardian, presents Commodified Cinema: Art, Advertising, and Commodities in Film today at noon at Sfmoma. Brecht Andersch: "Clipson is on to something here: from its inception, cinema has been seen by hoity toities as the commodified form par excellence, a cultural equivalent to advertising. As time rolls on, the bitter ironies of these notions become painfully evident: due to their relative fragility as art objects when run through a projector, celluloid artworks have never worked as collectible items of envy, and the on-going currency of critique in contemporary art has rendered much of it advertising for shallow, if politically correct ideology. In recent years, the ascendency of digital moving image technologies in all their many forms has been embraced by those with un- or semi-conscious resentment towards the photochemical...
Filmmaker Paul Clipson, profiled last month on the occasion of his winning a Goldie from the Bay Guardian, presents Commodified Cinema: Art, Advertising, and Commodities in Film today at noon at Sfmoma. Brecht Andersch: "Clipson is on to something here: from its inception, cinema has been seen by hoity toities as the commodified form par excellence, a cultural equivalent to advertising. As time rolls on, the bitter ironies of these notions become painfully evident: due to their relative fragility as art objects when run through a projector, celluloid artworks have never worked as collectible items of envy, and the on-going currency of critique in contemporary art has rendered much of it advertising for shallow, if politically correct ideology. In recent years, the ascendency of digital moving image technologies in all their many forms has been embraced by those with un- or semi-conscious resentment towards the photochemical...
- 12/8/2011
- MUBI
Mention October to some and revolution and Eisenstein will spring to mind. To others, it'll be the journal of art criticism and theory (whose latest issue, as it happens, concentrates on film and video). But for many more, it'll be "the arrival of coolth and crispidy after months oppressive heat and intrusive sunshine… the downward spiral of maple leaves from the tree tops, the wind in the willows, the shadow over Innsmouth, the silence of the lambs, the howling in the woods, I love every damned thing about this glorious but all-too-short season!" exclaims Richard Harland Smith at Movie Morlocks. And of course, what he especially loves are "all the shades of Halloween, from the ticky-tack gee-gaws on the shelves at Cvs and Rite Aid to the widespread enjoyment of classical music (Camille Saint-Saëns's Danse Macabre, Johann Sebastian Bach's Toccata and Fugue), literature (Henry James's The Turn of the Screw,...
- 10/1/2011
- MUBI
"A specter is haunting Carlos (both the film and its title character)," writes Budd Wilkins in Slant, "the specter of Che Guevara gazing down from his iconic poster like a pop-cultural patron saint, an image glimpsed often in early scenes, most notably on the wall of the Rue Toullier apartment where, in part one's most stunning set piece, Carlos (Édgar Ramírez) guns down three French Secret Service agents and the man who betrayed him. Comparisons between the two men, and consequently the films that tell their stories, are therefore inevitable. Whereas Steven Soderbergh's two-part Che tarted up its revolutionary philosophy in formalist finery, losing the resonance of personal passions and leeching away any sense of urgency or momentum in the name of rigor, Olivier Assayas's bigger and bolder three-part saga infuses the geopolitical thriller with both dynamism and detail, an always precarious yet thrillingly executed tightrope act of balance.
- 9/27/2011
- MUBI
"Often unfairly dismissed as a minor prelude to Stanley Kubrick's work from his attention-demanding antiwar indictment Paths of Glory onwards, 1956's The Killing finds the master imposing Big Direction on Small Ideas," argues Vadim Rizov at GreenCine Daily. "Instead of the headier themes associated with Kubrick — nuclear war, Vietnam, extraterrestrial monoliths — here is an 84-minute noir, adapted from a Lionel White novel by expert nihilist Jim Thompson, confined to the bare minimum of sets and a few street exteriors. The dialogue has Thompson's characteristic mean-spirited tone: when Sherry Peatty (Marie Windsor) tells her lover Val Cannon (Vince Edwards) about her meek husband George's (Elisha Cook Jr) upcoming involvement in a robbery, he scoffs. 'That meatball?' Sherry corrects him: 'A meatball with gravy.'"
"The first product of the reportedly strained, multi-film collaboration between Kubrick and Thompson, their incendiary script for The Killing remains cinematic legend, lightning trapped in...
"The first product of the reportedly strained, multi-film collaboration between Kubrick and Thompson, their incendiary script for The Killing remains cinematic legend, lightning trapped in...
- 8/19/2011
- MUBI
It's been nearly two years since Swiss authorities, acting on a request from the Us, arrested Roman Polanski, jailed him for two months and then held him under house arrest for seven more. While incarcerated, Polanski managed to complete The Ghost Writer, which won him a Silver Bear at the 2010 edition of the Berlinale and then swept last year's European Film Awards. While we anxiously await Carnage — his adaptation of Yasmina Reza's play God of Carnage featuring Jodie Foster, Kate Winslet, Christoph Waltz and John C Reilly; it'll see its premiere in Venice before opening the New York Film Festival — MoMA has announced a month-long retrospective (September 7 through 30) and today Criterion releases Cul-de-sac (1966) on DVD and Blu-ray.
"Cul-de-sac remains a searing reminder that Roman Polanski's idiosyncratic grasp of the human mind was once evinced theatrically, rather than through narrative ferocity," writes Joseph Jon Lanthier in Slant. "Where Chinatown,...
"Cul-de-sac remains a searing reminder that Roman Polanski's idiosyncratic grasp of the human mind was once evinced theatrically, rather than through narrative ferocity," writes Joseph Jon Lanthier in Slant. "Where Chinatown,...
- 8/16/2011
- MUBI
Criterion releases Kiss Me Deadly on DVD and Blu-ray today and, for the occasion, they're running an essay by J Hoberman adapted from his book, An Army of Phantoms: American Movies and the Making of the Cold War: "Genres collide in the great Hollywood movies of the mid fifties cold-war thaw. With the truce in Korea and the red scare on the wane, ambitious directors seemed freer to mix and match and even ponder the new situation. The western goes south in The Searchers; the cartoon merges with the musical in The Girl Can't Help It. Science fiction becomes pop sociology in Invasion of the Body Snatchers. And noir veers into apocalyptic sci-fi in Robert Aldrich's 1955 masterpiece Kiss Me Deadly, which, briefly described, tracks one of the sleaziest, stupidest, most bru tal detectives in American movies through a nocturnal, inexplicably violent labyrinth to a white-hot vision of cosmic annihilation.
- 6/21/2011
- MUBI
"More than fifty years have passed since critics rediscovered Buster Keaton and pronounced him the most 'modern' silent film clown, a title he hasn't shaken since." So begins Jana Prikryl's terrific essay, "The Genius of Buster," in the New York Review of Books:
In his own day he was certainly famous but never commanded the wealth or popularity of Charlie Chaplin or Harold Lloyd, and he suffered most when talkies arrived. It may be that later stars like Cary Grant and Paul Newman and Harrison Ford have made us more susceptible to Keaton's model of offhand stoicism than his own audiences were. Seeking for his ghost is a fruitless business, though; for one thing, film comedy today has swung back toward the sappy, blatant slapstick that Keaton disdained. There's some "irony" in what Judd Apatow and Adam Sandler do, but it's irony that clamors to win the identification of the...
In his own day he was certainly famous but never commanded the wealth or popularity of Charlie Chaplin or Harold Lloyd, and he suffered most when talkies arrived. It may be that later stars like Cary Grant and Paul Newman and Harrison Ford have made us more susceptible to Keaton's model of offhand stoicism than his own audiences were. Seeking for his ghost is a fruitless business, though; for one thing, film comedy today has swung back toward the sappy, blatant slapstick that Keaton disdained. There's some "irony" in what Judd Apatow and Adam Sandler do, but it's irony that clamors to win the identification of the...
- 5/24/2011
- MUBI
"An insane true story about an unemployed Army veteran and crystal-meth addict named Shawn Nelson who stole a tank from a San Diego military base in 1995 and went on a rampage, [Cul-de-Sac: A Suburban War Story] sounds — in abstract, at least — like an appealing piece of wish-fulfillment fantasy," writes Steve Dollar in the Wall Street Journal. "But it also was a profound tragedy that resonated long after the destructive stunt faded from the memory of a local evening-news audience. The incident, which ended with Nelson's death, is memorialized and given rich context by Garrett Scott's 2002 documentary, which frames the mayhem within the rise and fall of Clairmont, CA, Mr Nelson's hometown and a city whose fortunes were tied to its manufacturing of bombs for the American war effort. The screening also recalls the achievements of Mr Scott, who died in 2006 at age 37."
"Cul-de-Sac is heavily influenced by a time, a place, and a literature,...
"Cul-de-Sac is heavily influenced by a time, a place, and a literature,...
- 4/26/2011
- MUBI
Turner Broadcasting’s truTV on Tuesday for the first time held its own upfront presentation in New York. (Up until now, it had been sharing the stage with siblings TNT, TBS and TCM). The unscripted cable network unveiled a slew of projects in development from such producers as Tom Forman, Ashton Kutcher and Vin Di Bona. Vegas Repo – A new show about repos in Las Vegas from Arietis and Intrigue, producers of truTV’s Operation Repo. Disclosure – About Bill Ryan and Kerry Cassidy who have devoted their lives to examining secretive and undercover phenomena that the government, scientists and other officials refuse [...]...
- 4/27/2010
- by NELLIE ANDREEVA
- Deadline Hollywood
You let loose with one profanity-laced tirade in open court and suddenly you're a prime candidate for a mental evaluation. Sheesh. But that's exactly what happened to Audrina Patridge's alleged stalker this morning, whose judge-directed verbal spewing resulted in a suspension of his criminal case while two doctors suss out his state of mind. The outburst took place as 24-year-old home loiterer Zachary Loring attempted to enter a guilty plea to one count of felony stalking the Hills star. His attorney objected, and after the judge sided with the lawyer and refused to accept the plea, Loring erupted. Immediately after the brief four-letter flare-up, Los Angeles Superior Court Judge William Ryan...
- 3/23/2010
- E! Online
These notes are for Bill Ryan.
One would hope that for pretty much every cinephile reading this, the object announced above (from—you'd never guess—Eureka!/Masters of Cinema, Region 2 Pal U.K.) would sell itself. I can't imagine anybody who would deny that Fritz Lang's three films about the master criminal created by Norbert Jacques are not merely touchstones of genre cinema, not merely touchstones of auteurists cinema, but touchstones of cinema itself. First there is 1922's Dr. Mabuse, Der Spieler, a.k.a. Dr. Mabuse, the Gambler—although Mabuse maven David Kalat reminds us in the commentary that "Spieler" doesn't just, or only, mean "gambler," but also "actor," a person who is "in it;" in hip-hop parlance, "player" (or "playa"). It is a nearly five-hour film, in two parts, that evokes corruption and rot in a fashion that often recalls an all-night drug and alcohol jag—exhilarating highs melting into stomach-churning lows.
One would hope that for pretty much every cinephile reading this, the object announced above (from—you'd never guess—Eureka!/Masters of Cinema, Region 2 Pal U.K.) would sell itself. I can't imagine anybody who would deny that Fritz Lang's three films about the master criminal created by Norbert Jacques are not merely touchstones of genre cinema, not merely touchstones of auteurists cinema, but touchstones of cinema itself. First there is 1922's Dr. Mabuse, Der Spieler, a.k.a. Dr. Mabuse, the Gambler—although Mabuse maven David Kalat reminds us in the commentary that "Spieler" doesn't just, or only, mean "gambler," but also "actor," a person who is "in it;" in hip-hop parlance, "player" (or "playa"). It is a nearly five-hour film, in two parts, that evokes corruption and rot in a fashion that often recalls an all-night drug and alcohol jag—exhilarating highs melting into stomach-churning lows.
- 11/3/2009
- MUBI
One of the most content-rich film publications online or off has juiced up its form with Issue 52: Senses of Cinema now sports a bright new design, RSS, tags, the works. Editors Rolando Caputo and Scott Murray introduce all the nifty features and then quickly add that "for all the technical distractions in producing this issue, all along we have very much kept at the forefront of our minds our responsibility to present an issue that is as rich and varied in reading material as any in our archives." Beginning with Maša Peče's interview with Terry Gilliam, "as frank and candid as any on record," they walk us through the highlights.
October's here, meaning the Countdown to Halloween has begun. A project going by that very name has linked literally dozens of participants into a community of bloggers writing about scary monsters and super creeps. Note, too, that Not Coming...
October's here, meaning the Countdown to Halloween has begun. A project going by that very name has linked literally dozens of participants into a community of bloggers writing about scary monsters and super creeps. Note, too, that Not Coming...
- 10/3/2009
- MUBI
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