Japanese filmmaker Takashi Miike has over 115 directing credits to his name, and it has only taken him 33 years to reach that impressive number. One of his latest credits came on a blood-soaked horror thriller called Lumberjack the Monster, and the folks at Rue Morgue have confirmed that Lumberjack the Monster is going to be available to watch on the Netflix streaming service as of June 1st.
Before the film reaches Netflix, New York City’s Japan Society (located at 333 East 47th Street) will be hosting its the North American premiere screening on Monday, May 6 at 8pm. Rue Morgue notes, “There will also be a pre-screening reception at 7pm with beverages donated by Sapporo-Stone Brewing and Brooklyn Kura. The screening is being presented in conjunction with the Tribeca Film Festival, as part of its Escape from Tribeca program.”
Lumberjack the Monster is based on a novel by Mayusuke Kurai and stars Kazuya Kamenashi,...
Before the film reaches Netflix, New York City’s Japan Society (located at 333 East 47th Street) will be hosting its the North American premiere screening on Monday, May 6 at 8pm. Rue Morgue notes, “There will also be a pre-screening reception at 7pm with beverages donated by Sapporo-Stone Brewing and Brooklyn Kura. The screening is being presented in conjunction with the Tribeca Film Festival, as part of its Escape from Tribeca program.”
Lumberjack the Monster is based on a novel by Mayusuke Kurai and stars Kazuya Kamenashi,...
- 4/12/2024
- by Cody Hamman
- JoBlo.com
For this month’s installment of “TV Terrors” we revisit Showtime’s “Masters of Horror,” which was created by Mick Garris and aired for two seasons between 2005 and 2007.
It seemed like a horror fan’s wet dream: a horror anthology series with some of the greatest horror filmmakers of all time lensing short format horror films for premium cable. Although horror icons had teamed in the past to bring us series like “Tales from the Darkside” and “Tales from the Crypt,” there wasn’t a modern series that brought them all together to have a chance to tell their stories in the anthology format. “Masters of Horror” seemed like a prime opportunity to re-invent the waning anthology horror format, and while it didn’t quite re-invent the wheel as planned, it brought with it a lot of great content from some bonafide horror icons.
“Masters of Horror” was originally envisioned...
It seemed like a horror fan’s wet dream: a horror anthology series with some of the greatest horror filmmakers of all time lensing short format horror films for premium cable. Although horror icons had teamed in the past to bring us series like “Tales from the Darkside” and “Tales from the Crypt,” there wasn’t a modern series that brought them all together to have a chance to tell their stories in the anthology format. “Masters of Horror” seemed like a prime opportunity to re-invent the waning anthology horror format, and while it didn’t quite re-invent the wheel as planned, it brought with it a lot of great content from some bonafide horror icons.
“Masters of Horror” was originally envisioned...
- 3/1/2024
- by Felix Vasquez Jr
- bloody-disgusting.com
Another Decade with Takashi Miike is a series of essays on the 2010s films of the Japanese maverick, following Notebook's earlier survey of Miike's first decade of the 21st century.In tallying up the sum of Takashi Miike’s work, getting anything like a concrete read on his artistic outlook and output is difficult, bordering on impossible. He made it easy to pigeonhole him by specializing for a time on the outré and the unapologetically crass at a time when, in America anyway, artists were losing a culture war. Western critics didn’t quite know what to make of a turn towards unrepentantly violence images in horror films as a species. Gore in service of a deliberate sledgehammer nihilism seems to be catching on so the majority of critics do as they always do and ghettoized the efforts, even gave the work a suitably boogeyman-style moniker in “torture porn.” Miike...
- 8/31/2020
- MUBI
Getting people to see a movie in a theater is a craft seemingly as mysterious as anything done to make the movie itself. It’s also one that is open to a wide degree of creativity, as proved by the degree of success Steven Lewis Simpson has achieved for his indie feature “Neither Wolf nor Dog.”
“I opened in certain theaters where I knew the film would do well,” says Simpson, who wrote, directed, produced, shot and edited the picture, and says it has had the longest first theatrical run of any film this decade. “Neither Wolf nor Dog” premiered Jan. 20, 2017, on the Pine Ridge Reservation in South Dakota and went on to play small towns across the northern United States. It’s played in theaters in a dozen states, and is still booking them. The movie comes for the first time to the Los Angeles area with a run that started Sept.
“I opened in certain theaters where I knew the film would do well,” says Simpson, who wrote, directed, produced, shot and edited the picture, and says it has had the longest first theatrical run of any film this decade. “Neither Wolf nor Dog” premiered Jan. 20, 2017, on the Pine Ridge Reservation in South Dakota and went on to play small towns across the northern United States. It’s played in theaters in a dozen states, and is still booking them. The movie comes for the first time to the Los Angeles area with a run that started Sept.
- 9/20/2019
- by Valentina I. Valentini
- Variety Film + TV
Takashi Miike’s second phase of filmmaking, the one mostly dealing with manga adaptations, has been at its best when the Japanese master was able to make films that function as a collage of different ideas. “Ai to Makoto”, the manga by Ikki Kajiwara and Takumi Nagayasu the film is based on, gave Miike a perfect opportunity to produce a movie in that style, as it includes elements of 70s exploitation, musical and anime/manga aesthetics, to name a few. Let us take things from the beginning though.
The anime intro begins in 1961, when a skiing accident introduces the aristocrat Ai to the punk Makoto. 11 years later, and in live-action mode, the two meet again, when Ai, a senior in a prestigious high school, stumbles upon Makoto as he fights the members of a Tokyo gang on his own. Makoto emerges victorious, after the first musical act of the film,...
The anime intro begins in 1961, when a skiing accident introduces the aristocrat Ai to the punk Makoto. 11 years later, and in live-action mode, the two meet again, when Ai, a senior in a prestigious high school, stumbles upon Makoto as he fights the members of a Tokyo gang on his own. Makoto emerges victorious, after the first musical act of the film,...
- 8/5/2019
- by Panos Kotzathanasis
- AsianMoviePulse
The producers of the TV series “Masters of Horror,” an anthology shot by various directors, chose Miike to direct an episode. However, given the artistic freedom they allowed him, the result was a given. “Imprint” was violent enough for the people at Showtime to refuse to broadcast it. Let us see what caused this reaction.
In 19th century Japan, Christopher, an American journalist searches for his lost love, a woman he abandoned despite his promises. His investigation leads him to a secluded island, where a prostitute informs him that his loved one is deceased. Subsequently, she begins describing the life of the girl, a dramatic story of torture and hidden secrets.
Miike presents a grotesque edition of Japanese folklore and a love story that transforms into something irrational and evil. From the beginning, with the pregnant corpse hanging above a river, to the whore house with the...
In 19th century Japan, Christopher, an American journalist searches for his lost love, a woman he abandoned despite his promises. His investigation leads him to a secluded island, where a prostitute informs him that his loved one is deceased. Subsequently, she begins describing the life of the girl, a dramatic story of torture and hidden secrets.
Miike presents a grotesque edition of Japanese folklore and a love story that transforms into something irrational and evil. From the beginning, with the pregnant corpse hanging above a river, to the whore house with the...
- 8/3/2019
- by Panos Kotzathanasis
- AsianMoviePulse
The Gifted dives into Esme's backstory, as Reed struggles to control his powers.
This The Gifted review contains spoilers.
The Gifted Season 2 Episode 6
The Gifted has employed an effective prologue flashbacks this season to give us more backstory for its main characters. Mostly, the flashbacks have been informative, but all-too-brief, beginning the episode but not necessarily having much relevance in this ensemble-driven show. In "iMprint," however, we get Esme's backstory, which continues throughout the episode, and it makes for the strongest flashback-driven story yet.
As the Frost sister we met first, Esme has always been the one we've felt closest to. Unfortunately, The Gifted hasn't done enough to articulate between the three sisters and, often, we are left guessing which one of the interchangeable characters is the conflicted Esme. In "iMprint," we don't have to guess. She's finally given her own character arc, trying to convince Lorna to join the Inner Circle's latest mission.
This The Gifted review contains spoilers.
The Gifted Season 2 Episode 6
The Gifted has employed an effective prologue flashbacks this season to give us more backstory for its main characters. Mostly, the flashbacks have been informative, but all-too-brief, beginning the episode but not necessarily having much relevance in this ensemble-driven show. In "iMprint," however, we get Esme's backstory, which continues throughout the episode, and it makes for the strongest flashback-driven story yet.
As the Frost sister we met first, Esme has always been the one we've felt closest to. Unfortunately, The Gifted hasn't done enough to articulate between the three sisters and, often, we are left guessing which one of the interchangeable characters is the conflicted Esme. In "iMprint," we don't have to guess. She's finally given her own character arc, trying to convince Lorna to join the Inner Circle's latest mission.
- 11/6/2018
- Den of Geek
We’re in the home stretch of Masters of Horror Season One, and many of the genre’s biggest names have already been checked off the list: Carpenter, Landis, Hooper, Gordon, Dante, Coscarelli, Argento. That brings us to William Malone, probably the first Master who’s not already a household name among horror fans. And while his episode isn’t among the strongest of the first season, he does conjure up one of the series’ scariest images and embraces the surreal in a way the other installments have not. His is a worthy entry in the Masters of Horror run.
Season One, Episode 9
“Fair-Haired Child”
Director: William Malone
Original Air Date: January 6, 2006
William Malone is a guy who has always been around horror, but you might not know his name immediately because he’s so often been behind the scenes and has only made a handful of films. A lifelong Monster Kid,...
Season One, Episode 9
“Fair-Haired Child”
Director: William Malone
Original Air Date: January 6, 2006
William Malone is a guy who has always been around horror, but you might not know his name immediately because he’s so often been behind the scenes and has only made a handful of films. A lifelong Monster Kid,...
- 6/12/2018
- by Patrick Bromley
- DailyDead
Another problem at Starbucks ... but this time it ain't the coffee company's fault, because Lil Uzi Vert chased his enemy Rich the Kid right over the counter. It started on the streets of Philly -- Uzi's hometown. Rich was in town to perform at the Roots Picnic Festival, where Uzi was slated to perform as well. Check out the video .. Uzi confronts Rich, who then scampers away. But it doesn't end there. There was a...
- 6/3/2018
- by TMZ Staff
- TMZ
When Showtime announced their lineup for their Masters of Horror anthology series back in 2005, one thing became clear pretty quickly: the show was going to focus almost entirely on American masters of horror. With the exception of Takashi Miike’s “Imprint” in season 1 and Norio Tsuruta’s “Dream Cruise” in season 2, the only episodes directed by a non-American are the ones directed by the great Dario Argento, the Crown Prince of Italian horror. And for those of you keeping score of these Italian horror designations, Mario Bava is the Godfather, Lucio Fulci the Maestro, Bruno Mattei the Fool. Everyone has their role to play.
Season 1, Episode 4: “Jenifer”
Director: Dario Argento
Original Air Date: November 18th, 2005
Argento’s first Masters of Horror offering, called simply “Jenifer,” is another highlight of the series and arguably the best thing the director has made since Trauma in 1993. Based on a 1973 comic book short story by Bruce Jones,...
Season 1, Episode 4: “Jenifer”
Director: Dario Argento
Original Air Date: November 18th, 2005
Argento’s first Masters of Horror offering, called simply “Jenifer,” is another highlight of the series and arguably the best thing the director has made since Trauma in 1993. Based on a 1973 comic book short story by Bruce Jones,...
- 5/1/2018
- by Patrick Bromley
- DailyDead
On February 10th, Mti Home Video will premiere Michael Linn's Native American chiller Imprint . Tonantzin Carmelo ( Unearthed ) stars as Shayla Stonefeather, a Native American attorney prosecuting a Lakota teen in a controversial murder trial, returns to the reservation to say goodbye to her dying father. After the teen is killed, ghostly happenings occur. Mti's presentation will include a commentary by Linn, a behind-the-scenes featurette and trailers. Click below for a hi-res version of the artwork and photos.
- 1/7/2009
- shocktillyoudrop.com
• Cover art has surfaced for Anchor Bay’s DVD of Julian Doyle’s Crowley (a.k.a. Chemical Wedding), which we first broke the news about here. The disc has a street date of March 10; we’ll keep you posted on the specs.
• Media Blasters sent along the cover art for its February 24 double-disc release of One Missed Call 3: Final, along with details on more early-2009 titles. The latest in the death-by-text-message series, to be issued under the Tokyo Shock banner, will be presented in anamorphic 1.85:1 widescreen with Japanese 5.1 and 2.0 and English 2.0 soundtracks, with extras yet to be finalized. Retail price is $29.99. On the Shriek Show/Code Red label, the company has Terror Circus (a.k.a. Barn Of The Naked Dead) tentatively slated for January 27. The 1974 directorial debut of future art-house darling Alan Rudolph, starring Andrew Prine as a desert maniac who keeps woman captive, has been...
• Media Blasters sent along the cover art for its February 24 double-disc release of One Missed Call 3: Final, along with details on more early-2009 titles. The latest in the death-by-text-message series, to be issued under the Tokyo Shock banner, will be presented in anamorphic 1.85:1 widescreen with Japanese 5.1 and 2.0 and English 2.0 soundtracks, with extras yet to be finalized. Retail price is $29.99. On the Shriek Show/Code Red label, the company has Terror Circus (a.k.a. Barn Of The Naked Dead) tentatively slated for January 27. The 1974 directorial debut of future art-house darling Alan Rudolph, starring Andrew Prine as a desert maniac who keeps woman captive, has been...
- 12/23/2008
- Fangoria
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