Julian Glover Reads BEOWULF

Who, You say?

This Guy:

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“Lord Vader, the shield will be down in moments. You may start your landing.” From EMPIRE.

So check this shit out, mein kinder:

I mean, holy fucking burning cats from Hell, do you believe in God now?!

Well, perhaps not. But since I love you, here’s the entire Hoth battle sequence.

Who loves ya baby? The amazing Maxim Peter Griffin loves ya, because he made this post possible.


RIP Harold Ramis

The Mighty Ramis on the metaphor of Ground Hog Day.

Obit from The Chicago Tribune.

Thank you and Godspeed, man.


“FRANKENSTEIN MUST BE DESTROYED.” Here is the ultra fucking heinous trailer for the forthcoming film, “I, FRANKENSTEIN.”


Nightwish — The Siren

A very nifty fan-made video, slick as Hell and replete w/ storms, ships, submerged resuscitation, Mermaids. (As well as some unfortunate stock footage from a very popular film from the early 80s, oh well. Barring that, this piece is a splendid and nifty vid.)

by Carlos Vítor Lavagnoli


Hey, Look! It’s the New Issue of VideoScope!


And what a lovely garish flower to finally sprout from this Bleak Black Spring of 2013, with fistfuls of new reviews, The Phantom’s Annual “B” wards, William Forsythe, R. Lee Ermey, Reb Brown, and much more. At better bookstores everywhere, or subscribe online at videoscopemag.com.


Beyond Genocide: Stanley Kubrick’s Revisitation of Pagan Myth in ‘The Shining’


So, what are we to make of The Shining, this Stephen King narrative of exile and madness played out almost exclusively across one trinitarian family, supposedly turned by Kubrick into a dark history of the American continent? King’s original story does not share all of the film’s symbolic elements, but Kubrick’s version can very easily be accosted to one of the major Greek deities. I am referring to Artemis (also known by her Latin name, Diana), goddess of the hunt, of the wilderness and of wild animals, as well as the protector of little girls and the guardian of mothers during childbirth.

Artemis, in modern culture, is best known for her associations to the practice of hunting. There’s certainly an element of that in The Shining, as the story concerns a father tracking and hunting down his wife and child in the corridors of a hotel (and later, in a labyrinth). Even the film’s opening shot seems to follow a sort of eagle’s eye perspective, rushing through and above forests as it scans for and eventually catches up to an unidentified car (belonging, as we soon find out, to the family). The electronic musical score by Wendy Carlos and Rachel Elkind reinforces this theme for us in a foreboding sequence of notes, repeated in the monotonous cadence of footsteps. It’s an overture that throws us back to other horror and suspense films – Jaws (1975), with the POV underwater shots and its famous John Williams score, comes to mind – but it also has another, subtler dimension.

Artemis is not only the goddess of the hunt; she is, above all else, a goddess of double nature. She first appears to Danny in the form of two twins, as Artemis herself was the twin of Apollo, the two of them born simultaneously of Zeus and Leto. She stands in a yin and yang relation to her brother – the same relation that Nietzsche later formulated by assigning Dionysus as the counterpart to Apollo. But while the Apollo / Dionysus dialectic is an invention of the moderns, the dualism between Apollo and Artemis is far more ancient, and the symbolic dichotomy which it opens up is much more specific and precise.


Read the entire article By Andrea Tallarita at Popmatters.


Short Film: KARA


Le voyage dans la lune – 1902 – Georges Méliès – In Color

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This is not a “colorized” version of this seminal little film. Via Wiki:

Like many of Méliès’s films, A Trip to the Moon was sold in both black-and-white and hand-colored versions. A hand-colored print, the only one known to survive, was rediscovered in 1993 by the Filmoteca de Catalunya. It was in a state of almost total decomposition, but a frame-by-frame restoration was launched in 1999 and completed in 2010 at the Technicolor Lab of Los Angeles — and after West Wing Digital Studios matched the original hand tinting by colorizing the damaged areas of the newly restored black and white. The restored version finally premiered on 11 May 2011, eighteen years after its discovery and 109 years after its original release, at the 2011 Cannes Film Festival, with a new soundtrack by the French band Air.[3] It was released by Flicker Alley as a 2-disc Blu-Ray/DVD edition, also including the documentary The Extraordinary Voyageabout its restoration on 10 April 2012.[4]

Also: The Lost Ending—

“Lost” ending

The final sequence depicts a celebratory parade in honor of the travelers’ return, including the unveiling of a commemorative statue.[1] This ending sequence was considered lost until 2002, when a well preserved complete print was discovered in a barn in France. The extended version was screened at the Pordenone Silent Film Festival in 2003, and the sequence was included and restored in full for the 2012 Blu-Ray edition of the film.

There’s actually much of interest on that damn wiki page, including a chat w/ Scorcese, and more. Enjoy. Happy Saturday. And cheers to feuilleton.


Hill House and Hell House at The Horror Show

MalcoJOJO of the always fun Horror Show has assembled a nifty batch of goodies & observations from what he calls the “Hill House Movies,” namely, the filmed adaptations of both Shirley Jackson’s Hill House and Richard Matheson’s Hell House as loose entries in one series. “Outrageous!” thought I, but after consulting the definitive tome on the subject by the greatest Matheson scholar known to humankind, Matthew R. Bradley, it stands revealed that MalcoJOJO is one hundred percent correct!

From Richard Matheson on Screen, page 179, “HELL HOUSE”

Bang! Go check out The Horror Show for original edition covers, movie posters, trailers, and more on the Hill House Movies.

Excerpt from Richard Matheson on Screen © Matthew R. Bradley. Reprinted without permission.


HORIZON: The Strange Life and Death of Dr Turing – Parts 1 + 2 (1992)

The story of the British genius and war hero ALAN TURING, mathematician, codebreaker and computer visionary. From the BBC TV science series Horizon (1992)
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