Author Archives: Jules

Upcoming Screenings…

Check websites to confirm details / times and for ticket info
Jul 24 @ TBA – Black Christmas (Gateway Film Center, Columbus, Ohio 43201) / X
=Aug 24 @ 21:30 – Superman II (The Little Theatre, Rochester, NY 14604) / X
Jul 26 @ 19:30 – Superman / Supergirl Helen Slater in Person! (Egyptian Theatre in Hollywood) / X
Jul 26 @ 21:20 – The Amityville Horror (Carolina Theatre of Durham, Durham, NC 27701) // X
Jul 27 @ 21:20 – The Amityville Horror (Carolina Theatre of Durham, Durham, NC 27701) // X
Nov 22 @ 19:00 – Hellraiser / Black Christmas (Carolina Theatre of Durham, Durham, NC 27701) // X

SUPERMAN: THE MOVIE Celebrates Its 40th Anniversary With A Deluxe Soundtrack Release

Given its status as the first real superhero movie of the modern era, Superman: The Movie celebrated its 40th anniversary in December of 2018 with surprisingly understated fanfare, including a low-key series of repertory screenings and an Ultra-HD home video release of the original theatrical cut. But earlier this year, top-shelf soundtrack purveyors La-La Land Records decided not only to re-release John Williams’ iconic score from the film, but remaster and repackage it in what amounts to the most elaborate, detailed, and best-sounding set ever produced. Continue here

Upcoming Screenings…

Jun 14 @ 12:10am – The Amityville Horror (NitehawkCinema Brooklyn, NY) // X
Jun 15 @ 12:10am – The Amityville Horror (NitehawkCinema Brooklyn, NY) // X
Jul 26 @ 21:20 – The Amityville Horror (Carolina Theatre of Durham, Durham, NC 27701) // X
Jul 27 @ 21:20 – The Amityville Horror (Carolina Theatre of Durham, Durham, NC 27701) // X
Nov 22 @ 19:00 – Hellraiser / Black Christmas (Carolina Theatre of Durham, Durham, NC 27701) // X

Critics Classics at Elk Grove presents Superman (1978)

The Critics Classics presents Superman (1978) at the Elk Grove Theatre on Wednesday, June 12th at 1:00 PM and 7:00 PM. Admission $5. Discussion will be led by critic Patrick Bromley. The Critics Classics at the Elk Grove Theatre will be in conjunction with the Chicago Film Critics Association. Each film will be selected by the member of the CFCA from a list they provide and will host with an introduction and a short Q&A after the show. The films will run the 2nd Wednesday of the Month at 7:00pm with select films also showing at 1:00pm.

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The Birth of Night Moves: Alan Sharp on the Edge of America

The sixties were ending and Alan Sharp, a young Scottish novelist in America, found his muse on the frontier. By then everything seemed to be falling apart. Hopes and certainties had evaporated. Consensus was fractured. It was the bloody season of political assassinations. Thomas McGuane, another wild and libidinous young writer, would begin a Key West novel with an appropriately sweeping summation of despair: “Nobody knows, from sea to shining sea, why we are having all this trouble with our Republic.” Alan Sharp, no stranger to despair, also found his way to the sparkling waters, the fetid swamps, the heavy air of the Florida Keys.

By 1971, Sharp had relocated his young family from London to America. It made sense professionally to be based in Hollywood, and it also gave Sharp, who once described himself as “pathologically promiscuous,” an opportunity to escape “that whole Femalestrom [sic.] I was in.” Two films he’d written – The Last Run and The Hired Hand – arrived in cinemas that summer. Remembering Paula of the Florida Keys, he began sketching two new spec screenplays. The first was called Tepic in the Morning. Sharp registered a 144-page draft with the Library of Congress for copyright purposes in early February 1972, and made plans to direct the film himself in Mexico that summer. The story was a Bogart/Huston pastiche enriched by Sharp’s Mexican road trip. But the script would depart from convention. In 1971, he described a scenario

in which we set up the thriller framework, then don’t use it. [We have] the standard thriller scene – the expatriate in the small Mexican town, the arrival of the girl, the corrupt police official, the stolen money . . . then we leave the framework [. . .] [It’s] like being in a huge expensive house with all these rooms and bathrooms and beds and you put a sleeping bag down on the floor. I hope it’s a kind of alienation effect.

But the planned 1972 production did not go ahead, and Tepic was put on hold. It was finally realised as Little Treasure (1985), a film starring Margot Kidder, Ted Danson, and Burt Lancaster. It was the only film Sharp would direct himself.

The screenplay centres on a character directly inspired by Paula of the Florida Keys. Margo is a former stripper who comes down to an unnamed town in Mexico – Sharp ultimately filmed in Tepoztlán and other locations in the states of Morelos and Durango – at the invitation of her long-absent father, a former bank robber. While there she meets an American expatriate, Eugene, who is drifting through the remote towns of Mexico projecting movies. After her father dies, Margo drags Eugene back to America on a quixotic search for her dad’s long-buried and possibly mythical loot in the ghost towns of New Mexico. The eventual film does for a time leave its generic framework – in a frankly vague and meandering way. As a stripper, Margot refuses to “drop her string” and appear bottomless. When she transgresses this personal rule at the insistence of a wealthy client at a private party, she has an emotional breakdown. The relationship goes to hell: the obsessive Margo shoots Eugene (non-fatally) when he decides to call off the search for the loot.

But the collapse of the 1972 production did not stop Sharp’s career momentum. He was established in Hollywood and had come a long way from the provincial Scottish town of Greenock. Now living with his family in a house with a pool in the vicinity of the legendary Chateau Marmont, Sharp developed a fondness for water volleyball. The dismally-received film Myra Breckinridge (1970) had been shot at the Marmont, and Dan Sharp remembers that his father tried in vain to persuade 20th Century-Fox to give him the film’s large statue of Gore Vidal’s transgender heroine “so he could put it in our yard next to where it had stood in the movie.”

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The Amityville Horror @ Gateway Film Center

Gateway Film Center, 1550 North High Street, Columbus, Ohio 43201
Website: here
May 15 @ 21:30
May 16 @ 21:30
May 17 @ 21:30

Arthouse of Horrors: The Scariest Movies on The Criterion Channel

The Criterion Channel made its anxiously-awaited debut this month. The new streaming service offers films from Criterion’s extensive library of classic, arthouse and cult cinema, fantastically restored and – in many cases – presented with extensive and illuminating special features. Criterion may be best known for their prestigious releases of French New Wave and Italian Neorealist movies, but don’t let that fool you. They’ve got a weird streak a mile long, and The Criterion Channel is chockablock with horror films and other off-putting oddities that are practically too strange to quantify. We can only scratch the surface today, but let’s take a look at some of the scariest movies on The Criterion Channel!

Sisters (1973)
Brian De Palma’s first Hitchcockian thriller, of many, is still deliriously disturbing. Sisters stars Margot Kidder as a model whose identical twin sister murders her boyfriend, attracting the attention of a reporter, played by Jennifer Salt, who lives across the hall and is determined to prove them guilty. Halfway between giallo and old-fashioned Hollywood murder mystery, Sisters takes one demented turn after another, weaving a stylish and unpredictable web of psychological terror and cinematic showmanship.

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Flashback: ‘Sisters’ Trailer

Gallery Updated

Added screencaps from the following to the Gallery.

* Brothers & Sisters (episode “Three Parties” 01-18)
* Superman IV
* Easy Riders, Raging Bulls (Specials)


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