Syd March is an employee at a clinic that sells injections of live viruses harvested from sick celebrities to obsessed fans. Biological communion – for a price. Syd also supplies illegal samples of these viruses to piracy groups, smuggling them from the clinic in his own body. When he becomes infected with the disease that kills super sensation Hannah Geist, Syd becomes a target for collectors and rabid fans. He must unravel the mystery surrounding her death before he suffers the same fate. Continue reading
4:44 is a look at how a painter and a successful actor spend their last day together before the world comes to an end.
Ferrara began shooting the film in April 2011 with his longtime cinematographer Ken Kelsch. 4:44 is Willem Dafoe’s third collaboration with Ferrara after 1998′s New Rose Hotel and his last feature film, 2007′s Go Go Tales. During Montclair State University’s film forum event in February 2011, Ferrara revealed that Ethan Hawke was slated to star originally. The film was shot in one location, an apartment, set during the course of the last 24 hours before the biblical apocalypse.
The film showed in competition at the 68th Venice International Film Festival in September 2011. It had a limited theatrical release on 25 March 2012. Continue reading
Blade Runner: The Final Cut is much closer in content and tone to the 1992 director’s cut than it is the original 1982 theatrical release. Purists who liked the narration will be disappointed to know that all of it is gone, even the bit near the end that was found in some later versions of the film. Also missing are some of the film’s more sloppy special effects moments, now cleaned up and enhanced courtesy of digital effects. Gone are all the wires that were visible in earlier versions, as well as the obvious stunt double substituting for Joanna Cassidy during Zhora’s death scene (Cassidy’s head was digitally superimposed over stunt double Lee Pulford).
The digital effects done to the film are relatively minor, especially when compared to the changes George Lucas has made to the early Star Wars films and THX 1138, and the end result is merely cosmetic. Visually, this most recent version of Blade Runner is a gorgeous masterpiece. Fans who long to hear Ford’s lackluster voice-over, or refuse to accept Deckard as a replicant will be disappointed by Blade Runner: The Final Cut, but everyone else will be pleased. DVDTALK Continue reading
A beautiful short about Voyager 1
PostPanic director Mischa Rozema’s new short film, Stardust, is a story about Voyager 1 (the unmanned spacecraft launched in 1977 to explore the outer solar system). The probe is the furthest man-made object from the sun and witnesses unimaginable beauty and destruction. The film was triggered by the death of Dutch graphic designer Arjan Groot, who died aged 39 on 16th July 2011 from cancer.
The entire team at PostPanic (the Amsterdam-based creative company) pushed themselves in their own creative post techniques to produce a primarily CG short film crafted with love.
The film’s story centers on the idea that in the grand scheme of the universe, nothing is ever wasted and it finds comfort in us all essentially being Stardust ourselves. Voyager represents the memories of our loved ones and lives that will never disappear.
From a creative standpoint, Rozema wanted to explore our preconceived perceptions of how the universe appears which are fed to us by existing imagery from sources such NASA or even sci-fi films. By creating a generated universe, Rozema was able to take his own ‘camera’ to other angles and places within the cosmos.
Objects and experiences we are visually familiar with are looked at from a different point of view. For example, standing on the surface of the sun looking upwards or witnessing the death and birth of a star - not at all scientifically correct but instead a purely artistic interpretation of such events. Continue reading
Plot Synopsis: Yor, an extremely blond prehistoric warrior, comes to question his origins, particularly with regard to a mysterious medallion he wears. When he learns of a desert goddess who supposedly wears the same medallion, Yor decides that he must find her and learn his true identity. Along the way, he encounters ape-men, dinosaurs, and a strange futuristic society. Continue reading
from the IMDB:
A great move from the Republic Pictures era!, 1 June 2006
Author: michaelcampion2006 from United States
I first saw this movie in 1970 while living in Seattle Washington.
During the Mid 50s and early sixties I watched all the Commando Cody Serials on TV i.e. Radar Men from the moon, Zombies of the Stratosphere, Sky Marshall of the Universe. This movie was the Condensed version of the Republic Serial King of the RocketMen and Provides a unique and shortened version of the original Republic Serial. All in all it is a nice movie and to this very day I can still Remember vividly the control panel on the Rocket Suit, On, Up and Fast. What I liked most about this movie was the fast plot and the never-ending action. As in the original Republic Picture serial version King of the RocketMen, Tris Coffic the lead man wearing the rocket suit goes from one dangerous situation to another as he attempts to stop the sinister Dr. Vulcan from deploying the Sonic Decimator which will destroy the city of New York. Along with Mae Clark the evil Dr. Vulcan is defeated and the Sonic Decimator is destroyed and all the bad guys go to jail and Tristram Coffic and Mae Clark live happily ever after. This is an enjoyable movie for those who grew up watching the Saturday morning matinée at the local theaters. Continue reading
Based on the novel of the same title by the Strugatsky brothers
“Konstantin Lopushansky was a student of classic Soviet director Andrei Tarkovsky, and master’s influence is highly visible in “The Ugly Swans” — not just as a ghost in the background, but as full-fledged foreground presence. Which is not to deny Lopushansky his originality. More than anything, it’s a sign of a certain artistic style being handed down over the generations… The film is …aesthetically outstanding and emotionally moody in a way that’s very hard to gauge… Tarkovsky would have been proud.” (Tom Birchenough, “The Moscow Times”)