Muhsin Bey is frequently quoted as being a turning point in Turkish cinema. With some notable exceptions, much of Turkey’s movie production up to Muhsin Bey consisted of cheap tear-jerkers, juvenile comedy and remakes of popular foreign movies. While many of these movies still have appeal for Turkish audiences today, it is mainly for nostalgic reasons. Muhsin Bey, in contrast, is an original movie with both comedic and dramatic elements, dealing with social change in a way that is both universal and specific to Turkey. Read More »
Amsterdam’s De Melkweg (The Milky Way) is a 1960’s-type counter-culture center, set up in what was once a milk factory. As-yet unknown musical groups, theatre companies and poets perform there… Freedom of expression is absolute, multiform and eclectic; an explosion of rhythms (from rock to New Wave to Afro-Caribbean), colours, words and images attracts a young and cosmopolitan audience with an uncertain future. Portrait of a generation. Read More »
Synopsis: Mill Basin is your typical peaceful community where nothing out of the ordinary or exciting ever happens. That is until a heavy metal band named “Black Roses” announces that they are going to play their first ever concert in Mill Basin. At first all the parents in town are against the “Black Roses” performing in their town and corrupting the minds of their children. The band “Black Roses” conceal their true identities and motive for coming to Mill Basin by brainwashing everyone in town. Now firmly in place in Mill Basin can anyone stop the “Black Roses” before they acquire the souls of everyone in town?
Alan Mount (IMDB) said this:
“This movie which came out at around the same time as “CONAN THE BARBARIAN” is the better film. It is a rip-roaring fantasy adventure which has elements of Harryhausen’s “SINBAD” and “JASON” movies,the graphic violence of “CONAN” and a precursor of the humour and dialogue which would permeate T.V’s “HERCULES” and “XENA”. Lee Horsley in a career best role plays the warrior hero Talon to perfection and it is a shame that the promised sequel never appeared.The action and fantasy elements are strongly brought to the fore by a superb and rousingly heroic score by David Whittaker which stands alone as a great piece of music in its own right.Director Albert Pyun has never bettered his work here and like everyone involved gives his all to fashion a brilliant slice of ‘B’ movie entertainment guaranteed to set the pulses racing of anyone,old or young,who ever thrilled to the sight and sounds of swords clashing.Whenever there are kingdoms to be saved,battles to be won and women to love let’s hope that heroes like Talon will re-emerge on our screens to fight the good fight.All in all,”THE SWORD AND THE SORCERER” is a thoroughly enjoyable movie….9 out of 10.” Read More »
This big budget entry from the early ’80s horror boom is one of the most underrated of that genre. The Entity succeeds despite potentially exploitative subject matter because it tells its story in a serious, respectful style. Frank de Felitta’s script devotes as much time to building three-dimensional characters and detailing the inner workings of psychology and parapsychology as it does creating shocks. As a result, the horrific parts of the tale are more effective because they are couched in a compelling reality. That said, The Entity never feels like anything less than a horror movie, thanks to forceful direction by Sidney J. Furie, who uses moody cinematography from Stephen Burum and an obsessive, minimalist score by Charles Bernstein to create an edgy, off-kilter atmosphere guaranteed to keep the audience tense between the set pieces. Read More »
Paris, 1955. Guy, film critic of the Cahiers du Cinéma, often goes to see the films of Vittorio Cottafavi in a local cinema. One day he notices that Jeanne, film critic of “Positive “, the rival magazine, seems to be following him. He is intrigued. Read More »
It became a cult movie for an entire generation. And it’s significance only increases as the years pass. Rock musicians who were the founders of contemporary rock culture are captured here in their youth: giants such as Boris Grebenshchikov, Yuri Shevchuk, Viktor Tsoi, Oleg Garkusha, and Anton Adasinsky. “Rock” is a film about fate and about music; it is the portrait of a generation. Director Uchitel observes his characters up close, and offers up the same unique opportunity to his audience.
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