Film Bridge After Dark Sets ‘Helloween’ As First Film On Genre Slate With Shogun Films
Exclusive: Film Bridge After Dark and Shogun have set British horror pic Helloween as the first title on their joint slate of genre pics. The film is written and directed by Phil Claydon (Lesbian Vampire Killers) and stars Jeanine Nerissa Sothcott (Renegades), Michael Paré (Streets of Fire), and Ronan Summers (Code Of Silence) It’s currently in post-production. Film Bridge will be selling the movie worldwide at Cannes. Set during the sinister “killer clown” craze of 2016, Doctor Ellen Marks (Sothcott), aided by investigative journalist John Parker (Paré), traces the source of the phenomena to one of her patients – incarcerated, charismatic serial killer Carl Cane (Summers) who is using the insidious clown symbolism to recruit an army of the disenfranchised and launched a murderous anarchist movement from London across the globe.
European Film Academy Adds Record...
Exclusive: Film Bridge After Dark and Shogun have set British horror pic Helloween as the first title on their joint slate of genre pics. The film is written and directed by Phil Claydon (Lesbian Vampire Killers) and stars Jeanine Nerissa Sothcott (Renegades), Michael Paré (Streets of Fire), and Ronan Summers (Code Of Silence) It’s currently in post-production. Film Bridge will be selling the movie worldwide at Cannes. Set during the sinister “killer clown” craze of 2016, Doctor Ellen Marks (Sothcott), aided by investigative journalist John Parker (Paré), traces the source of the phenomena to one of her patients – incarcerated, charismatic serial killer Carl Cane (Summers) who is using the insidious clown symbolism to recruit an army of the disenfranchised and launched a murderous anarchist movement from London across the globe.
European Film Academy Adds Record...
- 5/9/2024
- by Zac Ntim and Jesse Whittock
- Deadline Film + TV
The Cohen Film Collection brings to Region A its beautifully remastered disc of American fringe filmmaking’s weirdest, most obsessively arty shock-fest — a loving return to silent expressionist horror. The New York censors scuttled its commercial chances, and it wound up as a movie-within-a-movie footnote for Steve McQueen. We never thought we’d see the show look this good — John Parker memorialized Venice, California five years before Orson Welles. But the overall package packs a big disappointment, as I’ll explain.
Dementia
Blu-ray
Cohen Media Group
1955 / B&W / 1:37 Academy / 56 min. / Street Date April 26, 2022 / Available from Kino Lorber / 29.95
Starring: Adrienne Barret, Ben Roseman, Bruno VeSota, Ben Roseman, Angelo Rossitto.
Cinematography: William C. Thompson
Film Editor: Joseph Gluck
Original Music: George Antheil
Music director: Ernest Gold
Featured Vocal: Marni Nixon
New Concepts in Modern Sounds: Shorty Rogers and his Giants
Written, Produced and Directed by John J. Parker
The BFI first...
Dementia
Blu-ray
Cohen Media Group
1955 / B&W / 1:37 Academy / 56 min. / Street Date April 26, 2022 / Available from Kino Lorber / 29.95
Starring: Adrienne Barret, Ben Roseman, Bruno VeSota, Ben Roseman, Angelo Rossitto.
Cinematography: William C. Thompson
Film Editor: Joseph Gluck
Original Music: George Antheil
Music director: Ernest Gold
Featured Vocal: Marni Nixon
New Concepts in Modern Sounds: Shorty Rogers and his Giants
Written, Produced and Directed by John J. Parker
The BFI first...
- 5/3/2022
- by Glenn Erickson
- Trailers from Hell
This bizarre, creepy and maudit masterpiece of silent expressionist horror is an independent 1950s production that never had a chance commercially. Butchered by a second distributor, its ignominious fate was to wind up as a movie-within-a-movie footnote for Steve McQueen. Cohen/BFI’s ‘rescue’ remastering of John Parker’s picture does some things great — we never thought we’d see it look this good. But the overall package packs a big disappointment, as I’ll explain.
Dementia (1955)
Region B Blu-ray + Pal DVD
BFI
1955 / B&w / 1:37 Academy / 56 min. / Street Date October 19, 2020 / £15.89
Starring: Adrienne Barret, Ben Roseman, Bruno VeSota, Ben Roseman, Angelo Rossitto.
Cinematography: William C. Thompson
Film Editor: Joseph Gluck
Original Music: George Antheil
Music director: Ernest Gold
Featured Vocal: Marni Nixon
New Concepts in Modern Sounds: Shorty Rogers and his Giants
Written, Produced and Directed by John J. Parker
I screened John Parker’s Dementia at UCLA in 1972, at...
Dementia (1955)
Region B Blu-ray + Pal DVD
BFI
1955 / B&w / 1:37 Academy / 56 min. / Street Date October 19, 2020 / £15.89
Starring: Adrienne Barret, Ben Roseman, Bruno VeSota, Ben Roseman, Angelo Rossitto.
Cinematography: William C. Thompson
Film Editor: Joseph Gluck
Original Music: George Antheil
Music director: Ernest Gold
Featured Vocal: Marni Nixon
New Concepts in Modern Sounds: Shorty Rogers and his Giants
Written, Produced and Directed by John J. Parker
I screened John Parker’s Dementia at UCLA in 1972, at...
- 11/3/2020
- by Glenn Erickson
- Trailers from Hell
Labelling John Parker's haunting, wonderfully bizarre little movie Dementia: Daughter of Horror as a 'cult classic' is, well, kind of unfair, no? It's a weirdly stylised piece of fifties noir, part detective story, part slasher, part revenge flick that plays like a mashup between Chandler, Poe and Reefer Madness, and yet instead of the camp howler you might expect would be born out of a three-way like that - where 'cult classic' means something like 'so bad it's good' - in many respects Dementia holds up astonishingly well. It still strives for the same over-ripe hysteria many of its contemporaries abuse, but the art design, framing and cinematography in general have a stark, timeless clarity that proves genuinely unsettling, and though a film without dialogue...
- 9/9/2011
- Screen Anarchy
In recent years France has been among the front-runners in pushing the boundaries of modern horror. With such offerings as Frontier(s), Inside and High Tension, French filmmakers have been making us seriously squirm. It is with this reminder of the quality of their filmmaking that we at Dread Central bring you an announcement of the film list from the 17th Annual L'Etrange Festival, France's biggest horror film festival.
With over 70 films being screened and more than 17,000 attendees expected to descend on Paris, Le'Etrange Festival
Below we have the Complete listing of the festival's events:
From the Press Release
L’Étrange Festival – a unique event bringing filmgoers a fascinating roster of provocative and eye-opening films – is thrilled to announce the line-up for its 17th edition, September 2 – 11, 2011 in Paris, France.
The 2011 line-up continues the tradition of highlighting emerging talent, paying homage to independent-minded filmmakers and featuring a truly diverse program that includes cutting-edge works,...
With over 70 films being screened and more than 17,000 attendees expected to descend on Paris, Le'Etrange Festival
Below we have the Complete listing of the festival's events:
From the Press Release
L’Étrange Festival – a unique event bringing filmgoers a fascinating roster of provocative and eye-opening films – is thrilled to announce the line-up for its 17th edition, September 2 – 11, 2011 in Paris, France.
The 2011 line-up continues the tradition of highlighting emerging talent, paying homage to independent-minded filmmakers and featuring a truly diverse program that includes cutting-edge works,...
- 8/25/2011
- by Doctor Gash
- DreadCentral.com
Above: Publicity still from John Parker's Dementia (1955).
Rep houses in San Francisco, like those in most American cities, are struggling to stay open. But for something like thirty nights a year, the clouds lift and big crowds materialize for films of the past: call it the noir exception. To be sure, one needn’t actually attend the Film Noir Foundation’s annual Noir City festival at the Castro or Elliot Lavine’s grittier programs at the Roxie to know that the generic fantasy of film noir (style, sex and violence washed together) still holds powerful allure. You could hardly miss the bus stop advert for Rockstar Games’ latest blockbuster, L.A. Noire, outside the Roxie during Lavine’s latest marathon, “I Wake Up Dreaming: The Legendary and the Lost”. For those of us still invested in the non-interactive cinema experience, however, the popularity of these series is a remarkable if curious thing.
Rep houses in San Francisco, like those in most American cities, are struggling to stay open. But for something like thirty nights a year, the clouds lift and big crowds materialize for films of the past: call it the noir exception. To be sure, one needn’t actually attend the Film Noir Foundation’s annual Noir City festival at the Castro or Elliot Lavine’s grittier programs at the Roxie to know that the generic fantasy of film noir (style, sex and violence washed together) still holds powerful allure. You could hardly miss the bus stop advert for Rockstar Games’ latest blockbuster, L.A. Noire, outside the Roxie during Lavine’s latest marathon, “I Wake Up Dreaming: The Legendary and the Lost”. For those of us still invested in the non-interactive cinema experience, however, the popularity of these series is a remarkable if curious thing.
- 6/13/2011
- MUBI
by Colleen Wanglund, MoreHorror.com
I found this movie by chance one night on TCM’s The Underground, a late night showcase for some odd, quirky or strange movies usually horror or exploitation films. When the opening credits read “By Exploitation Productions Inc.”, I figured I just may have found a hidden gem that I knew nothing about. I wasn’t disappointed.
Directed by John Parker, Daughter Of Horror (1955 or 1957-there’s some confusion on that) follows a woman (Adrienne Barrett) on a night out in Skid Row. We are told it’s Skid Row through scenes of a man being arrested for domestic violence, winos attempting to attack the woman, and a seedy club that she enters. Prior to entering the club the woman appears highly unsettled at a newspaper headline about a murder. The woman meets a pimp who sets her up with a fat cat (Bruno ve Sota...
I found this movie by chance one night on TCM’s The Underground, a late night showcase for some odd, quirky or strange movies usually horror or exploitation films. When the opening credits read “By Exploitation Productions Inc.”, I figured I just may have found a hidden gem that I knew nothing about. I wasn’t disappointed.
Directed by John Parker, Daughter Of Horror (1955 or 1957-there’s some confusion on that) follows a woman (Adrienne Barrett) on a night out in Skid Row. We are told it’s Skid Row through scenes of a man being arrested for domestic violence, winos attempting to attack the woman, and a seedy club that she enters. Prior to entering the club the woman appears highly unsettled at a newspaper headline about a murder. The woman meets a pimp who sets her up with a fat cat (Bruno ve Sota...
- 5/13/2011
- by admin
- MoreHorror
"Fifty years ago this July," begins Michael Fox in the Sf Weekly, "Bruce Baillie and Chick Strand set up a sheet in their backyard in the California town of Canyon to project avant-garde films. This low-key, lo-fi setup, fortified with red wine, became a weekly bastion for filmmakers as well as their associates, friends, and lovers. Baillie and Strand went on (separately) to make landmark experimental films while shepherding their small artistic and social scene into incarnations that continue to thrive today: San Francisco Cinematheque (exhibition) and Canyon Cinema (distribution). The second annual Crossroads Festival launches tonight with Radical Light: Cinematheque at 50, part of a program honoring the Bay Area’s broad, important, and entertaining history of avant-garde filmmaking."
"Opening night includes at least one city symphony (Timoleon Wilkins' Chinatown Sketch), a form expanded upon in several subsequent Crossroads shows," notes Max Goldberg in the San Francisco Bay Guardian. "Jeanne...
"Opening night includes at least one city symphony (Timoleon Wilkins' Chinatown Sketch), a form expanded upon in several subsequent Crossroads shows," notes Max Goldberg in the San Francisco Bay Guardian. "Jeanne...
- 5/12/2011
- MUBI
Famously a mere low-budget Brit horror movie produced by a softcore outfit and directed by a young Roman Polanski with only one feature under his belt, after he'd emigrated from Communist Poland, "Repulsion" (1965) is also the first truly Freudian movie. That is, not a movie that merely employs Freudian psychology to tell its story (that began, more or less, with Pabst's "Secrets of a Soul," from 1926), but a movie that harbors a silent Freudian reptile brain and insists that we search for answers to the heroine's irrational mysteries, without narrative assistance, acting like analysts ourselves in the dark.
This idea, I've always thought, was manifested best a year later, in Bergman's "Persona" (1966), the Gordian knot of which positions the audience as the unspeaking therapist to Bergman's spewing neurotic, just as Liv Ullmann's mute patient becomes the confessor to Bibi Andersson's logorrheic nurse. But Polanski's film isn't nearly as...
This idea, I've always thought, was manifested best a year later, in Bergman's "Persona" (1966), the Gordian knot of which positions the audience as the unspeaking therapist to Bergman's spewing neurotic, just as Liv Ullmann's mute patient becomes the confessor to Bibi Andersson's logorrheic nurse. But Polanski's film isn't nearly as...
- 7/28/2009
- by Michael Atkinson
- ifc.com
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