Christopher Nolan’s latest project ‘Dunkirk’ will hit the cinemas tomorrow, as it looks to go big at the box office.
Nolan’s tenth film Dunkirk has been given predicted to cash in a total of $30 million to $40 million during its opening weekend. Of course with the budget being $150 million that is no major success. However, it looks like this might be another big hit overall for Nolan as his previous film Interstellar made a total of $675 million worldwide with just a tad bigger budget of $165 million and had an opening weekend that that cashed in $47 million.
In general, the reviews have been very positive for the film taking a total 96% on Rotten Tomatoes and Metacritic. Many critics claiming that it is his best work yet and even comparing him to Stanley Kubrick.
Alongside the standard release, the film is also getting a 70mm version alongside it.
Users from the sub-reddit named ‘Accidental Wes Anderson’ have collected a series of photos that seem to look like they could be from a film by the acclaimed film director Wes Anderson.
Photos from countries like Russia, Denmark, and even Australia have been collected and posted in the sub-reddit from users around the world.
Don CeSar Hotel in St. Petersburg posted by willcutting3Palac Akropolis in Prague posted by Gear71Irene’s Cuisine in New Orleans posted by mrtutmSnackbar at The Astor Theatre, Melbourne posted by megalodoncorleoneBy the port in Copenhagen posted by skyeliz
Whilst Wes Anderson fans are capturing possible ideas for locations for his upcoming films. The director himself is currently filming his upcoming film Isle of Dogs, which is due to be released on the 23rd of March, 2018. It will be voiced by actors such as Edward Norton, F. Murray Abraham, Tilda Swinton, Scarlett Johansson, Harvey Keitel, Bill Murray, Bryan Cranston, Jeff Goldblum, Liev Schreiber and many more acclaimed actors.
Two-time Academy Award winning director Quentin Tarantino is set to work on the film a that surrounds the gruesome Manson Family.
According to Hollywood Reporter, Tarantino is already meeting up with top level actors to discuss roles for the project. The film is meant to follow the horrible crimes committed by the Manson Family, more specifically focusing on the murder of Roman Polanski’s ex-wife Sharon Tate who was murdered alongside other four people whilst being 8 and a half month’s pregnant.
If Tarantino pulls through with this project it will become the first Tarantino film to be based on true events and will likely differ in style from his normal work.
‘The Irishman‘ is currently in pre production and has been estimated by several sources that it will have a budget of around $100,000,000.
Martin Scorsese’s latest project in the works ‘The Irishman’ has been estimated to have a whopping $100 million. The film will reunite actors from previous films Scorsese has directed such as Robert De Niro, Al Pacino, Joe Pesci and Harvey Keitel.
According to Scorsese, the film will have a different style from his previous gangster films like Goodfellas and Casino. Actor Joe Pesci is looking make a comeback with the film as he has not worked on any major projects for over a decade, last being ‘The Good Shephard’ which was directed by his fellow star Robert De Niro.
It’s interesting to see when print gets incorporated into men’s clothes, simply because we are used to seeing plain, stripes or floral etc. It definitely creates a variety of styles for men who want to go beyond the normal styles. These are my top 4 picks for print in spring/summer 18.
I think this looks so interesting. You see this in womenswear but not so much in menswear. It’s something different and fresh. If you’re not into wearing full on prints then try out a garment which has sections of prints.
If you’re not into print at all then how about colour blocks on garments. It can be very bold or subtle, which ever you prefer. It’s very different from the normal and it looks great.
This print has been around for a long time with different colour combinations. What makes it different is the size of the checks, the incorporation of another pattern and the design on the clothes.
This is similarly close to the floral print but different. You can wear this print casual or non casual as demonstrated. It’s best to wear this print with similar colours or similar hues.
With our 4th Sound Selection here, we have selected a wide selection of music ranging in styles and vibes. Hoping to give you the best selection yet!
Shaun Frank ‘Upside Down’
This latest single by the up and coming artist Shaun Frank is truly splendid. It develops throughout with strong, raw and simply powerful production. Although, the main element of this song that really makes it a hit is the solid and timeless vocals by Shaun Frank, which ultimately it a great song for any playlist.
General Vibe ‘The Girl on My Couch’
On the other hand, this sweet, smooth and speedy song by General Vibe is purely driven by the vocal that will be stuck in your head for days to come. Overall, it has an eclectic style with great structure throughout that puts General Vibe as the artist to watch in the future.
STACEY ‘It’ll Be Alright’
Indie Pop has never been greater. STACEY’s ‘It’ll Be Alright’ is a flowing, 80’s inspired indie pop song that will make you flow into the world of calmness that will last with you for years to come. This one is for the playlists, and for those that love great Indie Pop!
Tommy Swisher ‘Fall For Me’
If you are looking for something more emotional, deep and pure but still commercial, this latest single by Tommy Swisher is for you. Throughout the song, the stunning singing vocals are mixed with rap and a sweet production that will get stuck in your head for days to come.
Emily Rockarts ‘Inventor’
Now, if you want something smooth, chill and driven the latest single by Emily Rockarts named ‘Inventor’ will be right for you. It features a commercial but truly stunning production that is moved by the vocals of Emily Rockarts that simply move you into another dimension with the ambience-like feel they carry.
A-Minor ‘Next To You’
Another commercial but stunning song is by A-Minor named ‘Next To You’ it is driven by solid vocals that are transformed uniquely into chopped vocal fx throughout the song. If you are looking for a great summer hit this will be for you.
The Curious Incident ‘Get What You Give’
Uplifting, good-feel and positive would be the best three words to describe ‘Get What You Give’ by The Curious Incident. So, if you are looking to escape the doom and gloom of every day this song will be great for you!
Anjulie ‘Dream Again’
In contrast, ‘Dream Again’ offers a different kind of emotion. It is a song about not giving up on each other and hoping for more. Truly stunning, for those that love a song with an emotional theme. This one is for the playlists!
Yngve Elde ‘Collide’
Once again, if you are looking for something commercial, romantic and groovy this latest single by Yngve Elde will be for you. It has great vocals that will teleport you into the world of a hopeless romantic.
Dom Rosenfeld ‘Off My Mind’
Our last song for this selection is like honey, it is smooth with a layer of rawness that makes it that more authentic. Dom Rosenfeld showcases his natural talent with a developed and mature range of vocals. This one is for weekends!
From the slasher sub-genre’s peak year comes The Burning, a grizzly and graphic horror with spectacular makeup effects by master of the macabre, Tom Savini. Whilst its death sequences are gloriously gory and some secondary characters are funny and engaging, the film struggles to realise its lead protagonists, leaving them devoid of charisma or depth.
In a horrific prank gone awry, Camp Blackfoot caretaker Cropsy (Lou David) is horrifically burned – almost to death. Years later at the idyllic Camp Stonewater, a large group of teenagers led by Todd (Brian Matthews) and Michelle (Leah Ayres) are enjoying their summer escape. Among them are bully Glazer (Larry Joshua), loveable class-clown Dave (Jason Alexander), goofy nerd Woodstock (Fisher Stevens), and outsider Alfred (Brian Backer). Things turn bloody as Cropsy – armed with a set of garden shears and hell-bent on revenge – stalks and murders anyone unfortunate enough to encounter him. Cropsy chases and corners Alfred in an abandoned barn, but Todd is not far behind. In confronting Cropsy, Todd’s past is revealed – and so is his connection to the maniacal murderer…
Miramax’s debut feature follows the standard slasher narrative. A killer stalks a group of isolated teenagers; dispatching them one-by-one in evermore gruesome ways. The Burning does not stray far from the familiar formula, and to that degree, the film suffers from the same issues so many slasher films do. Perhaps most significantly, the characters here are not developed. Many are likeable and genuinely engaging, but they rarely develop beyond their initial characterisation.
However, one aspect of The Burning that does differ from the slasher format is the film’s lack of a ‘final girl’. In most slasher films (though it is not exclusive to the sub-genre), the ‘final girl’ is the last surviving character. She is the only protagonist brave enough or smart enough to outwit (and often kill) the killer. The Burning instead has Todd and Alfred as the pair who finish Cropsy for good. This subversion of the familiar formula would be interesting, were it not for how bland both of these characters are. Todd is devoid of personality. He is the straightforward male American hero, developing beyond little more than his hands-in-pocket stances and generic ‘we can do this’ platitudes. Alfred on the other hand is admittedly more intriguing, but only because of how ambivalent one feels toward him. His is a character bullied and picked on and who clearly is uncomfortable in his own skin. This should have been an opportunity to craft a character with whom the audience could feel empathy – relating to the teenager struggling with his identity and those around him. Unfortunately, Alfred instantly tarnishes that potential when he spies on a girl whilst she’s in the shower. Todd briefly reprimands Alfred, but nothing more is made of it. Alfred never acknowledges what he’s done wrong, and that makes it incredibly difficult for the audience to forgive him, let alone forget that he’s a pervert.
The secondary characters, however, are excellent. Jason Alexander (of Seinfeld fame) turns in a terrific performance as the chipper and funny Dave. His performance is comparable to John Belushi’s Bluto in Animal House (1978) but with a more defined wit. Dave is a character who, whilst secondary to the narrative, always steals the scenes he’s in. It is a shame more was not made of Jason Alexander’s tremendous comedic skill. Nevertheless, even if the main protagonists of The Burning are dull or questionable, Alexander’s Dave is worth watching for.
The same can absolutely be said of Fisher Stevens’ Woodstock, the skinnier, dorkier answer to Dave. Much like Alexander, Stevens turns in a fun and charismatic performance. Seeing the likes of Dave and Woodstock defend Alfred when the overbearing Glazer decides to bully him genuinely makes them likeable. Having characters like Woodstock and Dave as both fun and genuinely compassionate people does something few slasher films manage: we don’t want them to die. As soon as the audience has engaged with a performance like Stevens’, the tension is ramped up when Cropsy comes along.
When Cropsy does drop in, to say it is bloody is an understatement. Tom Savini, the makeup master behind Dawn of the Dead (1978), Friday the 13th(1980), and The Prowler (1981), provides some excellent and genuinely shocking gore effects for The Burning. The infamous ‘raft massacre’ sequence is perhaps one of the standout moments of Savini’s career. Fingers are chopped, necks are stabbed, and heads are sliced in arguably the film’s most shocking moments. Glazer’s death is equally as graphic as Cropsy drives his shears through the bully’s neck before slamming him into a tree. An eerie synthesizer soundtrack, courtesy of Rick Wakeman, complements Cropsy’s violent murders. The synthesizer screeches and jumps as Cropsy’s shears go to work on his hapless victims.
Whereas countless other slasher films of the decade suffered at the hands of the Motion Picture Association of America, (Friday the 13th Part 2 – released the same year – is tame in comparison to The Burning), Savini’s makeup effects are front and centre in all their gory glory. It is perhaps little wonder that The Burning ended up on the infamous ‘video nasties’ list following the moral panic surrounding violence in cinema in Britain in the mid-’80s. Indeed, one of the film’s greatest draws is its spectacular death sequences. In hindsight, however, had the film not had Savini on board, or had its gore been severely censored, The Burning simply would not be as memorable or entertaining as it is. Jason Alexander and Fisher Stevens turn in great performances, but due to the nature of being secondary characters, they would not be able to pull the film up were its gore toned down. Admitting this makes one’s enjoyment of The Burning seem somewhat sadistic, though it is worth considering nonetheless.
Overall, The Burning is a film that lacks in its protagonists and admittedly would not be the film it is had Savini not provided such stunning makeup effects. Its lead characters are either bland like Todd or questionable like Alfred – unsatisfying either way. On the other hand, there is much enjoyment to be had with the film’s secondary characters; namely Dave and Woodstock. Additionally, the synthesizer soundtrack fulfils one of the film’s goals to terrify, as the low drone and thudding heartbeat that accompany Cropsy’s point-of-view shots are genuinely chilling and unsettling. Cropsy himself is a terrifying visage, a man gone maniacal with rage and revenge. The Burning is far from perfect, but it is entertaining, and for fans of the genre provides plenty to praise.
The man responsible for the birth of the modern cinematic zombie, and who gifted the world with some of the most sociopolitical horror films of the 20th century has passed away.
According to his manager, Chris Roe, Romero died in his sleep on Sunday the 16th of July 2017 with his wife and daughter by his side following a ‘brief but aggressive’ battle with lung cancer.
Filmmakers and fans alike have come out to mourn and praise the late director. Makeup artist Tom Savini – who provided the striking gore effects for Romero’s Dawn of the Dead (1978) – tweeted:
‘Goodbye George A. Romero. We laughed through 50 years and 9 films. I will miss him. There is a light that has gone out that can’t be replaced.’
Similarly, John Carpenter – director of such iconic horrors as Halloween (1978), The Fog (1980), and The Thing (1982) – also tweeted his praise for Romero:
‘George Romero was a great director, the father of modern horror movies. He was my friend and I will miss him. Rest in peace, George’
George A. Romero’s seminal zombie trilogy has left an indelible mark on the history of cinema. Initially cast aside as grindhouse trash, Romero’s Night of the Living Dead (1968) has since garnered a wide breadth of critical and academic praise. Most significantly, much attention has been given – and appropriately so – to the casting of Duane Jones as the lead. Romero has said many times how Jones’ casting was far from intentional, but that the film took on an added political dimension because of it.
Romero explained in BBC Four’s A History of Horror with Mark Gatiss (2010) that:
‘When John Russo and I wrote the script we were thinking of this guy as a white guy. But when he became African-American the film became so much stronger’
Indeed, without spoiling the film’s ending, the final images of Night of the Living Dead are vividly haunting and especially upsetting given the decade’s violent racial injustices.
But Night of the Living Dead’s political commentary extends beyond just readings of race relations. The disintegration of the family unit, as Romero has said, was imbued with a sense of anger, and that:
‘the world was still in the same sort of state of collapse and chaos that we’d all been trying to repair’
Society’s collapse at the hands of a zombie epidemic is comparable to the decay of America’s post-war values in the face of the Vietnam War, Kennedy’s assassination, and the murder of Dr. Martin Luther King jr.
Quite brilliantly, Night of the Living Dead is far from Romero’s only politically charged film, with Dawn of the Dead (1978) and Day of the Dead (1985) holding their own contemporary portrayals of society, community, and humanity. With his armies of the undead, George A. Romero crafted his own beautifully horrific storytelling; cultural fears lunging at us like so many of his zombies.
Popular culture owes a lot to Romero and his legacy. The continued success of television shows like The Walking Dead (2010 – ongoing) demonstrates how Romero’s visions of our world gone mad continue to permeate into our collective consciousness. Even genres outside horror owe something to him, as I’m sure Edgar Wright – director of Shaun of the Dead (2004) – would agree.
Romero’s legacy will almost certainly continue to inspire generations of filmmakers and artists to come. Rest in peace, Mr. Romero, your films will never be forgotten.
Bruno Laurent a France based artist creates imaginative and fun character designs.
Bruno has developed an expressive style with which he creates his entertaining characters. He has worked in illustration and animation thus, of course, his work captures the storytelling essence. Making each of his individualistic characters highly expressive and easily understood.
Oscar nominated short film ‘The Bigger Picture’ by Daisy Jacobs tells the story of two brothers struggling with the care of their elderly mother. ‘The Bigger Picture’ has an attractive style that uses walls as the canvas of the film, it is a style that is not fearful of displaying dynamics between characters and movements that expand on the 2D visual by adding another dimension, something that is not done by many filmmakers. The textures of the film are truly raw and stunning, this film has become a classic short film that will be looked up to for many years to come as innovative and unique. Unsurprisingly, it went onto win the Best British Short Animation at the BAFTA’s and received an Oscar nomination. With this film, Jacobs has made a name for herself in the world of film, a name that we will hear more of in the years to come.
The full short film is now available to be viewed here on Vimeo.