Focus Features has released five new character posters for their upcoming feature film “Nosferatu”. Written and directed by Robert Eggers (“The Witch”, “The Lighthouse”, “The Northman”), “Nosferatu” is a remake of F. W. Murnau’s 1922 gothic horror classic of the same name. The film is highlighted by a stellar cast that includes Bill Skarsgård, Nicholas Hoult, Lily-Rose Depp, Aaron Taylor-Johnson, Willem Dafoe, and Emma Corrin.
“Nosferatu” releases in theaters on December 25th. Check out the new character posters below and let me know what you think.
How can I let Halloween pass without spending a little time on what I still believe to be the greatest horror film of all time, George Romero’s original “Night of the Living Dead”. For most it’s probably impossible (and admittedly a bit silly) to narrow down a vast and diverse genre to one indisputable favorite. But for me, “Night of the Living Dead” has left a mark on me since first seeing it as an early teen.
So for this Halloween I’m going to toss out five big reasons (and there are so many more) why I love “Night of the Living Dead”.
#5 – The Music and Sound
One of the key ingredients of “Night of the Living Dead” is the fantastic sound design and music. In many ways it’s critical in developing and maintaining the film’s creepy tone. Interestingly, the music was purchased after previously appearing in other productions. Subtle but effective alterations were made to numerous tracks to better connect them to the film. The live sound effects were recorded on a budget by Richard Lococo. Echos and distortions were used to make things eerier and several small sound choices add to the tense atmosphere. Take the television newscast that plays in the background for much of the film. It and all of the sound design lends much to the film’s uneasy feel.
#4 – Duane Jones
He was a relatively unknown stage actor when George Romero hired him to star in “Night of the Living Dead”. But Duane Jones was stepping into what would become an iconic role particularly in the horror genre. His performance as the composed and resourceful Ben is a real strength of the picture. We’re not told much about his character’s backstory, but we do learn a lot about him. He’s cool, calm, and collective, and without him things would have instantly fallen apart. Jones’ casting was significant because at the time African Americans weren’t often considered for leading roles especially with an otherwise all-white cast. But he fits seamlessly as Ben and the movie wouldn’t be the same without his rock-solid performance.
#3 – The Setting
The first time I watched “Night of the Living Dead” was on a rented VCR. My parents let me stay up late to watch and I’ve loved it ever since. One of the main things that has stuck with me from that very first viewing was the film’s mostly one-location setting. The idea of being cornered in an isolated farmhouse with hordes of flesh-hungry undead gathering outside terrified me as a child and is still creepy today. The survivalist elements mixed with the “nowhere to go” angle remains effective and it has influenced countless movies since. No matter how many times I watch “Night of the Living Dead”, I still find myself immersed in that remote Pennsylvania farmhouse.
#2 – George Romero
“Night of the Living Dead” is known for many firsts and for paving several new paths. Perhaps most notable is being the feature film directorial debut for George Romero. He was the mastermind behind the project and what he was able to accomplish with a miniscule $114,000 budget is astonishing. Despite the monetary limitations, Romero showed an impressive creative savvy through his intelligent uses of sound, the camera, and minimal special effects. He also chose to shoot the film in 35mm black-and-white which was initially a budget constraint. But over time it has proven to be the only way the movie should be viewed.
#1 – The Zombie Craze
Zombies have found permanent homes in media of all kinds including comics, video games, movies, and television. And to think it all started with Romero’s vision. “Night of the Living Dead” wasn’t the first film to deal with the dead coming back to life. But it was the first to truly develop zombies into what they they are known as today. It would be impossible to list everything that has drawn inspiration from Romero’s classic. It’s influence goes beyond cinema and into the culture as a whole. So the next time you see a zombie movie, rewatch an episode of “The Walking Dead”, or play “Plants verses Zombies”, just remember that it can all be traced back to 1968 and “Night of the Living Dead”.
Liam Neeson thrillers have become as common as day and night and we’ve grown accustomed to getting at least one a year. They usually follow a pretty familiar blueprint and each generally adheres to the same narrative formula although with slight variations (and I say that as a fan). But lately many of his thrillers have shifted from light and easy genre fare to grittier and more serious-minded. That trend continues with his latest, “Absolution”.
In “Absolution”, Neeson reunites with director Hans Petter Moland (the two worked together in 2019’s “Cold Pursuit”). While their previous collaboration had a pitch-black comedy element to it, “Absolution” is more of a tragedy. Screenwriter Tony Gayton puts together a sturdy crime thriller framework. But his interests lie deeper and are more human. And as its “Everyone Pays in the End” tagline foretells, not even the film’s damaged protagonist will remain unscathed.
Image Courtesy of Samuel Goldwyn Films
In “Absolution” Nesson is in top form and his signature gravitas is one of the film’s biggest assets. He puts off distinct Charles Bronson vibes with his late ’70s fashion sense, thick mustache, and steely tough-as-nails intensity. He plays Thug, a former boxer and hardened gangster who has loyally worked under a Boston crime boss (Ron Perlman) for thirty years. Though still deadly and efficient, some see Thug as a relic. This comes out most in some early scenes where he’s asked to work alongside the boss’s inexperienced and reckless son (Daniel Diemer).
But Thug has other concerns, mainly his reoccurring headaches and bouts with memory loss. He sometimes forgets names and directions, and even where he lives. He finally sees a doctor and is diagnosed with CTE (Chronic Traumatic Encephalopathy), a neurodegenerative disease directly linked to repeated head trauma. He’s told to expect a sharp decline over the next couple of years which inspires him to make amends for the life he has lived.
Thug reaches out to his estranged and rightfully bitter daughter Daisy (Frankie Shaw), a struggling single mother who reluctantly introduces him to his grandson, Dre (Terrence Pulliam). Moland and Gayton tease what looks to be a conventional reconciliation story. But for Thug, reconnecting proves difficult. And no matter how hard he tries, he can only keep his condition a secret for so long – from his understandably leery daughter; from the kind-hearted and filterless prostitute he begins seeing on the side (Yolonda Ross); and from his suspicious boss.
Image Courtesy of Samuel Goldwyn Films
Neeson shrewdly embodies every facet of his character, from the grizzled tough-guy to the broken shell of a man fighting to keep his mind intact. It’s a measured and textured performance that pulls from the often underappreciated screen veteran’s acting arsenal. Both Shaw and Ross add compelling pieces while Perlman is a sturdy presence in a small but impactful role.
Not everything in the film clicks into place. There are a couple of well-meaning but out of tune dream sequences that don’t quite pack the emotion punch they’re going for. And there’s Thug’s sudden soft spot for a captive sex worker that desperately needs more attention. Yet “Absolution” remains a gripping slow-burn that offers Liam Neeson a meatier and more contemplative role while giving him the chance to knock off a few goons for old times’ sake. “Absolution” opens in theaters this Friday.
Today NEON dropped two new official posters for “Presence”, their upcoming supernatural horror film from director Steven Soderbergh. Plot details have been scarce for this delightfully cryptic chiller and that’s a good thing. What we do know is that the story (written for the screen by David Koepp) involves a family who discovers they’re not alone after moving into a new house. That sounds pretty generic, but with Soderbergh at the helm you know there will be more here than meets the eye.
“Presence” stars Lucy Liu, Julia Fox, Chris Sullivan, Callina Liang, West Mulholland, and Lucas Papaelias. It’s set to release January 17th. Check out the new studio released posters below and let me know what you think.
Director Denis Imbert teams with Academy Award winner Jean Dujardin in “On the Wandering Paths”, a soulful adaptation of Sylvain Tesson’s 2016 autobiographical travel journal of the same name. Tesson’s book was based on his own deeply personal experience which led to a life-changing and contemplative journey of self-discovery.
Imbert eloquently captures the human pulse of Tesson’s story via a thoughtful script (which he co-wrote with Diastème) and a beautifully introspective performance from Dujardin who is the centerpiece of every scene. In addition to the stunning photography of the French countryside by DP Magali Silvestre de Sacy, “On the Wandering Paths” is built upon the self-reflections and philosophical meditations from one wayward man’s soul-searching odyssey.
Dujardin plays Pierre Girard, an accomplished writer with an adventurous lifestyle whose backstory plays out through a collection of memories and reflections. Pierre has enjoyed a successful life, but it is forever changed in one ill-fated moment of recklessness. While drunk, Pierre falls three stories from a balcony to the unforgiving pavement bellow. The accident leaves him with a broken leg and a serious back injury. He also loses his hearing in one ear and even his sense of smell is affected.
As he endures multiple surgeries and a lengthy recovery, Pierre falls into despair which costs him his relationship with his girlfriend Anna (Joséphine Japy). While bed-ridden, Pierre makes himself a promise – if he is ever able to walk again he will set out to cross France on foot. He eventually regains his ability to walk and immediately begins to fulfill that pledge. He plots himself a 1,300 kilometer route starting at the Italian border and across to the Cotentin Penisula.
His friends and family think he’s crazy. But for Pierre, his journey has a significantly deeper meaning. It’s not only about finding himself, but also proving himself to himself. And while there may be physical and emotional dangers with such off-the-grid solitude, Pierre sees it as a means of self-redemption and as an opportunity to close troubling chapters in his whirlwind life.
Imbert’s ability to immerse his audience in Pierre’s personal pilgrimage proves to be one of the film’s great strengths. He makes us feel like quiet observers, following closely as Pierre climbs each mountain, navigates each forest, and passes through each eroding village. We sense every bolt of pain that courses through his barely mended body, each threatening to end his mission. Yet he’s propelled by an unbending determination that often gives way to obstinacy, testing fate with each step and content with its final judgement.
Pierre’s trek isn’t one of complete isolation. He talks with several locals he encounters along the way. He pays a visit to his Aunt (Anny Duperey). He’s helped by a Good Samaritan (Dylan Robert) who accompanies him for a leg of his journey. And for a brief stretch he’s joined by his friend, Arnaud (Jonathan Zaccaï), and a little later by his concerned sister, Céline (Izïa Higelin). Though most of his time is spent alone, Pierre gleans something new from every person he spends time with.
“On the Wandering Paths” may be light on story but it’s full of spirit. It’s a visually delightful movie full of eye-catching landscapes and beautifully rugged vistas. But there is a lot more beyond the pretty scenery. In addition to chronicling Pierre’s stirring self-exploration, Imbert and Diastème offer a handful of economic and societal observations, mostly surrounding the depopulation of rural France. And it all funnels through Dujardin whose textured performance thoughtfully conveys the movie’s soul.
Cohen Media Group is bringing the eloquent documentary “Made in England: The Films of Powell & Pressburger” to home video. Director by David Hinton, the film is produced by and stars Martin Scorsese who offers up a rich and illuminating cinematic masterclass on a filmmaking duo near and dear to his heart. Featuring rare archival material from the personal collections of Michael Powell, Emeric Pressburger and Scorsese, the film offers a passionate retrospective custom made for cinema lovers.
Both Blu-ray and DVD editions of “Made in England: The Films of Powell & Pressburger” and will be available to purchase on October 29th. See below for a synopsis and release information.
About the Film:
Year: 2024
Runtime: 133 Minutes
Directors: David Hinton
Cast: Martin Scorsese, Emeric Pressburger, Michael Powell, Thomas Beecham, Dirk Bogarde, Kathleen Byron, David Farrar, Samuel Goldwyn, Marius Goring, Kim Hunter, Jennifer Jones, Deborah Kerr
Martin Scorsese first encountered the films of Powell and Pressburger when he was a child, sitting in front of the family TV. When their famous logo came up on screen, Scorsese says, “You knew you were in for fantasy, wonder, magic – real film magic.” With Made in England he tells the story of his lifelong love-affair with their movies, including The Life and Death Of Colonel Blimp, Black Narcissus, The Red Shoes and The Tales of Hoffmann. “Certain films you simply run all the time and you live with them.” Scorsese says. “As you grow older they grow deeper. I’m not sure how it happens, but it does. For me, that body of work is a wondrous presence, a constant source of energy, and a reminder of what life and art are all about.”
Drawing on a rich array of archive material, Scorsese explores in full the collaboration between the Englishman Powell and the Hungarian Pressburger – two romantics and idealists, who thrived in the face of adversity during World War II but were eventually brought low by the film industry of the 1950’s. Scorsese celebrates their ability to create “subversive commercial movies” and describes how deeply their films have influenced his own work.
Keith & the Movies 