Sentences with phrase «on the cult films»

As I touched on earlier, I'm actually glad that I didn't get to many new movies this year, because I liked being able (forced) to focus on the cult films that make up the backbone of MRFH.

She has written five books on cult film including Suspiria (Auteur, 2015) and Ms. 45 (Columbia University Press, 2017).

James has written on cult film for Vertigo, Monolith and One + One, he has curated film seasons and film tours across the UK and recently featured as part of the Congress of Curious Peoples at Coney Island, New York.

Not exact matches

At the time, O'Connell was working on a poster for a science - fiction and horror film festival featuring John Carpenter's 1988 cult classic «They Live» about aliens living incognito among humans.

Anyone who has attended a Star Trek or Star Wars film on opening day and then gone a few weeks later knows the difference between a piece of art viewed by cult followers and one viewed with casual fans.

Definition of CULT 1: formal religious veneration: worship 2: a system of religious beliefs and ritual; also: its body of adherents 3: a religion regarded as unorthodox or spurious; also: its body of adherents 4: a system for the cure of disease based on dogma set forth by its promulgator 5a: great devotion to a person, idea, object, movement, or work (as a film or book); especially: such devotion regarded as a literary or intellectual fad b: the object of such devotion c: a usually small group of people characterized by such devotion

For example, if you're a printmaker and you've just finished a range of posters based on 80s cult films for a local exhibition, the most effective way to spend your money could be promoting your work to men interested in cinema aged 35 - 45 within 10 km of the gallery, instead of all genders, all ages, all across the UK.

Phil Dorcas, ELNA president, says that every year some attendees insist on viewing the 1965 cult horror film Incubus, which features continuous Esperanto dialogue — and William Shatner.

In addition to his duties of teaching film school to up and coming filmmakers, Duncan has built a cult following on Youtube.

The 3:47 «Meet Katie» focuses on the story of the furry little yak who just steals her scenes in the film, as the creators talk about the development of the character from a background drawing to full - fledged cult hero.

While director and star James Franco's behind - the - scenes recreation of Tommy Wiseau and Greg Sestero's cult classic carries a lingering sense of «having their cake and eating it, too,» the film is less focused on mocking the failures of its source material.

In reality, it became a cult film on the independent circuit after people laughed it off the screen during its first run.

Word - of - mouth on Reservoir Dogs began to build at the 1992 Sundance Film Festival, which led to scores of glowing reviews, making the film a cult hit.

It's about the feeling of Rocky Horror and, as the film took on this cult second life, the audience who is feeling it.

Hal Ashby's 1972 cult film may be simpleminded, but it's fairly inoffensive, at least until Ashby lingers over the concentration - camp serial number tattooed on Gordon's arm.

The film concerns Ansel Roth (played here by the underrated Leland Orser), a down - on - his - luck writer who primarily deals with cults and the idea of deprograming victims.

The film follows the making of «The Room» - directed by and starring Wiseau - which has been dubbed the worst movie ever made but went on to gain a cult following.

«Femme Fantasique: Resurrecting The Vampire Lovers» is a great look back on the film and its cult following.

The No. 1 request from FilmStruck users was to have access to classic Hollywood films, in addition to the lineup of art house, indie, foreign and cult films on the service, according to execs.

It ain't easy taking a popular cult film and adapting it into a successful TV series (emphasis on successful), but the advent of alternative digital platforms such as Netflix and Hulu are opening up more possibilities.

As a quirky tip of the hat to junk food cinema, it would go on to a similar cult status as the films it pays homage to.

Surprise guests are guaranteed and plenty of discussion on how this cult - favorite film has stood the test of time.

Based on the book The Disaster Artist by Greg Sestero and Tom Bissell, the film tells the behind - the - scenes story behind one of modern cinema's biggest cult classics The Room.

Although the film didn't connect as strongly with mass audiences (although it's considered a «sleeper hit,» you have to wonder what it could have done if it had been released after Whedon's little art house film «The Avengers «-RRB- and more than a few critics found it befuddling and arch (it's neither), «The Cabin in the Woods» is the kind of movie that will ultimately live on as a deserved cult classic, perfect for drunken film studies students and bored kids at slumber parties alike.

This film is actually terrible — I mean, yeah — it is scary in the sense that its creepy, but I think, really, the film is just the byproduct of global DVD residuals from the directors father — allowing Panatos to string together a series of overproduced, overgrained interior sequences, cheap synth score and a slasher movie ending, and trying to pass it off as a «cult movie», when really we, the audience, need to know who, what or where the protagonist is coming from, what her dramatic need is, who she interacts with, and so on.

Director / writer Joseph Kosinski «s story (the script is credited to Karl Gadjusek and Michael DeBruyn, with William Monahan and Michael Arndt among those who worked on the film too) cribs liberally from other more familiar sci - fi tales, including one recent cult hit which mentioning the name of would likely tip you off to the film's big secrets.

Ana Lily Amirpour follows up her alt - cult sensation A GIRL WALKS HOME ALONE AT NIGHT with her sand - blasted, dystopian love story THE BAD BATCH; Maren Ade delivers what will be the most uncomfortable film of the festival, the desert - dry black comedy TONI ERDMANN; and Julia Ducournau's directorial debut, RAW, takes us on a cannibalistic coming - of - age shock ride that resonates long after its stunning finale.

The film tells the tale of the making of Hollywood dreamer Tommy Wiseau's dreadful movie The Room, a wannabe serious drama that turned into a certified cult comedy classic on the midnight show circuit — certainly not by original intention.

The original film, starring cult favourites Bruce Campbell, Tom Atkins and Robert D' Zar, told the story of Officer Matt Cordell, a disfigured New York cop on a murderous rampage throughout the iconic city's sleazy streets.

A number of viewers have picked up on the Russo» recurring in - film tribute to the cult hit comedy TV series Community.

The film tells the tale of the making of Hollywood dreamer Tommy Wiseau's dreadful movie The Room, a wannabe serious drama that turned into a certified cult comedy classic on the midnight show circuit — certainly not by original... Read

On Michael Reeves and British gothic film [New York Times] Credited with directing three déclassé horror movies, dead from an overdose of barbiturates at 25, the British filmmaker Michael Reeves (1943 - 1969) is a quintessential cult figure.

The movie could be summarized as «Rosemary's Baby if Rosemary were the head of the cult,» but while Roman Polanski's 1968 masterpiece is a rich, nuanced film that works (and disturbs) on multiple levels, Hungry Hearts never goes any further than preying on some pretty basic fears.

Following the modern cult classic In Bruges, Martin McDonagh fully delivered on that film's vast promise with Seven Psychopaths — a fiery genre cocktail of crime & dark comedy.

Cox feuded with volcanic actor Harry Dean Stanton and drove veteran cinematographer Robbie Muller up the wall on more than a few occasions, but whatever he had to learn on the job, he learned quickly enough to channel the chaos into a distinctly anarchic vision, and the result was a genuine cult film whose appeal has endured for nearly three decades.

It's an instant cult classic that I can see a lot of people discovering on the home video front and not so much theatrically, which is a shame, because films like this need audiences support to help fund future projects for talented filmmakers like Martin McDonagh.

Amid the bang boom of Furious 7 dominating the box office again in its fourth frame with a $ 320.5 M domestic gross, a cult film was percolating on the charts: A24's sci - fi drama Ex Machina.

The book and the film on which it's based share a tone of hipster sexual frustration metaphor in the Jay McInerney mold, here caged, as it usually is, in pumped - up bodies trying not to seem gay so as to ease admittance into these exclusive cults of machismo and sadomasochism.

After brief appearances in his father's films as a child, he made his first foray into helming with 1998's Zero Effect, before spending time in television on teen cult efforts Freaks And Geeks, Grosse Pointe and Undeclared.

From 3D cane toads on opening night (Cane Toads: The Conquest) to John Woo kung fu to close the program (Reign Of Assassins), possibly the world's first «womantic» feature (the Brisbane - based comedy Jucy) to the utterly indescribable (Tommy Wiseau cult phenomenon The Room), the new look festival — in a new timeslot and new venues (Palace Centro and Barracks cinemas, and Tribal Theatre)-- has assembled an amazing line - up, with films for young (well, 18 and over for the most part, given the severing of links between BIFF and Cine Sparks) and old.

As Criterion releases it on Blu - ray, Justine Smith writes this appreciation of the infamous cult film «Beyond the Valley of the Dolls.»

The thoroughly awful movie that resulted from their collaboration would go on to become a midnight cult classic, one of the most highly regarded so - bad - it's - good films ever made.

The fact of the matter is, the first film only made $ 100 million total at the domestic and international box office though it's become something of a cult classic on DVD.

And so came «Alien» in 1979, a film that broke new ground in visual effects, established a hugely successful franchise and cult following, made Sigourney Weaver a star and put Scott on the map.

«The Sandlot» performed modestly at the box office in 1993, but it found a second life as a cult film on VHS and on DVD a decade after its release.

Based on a cult favorite 2010 Mexican film of the same name, We Are What We Are is a brooding genre film from co - writer / director Jim Mickle about family traditions.

The ever - growing cult behind Russell and his work will undoubtedly enjoy this riveting look back on the maverick director right in the midst of filming his chaotic classic, which, negative press notwithstanding, ended up kicking off a series of successes in the 1970s.

The cult filmmaker made over 200 films, editing, cutting, and repurposing movies to fit current demands and The Sadist of Notre Dame, as it had its beginnings as Exorcism and then as Sexorcism — complete with a nude woman on an upside down cross — is no different.

Bone Tomahawk is a cult - classic type of film that completely delivers on its promise, and, in the post - Tarantino / Rodriguez Grindhouse age, that's one of the rarest gems of all.

The Room improbably went on to become the equivalent of a cult classic (if for all the wrong reasons), a film made in direct contradiction of every rule of «good» filmmaking, but also one of the most purely enjoyable (if only ironically) cinematic experiences made in the last two decades (best seen and heard in a group of like - minded, possibly inebriated friends, acquaintances, and strangers).