80s Action Movies on the Cheap: 300+ Low Budget, High Impact

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Yes, it’s bonkers and silly, but there are some brilliant details – like the creepy kids (who look like mini-Florence Welches) with their killer dolls. More than 200,000 people died in the fighting that occurred between 1989 and 1996 in what is known as the First Liberian Civil War. Lethal Weapon is a perfect example of another sub-genre of the buddy movie: the cop buddy movie. Trevor Johnston The Big Idea: The plot may be a mishmash of alien invasion ideas, but it’s the amazing, untrained cast that make this Britcom soar.

Perspectives on Film Noir

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His back story often includes a childhood trauma (atomic wedgies and the like) that turned him into the homicidal maniac he is today, thus creating a level of sympathy in the viewer. Complete a film review (like you did for The Artist above). Leonard Maltin�s 1992 Movie and Video Guide. Mick Martin & Marsha Porter's 1997 Video Movie Guide. Tom Huddleston Voted the best British film of all time in a 2010 Time Out poll of experts, Nicolas Roeg’s adaptation of Daphne Du Maurier’s short story isn't just a masterpiece of terror, it’s also a work of bottomless empathy and slender, spectral beauty.

The Making of Star Wars: Return of the Jedi

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In fact, let's just say that the only superhero movie from 1996 that matters is Matilda, because Mara Wilson will always be awesome, and we desperately want her to star in a modern, gritty sequel where she magics bad guys' heads clean off. Even when we eliminate respondents in the Older age group, a group which finds ACTION-ADVENTURE less popular than the other age groups and in which Whites are overrepresented, White respondents still mentioned ACTION-ADVENTURE the least often of the four racial/ethnic groups.

Finding God in a Galaxy Far, Far Away: A Spiritual

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How does The Silence of the Lambs examine the point of view of the obsessive psychopath? Journal of Personality and Social Psychology, 43, 971-978. She came to Paradise, not knowing it is a refuge for every drop-out, misfit, and weirdo in the district. Tom Huddleston The Big Idea: The wild frontier meets the final frontier in a film which cleverly combines cowboy tropes with sci-fi spectacle. At our interview, Yellin turned to me and said, "I've been waiting for someone to bubble up like this for years."

Back from the Dead: Remakes of the Romero Zombie Films as

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Alice Guy Blaché was head of production at Gaumont Pictures, where she made some 400 films between 1897 and 1906. Updating a concept introduced by TV hostess Vampira over three decades before, MST3K presented cheap, low-grade movies, primarily science fiction of the 1950s and 1960s, along with running voiceover commentary highlighting the films' shortcomings. Gittes, who is in every scene of “Chinatown” (1974), takes the Bogart line and gentles it down.

Animated Films (Virgin Film)

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He then builds on those shocks, elevating them beyond mere jump-scares with a relentless, rapid escalation of suspense that has viewers holding their breath in anticipation of the big reveal. Human Communication Research, 17, 625-637. Cath Clarke A horror fan’s sanctuary during the tame Vincent Prince era of the late ’50s and ‘60s, Hammer Film Productions injected the tired genre with garish bloody colour, shocking violence and the remarkably committed acting duo of Christopher Lee and Peter Cushing.

American Militarism and Anti-Militarism in Popular Media,

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Learn more about Steampunk with these gorgeously detailed and informative tomes! Those in the Older age range show the least appreciation for films in the HORROR genre; only two respondents in this age range mentioned a HORROR film as a favorite. It might seem like a clich�, but there's no denying the truth of it. -- Noel O'Shea Click here to download the free 10StarMovies streaming client. That they’re two different species is the twist, because this exact story minus the space combat was the previously explored in None But The Brave (1965) and Hell In The Pacific (1968).

The Films of Randolph Scott

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YouTube version here. (1951) The Naked Kiss – Free – Constance Towers is a prostitute trying to start a new life in a small town. Loomis (played by Donald Pleasance), which give a more holistic and balanced feel to the picture.� Despite fatalism being the principal theme of Final Destination (2000), by the end of the picture the two main characters, Alex (played by Devon Sawa) and Clear (played by Ali Larter), have defied fate.� The five teenage victims in the Texas Chainsaw Massacre (1974) unwisely pick up an obviously deranged hitchhiker and then enter a house they have no business entering.� The deaths of these �Darwin Award� hopefuls are not only inevitable, they seem almost justified.� Inequity may nevertheless enter the picture in that these teenagers are as much victims of their own stupidity as they are of Leatherface, yet how they die (hung on a meat hook, bludgeoned to death with a sledgehammer) seems grossly disproportional to the severity of their offenses, a conclusion with which director Tobe Hooper may or may not agree.� Even though Hitchcock�s The Birds is clearly pessimistic in outlook, the movie offers the audience several rays of hope scattered throughout the picture.� Noteworthy examples are:� At the beginning, Mitch buys two innocent lovebirds.� And the ending is open, making way and leaving room for optimism. ����������� The perceptual function of the present-view makes its appearance in early childhood and experiences a powerful boost in adolescence.� Horror movies aid teenagers in differentiating between fact and fiction and in so doing help shape the perceptual function of a teenager�s self-view.� The executive function is no less affected by exposure to the horror genre.� Watching a horror film presents adolescents and young adults with frightening stimuli to which they can either succumb, or learn to manage.� Basic decision-making and coping skills derive from a person�s interactions with the environment; one small yet vital aspect of this environment is exposure to horror films.� By learning to suppress feelings and display mastery or cling to others in a dependent ploy for protection, a person learns to cope with another aspect of his or her environment, a skill that may be useful in dealing with more than just horror pictures.� Therefore, before writing horror films off as mindless entertainment or dangerous escapism, we would do well to consider the possibility that they assist in the development and elaboration of a person�s present-view. ����������� Mundorf et al. (1989) note that individuals with lower levels of self-reported fear acknowledge greater attraction to and enjoyment of horror films.� This finding can be interpreted in one of several ways:� first, people with initially low levels of fear may, for either dispositional or early environmental reasons, be differentially attracted to horror films, perhaps because watching this type of picture elevates their arousal to a more optimal level.� A second possibility is that the individual has learned to effectively manage his or her fear through exposure to horror cinema.� This second interpretation is more congruent with the integrated-interactive model advanced in this paper.� Nonetheless, a longitudinal study in which a panel of viewers is followed over time is required to determine which interpretation is correct.� It may very well turn out that both interpretations are correct under various circumstances or that the two effects interact.� Horror fiction, according to the perspective outlined in this paper, has supported human survival since primordial times by virtue of its ability to furnish a stimulus that assists with the evolution and reinforcement of the perceptual and executive functions of a person�s present-view. ����������� The horror genre shares with comedy, a movement toward the past and a preoccupation with the innocence of childhood (Wells, 2000).� However, whereas comedies often focus on amusing anecdotes, horror films dwell on the more frightening aspects of one�s past.� Of course, horror films make liberal use of black comedy, disclosing the bond between the two genres.� When Ash, played by Bruce Campbell, tries to reassure his friend Scott in the film The Evil Dead (1982) that everything is going to work out by asserting, �We�re all going to make it out of here.� You, me, Shelley. .. well, not Shelley,� we both laugh and cringe because we know that Shelley has been hacked to pieces in an earlier scene.� There is also dark humor in the scene from The Stepford Wives (1975) where Joanne, played by Katherine Ross, meets her robotic double and notices that the robot looks exactly like her except for breasts that have been noticeably enlarged.� Playfulness is an appealing aspect of horror films.� A mixture of fear and frolic touches on a person�s past-view and makes horror movies a genre that can be enjoyed by adults as well as older children and adolescents. ����������� Horror and science fiction both address control-related fears, but horror is past-oriented� and science fiction looks to the future.� There is, nevertheless, a role for horror in the development of a person�s future-view.� Popular horror films create expectancies and it is expectancies of being frightened or entertained that bring people into movies theaters and video rental shops.� The expectancies and anticipations that lead people to view horror films are that they will be scared, shocked, or grossed out; what they often do not understand is their reason for wanting to be scared, shocked, or grossed out.� According to the integrated-interactive model people want to be scared, shocked, and grossed out because these responses assist in the development and reinforcement of their basic beliefs about life. ����������� The problem with traditional theories of horror film appeal is not that they are wrong, it is that they are incomplete.� Integrating aspects of eight popular theoretical models designed to explain the lure of horror films (psychoanalytic, catharsis, excitation transfer, curiosity/fascination, sensation seeking, dispositional alignment, gender role socialization, societal concern) and defining horror as a fictionalized account designed to evoke terror through the implied presence of supernatural or extremely abnormal forces, the present paper describes horror film appeal as consisting of three principal factors: tension, relevance, and unrealism.� For those looking to be frightened, it is a film�s ability to induce tension, provide a context (relevance), and supply relief (unrealism) that defines its appeal.� We might even predict that viewer enjoyment of horror films is a direct function of these three factors such that films rated high in tension, relevance, and unrealism will be rated as more appealing than films rated low in tension, relevance, and unrealism.� Asserting that these three factors account for the popularity of horror films is like arguing that people like candy because it is sweet.� We must understand the mechanisms that make tension, relevance, and unrealism appealing just as much as we must understand why many people enjoy sweet-tasting foods. ����������� The integrated-interactive model differs from most traditional theories of horror cinema appeal in drawing a clear distinction between description and explanation.� Horror film appeal may be adequately described by tension, relevance, and unrealism.� However, these factors do not explain why horror films continue to attract audiences.� To answer this question we must call upon an integrated-interactive explanation of horror film appeal in which fear and belief systems assume center stage ����������� Horror films are popular because they speak to the basic human condition, to existential fear, and to people�s attempts to overcome their fear belief systems.� For some, horror movies exacerbate existential fear, yet for many others, watching a horror film is a way to put existential fear into its proper perspective.� That which frightens us becomes less intimidating once it is understood; the unknown is the basis of many of our deepest fears.� Horror pictures afford people the opportunity to articulate, identify, and manage their fears by taking an abstract concept like fear and concretizing it into stimuli that are projected onto a television screen or a movie screen.� Belief systems complete the process by furnishing us with a life philosophy (self-view, world-view, past-view, present-view, future-view) that serves a preventive function by exerting a palliative effect on fear. ����������� It has been argued that there is nothing more practical than a good theory.� Theories permit the organization of knowledge into manageable units or constructs which, in turn, allow scientists to establish hypotheses and conduct research designed to investigate the empirical validity of these constructs.� Although the integrated-interactive model of horror film appeal is far from empirically established, it is capable of producing testable hypotheses.� Ten hypotheses bearing on the explanatory branch of the integrated-interactive model are listed in Table 1.� H1��������� Those individuals who score high on measures of control-related existential fear will be significantly more attracted to horror films than those persons who score low on measures of control-related fear.

Hamlet: Prince of Denmark

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That’s marginally less surprising when you discover that the movie was originally written by Hyams as a western, but the success of Blade Runner and Alien convinced him to make it a space based film. But perhaps you didn't realize that Shakespeare's plays have also inspired sci-fi, horror, crime, action, western, and animated films as well. The hardboiled detective, Philip Marlowe, is different as played by Dick Powell ( Murder, My Sweet, 1944), Humphrey Bogart ( The Big Sleep, 1946), or Elliott Gould ( The Long Goodbye, 1973).

The Free Lunch

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To begin with, the genre of horror uses blood and violence, for a good storyline. Director Whale tried to duck out of making a follow-up to his 1931 hit ‘Frankenstein’, but the studio turned the screws and Whale caved, declaring that if he must make another film, it would be a real ‘hoot’. Marc, a little less than enthusiastic, ends up picking up Jessie instead of Melissa from the apartment complex. This artistic choice could just stem from the fact that this is a character driven piece and not a high octane action and science fiction piece.