The DLB recently spoke to director Quentin Tarantino for MSN Canada about his new movie DJANGO UNCHAINED. Perhaps surprisingly, the film — a Western — is featured on the cover of the latest issue of Fangoria. I reached out to Fango editor Chris Alexander to explain their choice:
Archive for the Art Category
Voice cast includes Charlie Tahan, Martin Short and Catherine O’Hara
Directed by Tim Burton
Written by John August
It is slightly ironic that 30 years after Disney allegedly fired then fledgling animator Tim Burton for wasting their money making his (somewhat) macabre short movie Frankenweenie that the studio would hire the iconoclastic director to flesh out the concept in stop-motion and at feature-length. But Burton’s legacy of creativity and profit (he returned to the Mouse House to direct Alice in Wonderland) means that the professional oddball can pretty much do what he wants, with or without Johnny Depp.
Skinny Puppy vocalist Ogre has announced West Coast North American tour dates for his ohGr project with Mark Walk. The tour is in support of the band’s latest album unDeveloped.
|Dec 1 Bottom of the Hill San Fran, CA
Dec 2 Hawthorne Theatre Portland, OR
Dec 3 El Corazon Seattle, WA
Dec 4 Rickshaw Vancouver, BC
Dec 6 The Complex Salt Lake City, UT
|Dec 7 Bluebird Theatre Denver, CO
Dec 9 Nile Phoenix, AZ
Dec 10 Constellation Room Santa Ana, CA
Dec 11 El Rey Los Angeles, CA
THE THEATRE BIZARRE
Directed by Richard Stanley, Douglas Buck, Buddy Giovinazzo, David Gregory, Karim Hussain, Tom Savini and Jeremy Kasten
Anthology films are by nature a mixed cinematic bag. After all, some are going to be better than others. Fortunately, in the case of The Theatre Bizarre, it’s more a matter of difference than quality, making this both a sweet and sour mix of horror bon mots that will appeal to various tastes, especially those with an appreciation of the Grand Guignol tradition.
The film’s framing tale sees a young woman (Virginia Newcomb) enter a decrepit theatre hosted by a clockwork figure played by Udo Kier. The figure introduces six tales, creeping ever close to his audience member and curiously growing more human with every story. It’s a creepy framework for a potpourri of nasty narratives.
The DLB recently swung by the offices of Rue Morgue Magazine for a special event (to be revealed soon) and was able to take in the specialized Elvis busts created by the likes of artists James Fisher, Paige Reynolds and multiple others. The King is alive indeed. Search eBay with the phrase “God Save The King” to bid on the remaining busts.
The SPACE Network’s new six-part documentary show Fanboy Confessional, which, not surprisingly, explores all aspects of fandom, delves into horror in next week’s episode. Producers turn their sorry sights on Toronto Zombie Walk founder (and Hamilton, ON resident) Thea Munster and Rue Morgue Magazine art director \”Ghoulish\” Gary Pullin. (Disclosure: I write for Rue Morgue and am friends with Gary.)
Black Swan (2010)
Starring Natalie Portman, Mila Kunis and Barbara Hershey
Directed by Darren Aronofsky
Written by Mark Heyman, Andres Heinz and John McLauchlin
Like every other critic, the DLB was mightily impressed by Black Swan. Likewise, the DVD, available today (March 29), provides an intriguing look at the making of an A-list horror film.
Divided into three parts, `Black Swan Metamorphosis` is a relatively brief but comprehensive three-part look at the creation of the film. Aronofsky and his collaborators discuss key aspects of the production, including Portman`s ballet training, production design, cinematography and of most interest to horror fans, Portman`s film-long transformation into the titular Black Swan which involved a very subtle blending of CGI and practical effects. Most gratifyingly, Aronofsky admits that Black Swan is a horror film, and that the story of the ballet is essentially that of a `were-swan`. Well worth picking up.
Starring Emily Browning, Abbie Cornish and Scott Glenn
Directed by Zack Snyder
Written by Zack Snyder and Steve Shibuya
Naming your film Sucker Punch is a dangerous move because it allows critics like me to write things like “Sucker Punch: emphasis on the ‘suck.’”
Now that’s a rather glib assessment of such a visually striking film, but it’s accurate. Sucker Punch looks fantastic, but unlike the quick, startling jab promised by the title, it’s more like a slap in the face to the ideas of character and plot.