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[Special Effects is] an example of writer/director Larry Cohen at his most conceptually audacious. His script for this film touches on Hollywood egotism, the cruelty of showbiz, snuff films, the corrupting allure that moviemaking holds for neophytes and even works in a few allusions to Hitchcock ...
Cinema Research Corporation (CRC) was an American special effects company in Hollywood, California, and one of the first to produce effects, trailers, opticals, and titles under one roof. The company was the special effects industry leader for decades, until Industrial Light and Magic surpassed them in the late 1980s. [ 1 ]
In an article for the Criterion Collection, Brock DeShane quotes Tom Sullivan, special effects and makeup artist for the Evil Dead movies, about seeing the film. I had seen Equinox at least twice in drive-ins before making Evil Dead. I don't recall having discussed it with [Evil Dead director] Sam Raimi, but the similarities are remarkable. I ...
March is Women’s History Month , which means it’s time to spice up our streaming queue with the best feminist movies. And thanks to streaming platforms like...
'Erika's Hot Summer' In case you can't tell from this truly iconic poster, Erika's Hot Summer is the most '70s thing ever. And, surprisingly, the plot is vaguely low-key romantic, about a "ladies ...
Victoria Alexander of Filmsinreview.com wrote that "The Time Machine is a loopy love story with good special effects but a storyline that's logically incomprehensible," [18] noting some "plot holes" having to deal with Hartdegen and his machine's cause-and-effect relationship with the outcome of the future.
Good Time: After a bank robbery gone wrong, protagonist Connie Nikas does everything in his power to bail out and rescue his mentally handicapped brother from police custody while evading capture himself. Connie ends up breaking out a different convict "Ray" that happened to be in the same hospital as his brother, but uses this to his advantage.
Splatter films, according to film critic Michael Arnzen, "self-consciously revel in the special effects of gore as an artform." [5] Where typical horror films deal with such fears as that of the unknown, the supernatural and the dark, the impetus for fear in a splatter film comes from physical destruction of the body and the pain accompanying it.