Marty Melville, an itinerant collector of arcane movie ephemera, wandered the wilderness of the internet lo these many years till one day he vanished with little but a geiger counter and an empty bottle of Blatz to mark his exit. Now he’s back among friends at Trailers From Hell. As you’ll see, all he needs is a good ad mat and he’ll be a happy spelunker. We hope you enjoy the humble results of his pursuits.
This week, a look at a few of Hitchcock’s opening days.
Rebecca – Thursday, March 28, 1940 / Foreign Correspondent – Tuesday, August 27, 1940
Shadow of a Doubt – January 12, 1943 / Notorious – Thursday, August 15, 1946
Strangers On a Train – Tuesday, July 3, 1951 / Rear Window – Wednesday, August 4, 1954
Tuesday, May 15, 1956 / Vertigo – Wednesday, May 28, 1958 (with some vampire movie hogging the limelight)
North By Northwest – Thursday, August 6, 1959 / Psycho – Thursday, June 16, 1960
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This week, a look at a few of Hitchcock’s opening days.
Rebecca – Thursday, March 28, 1940 / Foreign Correspondent – Tuesday, August 27, 1940
Shadow of a Doubt – January 12, 1943 / Notorious – Thursday, August 15, 1946
Strangers On a Train – Tuesday, July 3, 1951 / Rear Window – Wednesday, August 4, 1954
Tuesday, May 15, 1956 / Vertigo – Wednesday, May 28, 1958 (with some vampire movie hogging the limelight)
North By Northwest – Thursday, August 6, 1959 / Psycho – Thursday, June 16, 1960
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- 10/7/2017
- by Marty Melville
- Trailers from Hell
Since any New York cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Metrograph
A full-career Brian De Palma retrospective is now underway. Sisters and Carrie play on Friday, and Saturday brings The Phantom of the Paradise — but that’s not even half of the first weekend.
Prints of Gilda, Space Jam, and shorts by Charles and Ray Eames screen this Saturday.
Museum of the Moving Image
Discover the...
Metrograph
A full-career Brian De Palma retrospective is now underway. Sisters and Carrie play on Friday, and Saturday brings The Phantom of the Paradise — but that’s not even half of the first weekend.
Prints of Gilda, Space Jam, and shorts by Charles and Ray Eames screen this Saturday.
Museum of the Moving Image
Discover the...
- 6/3/2016
- by Nick Newman
- The Film Stage
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The director of Once, Begin Again and Sing Street talks to us about his new film, getting films noticed, and Hollywood...
Well, Sing Street is just great. The new movie from writer-director John Carney, it tells the story of a young Irish teenager by the name of Cosmo, who – long story short – sets up a band to impress a girl. Yet that sells a funny, nerdy and quite brilliant film short.
Director John Carney – off the back of Once and Begin Again – made the movie. And he spared us some time for a chat about it…
Huge congratulations on Sing Street, which is one of our favourite movies of the year. It’s interesting, though, that it opens opposite a not-very-good X-Men movie this week, and they’re going head to head!
Oh great! [Laughs] That’s like Bernie Sanders and Trump!
I did wonder how you felt about it!
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The director of Once, Begin Again and Sing Street talks to us about his new film, getting films noticed, and Hollywood...
Well, Sing Street is just great. The new movie from writer-director John Carney, it tells the story of a young Irish teenager by the name of Cosmo, who – long story short – sets up a band to impress a girl. Yet that sells a funny, nerdy and quite brilliant film short.
Director John Carney – off the back of Once and Begin Again – made the movie. And he spared us some time for a chat about it…
Huge congratulations on Sing Street, which is one of our favourite movies of the year. It’s interesting, though, that it opens opposite a not-very-good X-Men movie this week, and they’re going head to head!
Oh great! [Laughs] That’s like Bernie Sanders and Trump!
I did wonder how you felt about it!
- 5/18/2016
- Den of Geek
There's a memorable sex scene about a quarter of the way through "The Handmaiden," where Sook-hee (Kim Tae-ri), the young maid tasked with deceiving Lady Hideko (Kim Min-hee) into marrying the devious con man who masquerades as Count Fujiwara (Ha Jung-woo), sleeps with her instead. The passionate moment ends on the brink of sensual bliss, as Sook-hee makes her way between her employer's thighs. But it's not the last time the scene plays out, and eventually, Park reveals the naughtier details that come next. This is, after all, a director known for stylized excess. Even in the context of an elegant period piece, his street cred is secure: Park holds nothing back. Nor does he seem capable of vanishing into someone else's material. Having previously reworked "Shadow of a Doubt" for his uneven English-language effort "Stoker," the Korean director now adapts Welsh author Sarah Water's "Fingersmith" into his own country's history,...
- 5/15/2016
- by Eric Kohn
- Indiewire
Filmmaker Mickey Keating, an indie-horror workhorse who churns out films quicker than SyFy and their Sharknado obsession, has even more updates out of South By Southwest on his new film, the simply-titled Psychopaths.
To this point, we know who the cast is comprised of, and it’s a venerable wealth of genre riches. As announced so far, actors include Mark Kassen, James Landry Hébert, Ivana Shein, Ashley Bell, Angela Trimbur, Jeremy Gardner, Helen Rogers, Graham Skipper, Matt Mercer, Sam Zimmerman, and Larry Fessenden. This is common knowledge, but what comes next is a little taste of the film’s body and soul.
While chatting with Keating about his SXSW Midnighter, Carnage Park, he let me know what to expect from Psychopaths:
…I wanted to make Psychopaths ultra-glamorous, and really colorful. All about composition and camera-movement as much as it’s about the characters. We looked to movies like Dressed To Kill,...
To this point, we know who the cast is comprised of, and it’s a venerable wealth of genre riches. As announced so far, actors include Mark Kassen, James Landry Hébert, Ivana Shein, Ashley Bell, Angela Trimbur, Jeremy Gardner, Helen Rogers, Graham Skipper, Matt Mercer, Sam Zimmerman, and Larry Fessenden. This is common knowledge, but what comes next is a little taste of the film’s body and soul.
While chatting with Keating about his SXSW Midnighter, Carnage Park, he let me know what to expect from Psychopaths:
…I wanted to make Psychopaths ultra-glamorous, and really colorful. All about composition and camera-movement as much as it’s about the characters. We looked to movies like Dressed To Kill,...
- 3/17/2016
- by Matt Donato
- We Got This Covered
Two new analyses of the director’s macabre imagination offer equally compelling explanations for the big-screen nightmares he created
Hitchcock, described by a colleague as “a know-it-all Sob”, was the man who knew too much about us. His films exploited our abiding terrors – beaked raptors assaulting us from the skies, a loose stair opening an abyss beneath our feet, nourishment concealing death in a glass of bedtime milk – and added a new one when he made the shower a last redoubt of quaking vulnerability. Those who write about him have an anthropological conundrum to puzzle over: why are these irrational alarms so inescapable and why do we so enjoy being tormented when we watch The Birds, Shadow of a Doubt, Suspicion, Psycho and the rest?
The newest books on Hitchcock answer the questions in different ways. Peter Ackroyd sees him as a case for Freudian treatment, who assumed that his neuroses were universal.
Hitchcock, described by a colleague as “a know-it-all Sob”, was the man who knew too much about us. His films exploited our abiding terrors – beaked raptors assaulting us from the skies, a loose stair opening an abyss beneath our feet, nourishment concealing death in a glass of bedtime milk – and added a new one when he made the shower a last redoubt of quaking vulnerability. Those who write about him have an anthropological conundrum to puzzle over: why are these irrational alarms so inescapable and why do we so enjoy being tormented when we watch The Birds, Shadow of a Doubt, Suspicion, Psycho and the rest?
The newest books on Hitchcock answer the questions in different ways. Peter Ackroyd sees him as a case for Freudian treatment, who assumed that his neuroses were universal.
- 4/13/2015
- by Peter Conrad
- The Guardian - Film News
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