Super Bowl Sunday played a series of teasers for Scary Stories to Tell in the Dark. Guillermo del Toro’s adaptation of the hit children’s book series by Alvin Schwartz.
Scary Stories to Tell in the Dark follows a group of young teens who must solve the mystery surrounding sudden and macabre deaths in their small hometown. Watch all four teasers below.
The film is directed by André Øvredal from a script by del Toro and Daniel and Kevin Hageman (Lego Movie). Zoe Colletti, Michael Garza, Gabriel Rush, Austin Abrams, Dean Norris, Gil Bellows, Lorraine Toussaint, Austin Zajur, and Natalie Ganzhorn star. It was first announced del Toro was had come on board to develop the film in 2016.
CBS Films and Entertainment One are co-financing, with CBS Films handling U.S. distribution as part of its ongoing deal with Lionsgate. The original book trilogy, with illustrations from Stephen Gammell, was published in the ’80s and early ’90s and has sold more than 7 million copies worldwide.
Dick Miller, prolific screen actor and B-Movie legend, best known for his role as Murray Futterman in the 1984 classic horror film Gremlins, has died. He was 90.
With a career spanning more than 60 years, Miller has made hundreds of on screen appearances, beginning in the 1950’s with legendary director and producer Roger Corman. It was then that he starred as Walter Paisley – a character the actor would reprise throughout his career – in the cult classic “A Bucket of Blood,” before going on to land roles on projects such as The ‘Burbs, Fame and The Terminator.
Miller also boasts a long history of high-profile director partnerships, working with the likes of James Cameron, Ernest Dickerson, Martin Scorsese, John Sayles and, perhaps most notably, Joe Dante, who used Miller in almost every project he helmed.
In one of Dante’s earlier films, Piranha, Miller played Buck Gardner, a small-time real estate agent opening up a new resort on Lost River Lake. The only catch? A large school of genetically altered piranha have accidentally been released into the resort’s nearby rivers. Next up was a police chief role in the 1979 film Rock ‘n’ Roll High School before reprising the Walter Paisley mantle as an occult bookshop owner in Dante’s 1981 horror film The Howling.
Other notable appearances include the 1986 cult favorite Night of the Creeps, where he shared the screen with Tom Atkins as a police ammunition’s officer named Walt – he supplies Atkins with some necessary firepower in the face of an alien worm-zombie invasion – and a pawnshop owner in James Cameron’s 1984 hit The Terminator; the same year he appeared in yet another of Dante’s films, Gremlins.
Most recently, Miller reprised the role of Walter Paisley for a final time as a rabbi in Eben McGarr’s horror film Hanukkah.
Miller is survived by his wife Lainie, daughter Barbara and granddaughter Autumn.
Dante called him “one of his most treasured collaborators,” writing, “I ‘grew up’ (kinda) watching Dick Miller in movies from the 50’s on and was thrilled to have him in my first movie for Roger Corman.”
I love Nic Roeg movies. Along with Ken Russell he was an artistic touchstone in the British film industry through the 70’s and 80’s, they were provocative, original, broke new ground, caused trouble and most important, were never boring. Nic Roeg died on Sunday aged 90, rest in peace.
From his early years as a clapper boy, Roeg had progressed to world-class cinematographer, working for second unit camera under Freddie Young on David Lean’s masterpiece Lawrence of Arabia (1962). Roeg’s work on this led to important credits including Roger Corman’s The Masque of the Red Death (1964), Francois Truffaut’s Fahrenheit 451 (1966) and on John Schlesinger’s Far From the Madding Crowd (1967).
By the late 60s, after a career in cinematography which would have been quite enough for most mortals, he came to directing remarkably late: Performance (1970) Walkabout (1971), Don’t Look Now (1973), The Man Who Fell to Earth (1976) and Bad Timing (1980). And even after that he continued to make excellent movies, including Eureka (1983), Insignificance (1985), the fantasy of Marilyn Monroe meeting Albert Einstein, Track 29 (1988), the sensually charged Dennis Potter drama with Gary Oldman and Roeg’s partner Theresa Russell, and his excellent Roald Dahl fantasy The Witches (1990) with Anjelica Huston.
After his run of brilliant films in the 70s, the British antipathy to experimentation, and films lacking conventional narrative-based realism, resulted in the comparative neglect of Roeg had no liking for self-publicity, which resulted in some projects falling to other directors. As he remarked, he “refused to join the club”.
What an extraordinary film-maker Nic Roeg was, a man whose imagination and technique could not be confined to conventional genres. He should be remembered for a clutch of masterly films, but perhaps especially for his classic Don’t Look Now, not merely the best British scary movie in history, but one infused with compassion and love.
The newly restored version of the 1910 Frankenstein is available on the Library of Congress YouTube channel and in the National Screening Room, a recently launched digital collection of films. And, like most films on the NSR, it’s freely downloadable in both ProRes LT and MPEG-4 formats, complete with the Sosin score.
Vampyr (OST) – Teaser from Chiara KickDrum on Vimeo.
The KinoKonzert series brings together a legendary silent film with a contemporary electronic soundtrack: watch Melbourne-based DJ and composer Chiara Kickdrum as she presents her original score live on stage to the German–French horror film Vampyr, directed in 1932 by visionary director, Carl Theodor Dreyer.
21 Sep 2018: Melbourne, ACMI TIX
26 Sep 2018: Sydney, Event Cinemas George Street TIX
28 Sep 2018: Canberra, NFSA TIX
As we near the start of Westworld Season 2, the marketing machine has clicked into gear, teasing with a new teaser , revised new website HERE and cool poster with hidden binary code. Producers Jonathan Nolan spoke to EW today:
“We don’t like to endlessly build mystery; we like to settle our debts by the end of the season,” Nolan said. “We want to feel like the show is rocketing ahead. The first season was a journey inward; this is a journey outward. It’s a search for what else is in the park, and what else is beyond the park.”
As this show attempts to question our understanding of reality, we still haven’t explored outside the confines of this manufactured theme park.
“If we were to describe the show as one camera angle, it would be a steady pull out revealing more and more context,” Nolan says. “So as the hosts learn more about their world—and other worlds, and the real world—the audience is doing the same thing.”
While the creators were hesitant to say if they’d be spending much time in Shogun World, they do confirm that it will take place outside of Westworld.
“This year is much more of a road show—Sweetwater isn’t home anymore,” Nolan tells EW, teasing that leaving behind Westworld is only the beggining into where and when the real world begins. “These hosts don’t live on the same time frame we do and don’t have the four-year life span of replicants [like in Blade Runner]. If left to their own devices, they could live forever. So our story has some real scope to it.”
Certainly they’ve left it open for the inevitable Seasons 3-7, but for now, I can’t wait to see where Season 2 takes us next month.
A fantastic Indiegogo campaign for all fans of Planet of the Apes. For over a century, Makeup Artists have dazzled audiences by creating extraordinary characters and creatures on screen. They make the impossible seem possible. 50 years ago, a group of ambitious artists led by JOHN CHAMBERS and TOM BURMAN ushered in a new era in cinema with their ground-breaking work on PLANET OF THE APES.
Now… MAKING APES: THE ARTISTS WHO CHANGED FILM is telling that incredible story!
Back the project HERE
MAKING APES: THE ARTISTS WHO CHANGED FILM is an upcoming feature length documentary about the Hollywood makeup artists who created the iconic makeups seen in the original 1968 classic Planet of the Apes and their impact on cinema.
Featuring interviews with makeup artists and actors from the original film franchise, modern makeup artists and filmmakers who were deeply influenced by the franchise and film historians who recognize Planet of the Apes as a breakthrough moment in cinema, this is a story 50 years in the making.
Many regard Planet of the Apes as a breakthrough moment for the motion picture industry. It is the film that proved anything could be done on screen. The impact was so great that makeup artist John Chambers was presented an Honorary Academy Award for Excellence in Makeup almost 12 years before The Oscars created a yearly category for the craft.
While Hollywood has suffered one of the worst summers in years, the horror genre is laughing all the way to the bank. Universal kicked the year off with massive successes, including Jordan Peele’s Get Out and M. Night Shyamalan’s Split, both topping $250 million worldwide. Even David F. Sandberg’s Annabelle: Creation could topple $300m. While we’re all celebrating these successes none are as important as Warner Bros./New Line Cinema’s IT, which has shattered September records by topping $100 million during its opening weekend.
That $117 million is just in the States, with early international reports just coming in adding $62m to the total. Early Sunday morning estimates have the worldwide gross at $179 million. A $500+ million worldwide total would be some accomplishment, at this stage that looks likely and something no one was saying before last Thursday!
IT could initiate a revival in bigger budget horror…
So soon after the passing of George Romero, it’s sad to report that Tobe Hooper, the horror director best known for helming The Texas Chain Saw Massacre and Poltergeist, died Saturday in Sherman Oaks, Calif., according to the Los Angeles County Coroner. He was 74. The circumstances of his death were not known.
The influential 1974 The Texas Chain Saw Massacre became a seminal horror title for its realistic approach and deranged vision. Shot for less than $300,000, it tells the story of a group of unfortunate friends who encounter a group of cannibals on their way to visit an old homestead. Though it was banned in several countries for violence, it was one of the most profitable independent films of the 1970s in the U.S. The character of Leatherface was loosely based on serial killer Ed Gein.
Hooper also directed the 1986 sequel The Texas Chainsaw Massacre 2, which took a more comedic approach, as part of his Cannon Films deal.
The 1982 Poltergeist, written and produced by Steven Spielberg, also became a classic of the genre. The story of a family coping with a house haunted by unruly ghosts starred JoBeth Williams and Craig T. Nelson. The film was a box office success for MGM and became the eighth-highest grossing film of the year.
After Poltergeist, Hooper directed two movies for Cannon Films, Lifeforce and Invaders from Mars, a remake of the 1953 alien movie.
His 1979 CBS miniseries adaptation of Stephen King’s bestselling novel Salem’s Lot is considered by many fans to be a high-water mark in televisual horror. Combining the intrigue of a nighttime soap opera with the gothic atmosphere of a classic horror film, the two-part program was eventually reedited and released theatrically throughout Europe.
He continued working in television and film throughout the 1990’s and 2000’s, but none of the films had the impact of his early works. His other more recent works included Toolbox Murders, Crocodile, and Mortuary.
Among his other works was the music video for Billy Idol’s “Dancing With Myself.” In 2011 he co-authored a post-modern horror novel titled “Midnight Movie” in which he himself appeared as the main character.
Hooper continued to work on various TV series and films up until 2013, when his last film, Djinn, set in the United Arab Emirates and produced by Image Nation, was released. He is survived by two sons.
Described as Ghostbusters meets The Matrix in this experimental short film from the makers of Wyrmwood: Road of the Dead!
Check out more from these guys at: https://www.facebook.com/wyrmwoodmovie/
Director Neill Blomkamp is known for inventive depictions of extraterrestrial warfare, like in District 9 (2009) and Elysium (2013). True to form, his latest short, Rakka, features a richly textured post-apocalyptic world where humans and otherworldly creatures battle over their entwined fates. And in keeping with sci-fi tradition, the queen of alien ass-kicking, Sigourney Weaver, leads a group of people who have planned a rebellion against the creatures who “came here to exterminate us.”
Rakka does feel somewhat like an extended trailer, and that is by design. The film is the first release from Blomkamp’s new venture, Oats Studios, which is an experimental incubator for feature-length ideas and new storytelling formats. The studio has released the film for free, but asks audiences to support its future work by voluntarily paying for the work in return for some digital assets like scripts, concept art, and 3D models.
Blomkamp told The Verge that Rakka is just the seed of a larger project, whose form is yet unknown. “Rakka feels like it could almost be more of an episodic thing,” he said, “because there’s a lot of avenues to explore. The footage is too unconventional and weird [for a mainstream feature], and the audience has to think of the footage as a snapshot of the window of this world.”
If you loved Aussie zom flick Wyrmwood: Road Of The Dead, check out this peek at the TV series Wyrmwood: Chronicles Of The Dead. It’s gore-tastic.
Check out their facebook page HERE
The actor Geoffrey Bayldon has died aged 93. The actor who starred in the much-loved 1970’s television series Catweazle, was partly brought to his most famous role by the chastening experience of rejecting the chance to be the first Doctor Who. Bayldon, was approached to play the Doctor in 1963. But the Time Lord was scripted as an eccentric old man, and Bayldon, then in his late 30’s, was wary of being typecast in such roles, even though he was exceptionally good at them. With no inkling of the success Doctor Who would turn out to be, and put off by the punishing filming schedule, he turned the offer down after only 10 minutes’ consideration.
He later admitted to regretting the decision, and when another high-profile TV role – to play the even older and markedly more eccentric Catweazle – came his way in 1969, he had no second thoughts. The character of Catweazle – a wild-eyed 11th-century magician transported into the modern world – suited Bayldon to a T, and in fact the creator of the series, Richard Carpenter, had written the script with him in mind. Bayldon took on the part enthusiastically, creating one of the most instantly recognisable and enchanting TV characters of the era.
In a Sunday afternoon slot on ITV, Catweazle’s 26 episodes drew audiences of many millions as they charted the light-hearted adventures of the ragged-cloaked, pointy-bearded hero and his “familiar’, the toad Touchwood. Inadvertently thrown through time by his own inept sorcery into the bewildering landscape of 20th-century England – where he saw magic in everything, including the “electrickery” of lightbulbs and the amazing “tellingbone” that allowed people to communicate with each other – Catweazle muddled his way through misunderstandings and escapades as he attempted to find the magic spell that would return him to his own era.
The programme ran from February 1970 to April 1971, and its gentle humour and Bayldon’s star quality made it immensely popular with children and adults alike. It generated spin-offs such as Christmas annuals, books and a series of comic strips. The two series, preserved on DVD, still have a cult following and even today there is a large and active Catweazle fanclub… I still have a Catweazle Annual from he early 70’s.
Bayldon put his heart and soul into the series, not least in the makeup department, where he would spend an hour and a half each day transforming his appearance. He invested Catweazle with much of his own engaging personality and animated him with mannerisms, tics and catchphrases.
Catweazle became Bayldon’s lead into dozens of other TV roles, including the equally crusty Crowman in the late 1970’s Worzel Gummidge series, alongside Jon Pertwee and Una Stubbs. But he had originally set out as a theatre actor and initially paid little attention to the small screen.
Bayldon was born in Leeds, his father a tailor and his mother a head teacher. Although neither parent had any noticeable acting talent, Bayldon inherited his mother’s flair for narration, and traced his love of the stage to a debut at the age of four in a school play, in which he portrayed a robin.
After spending three quiet second world war years stationed at Yorkshire airfields with the RAF, during which time he appeared in many revues, he began training as a professional actor in 1947 at the Old Vic theatre school in London.
Bayldon spent two seasons as a successful Shakespearean actor at Stratford, playing alongside John Gielgud in Measure for Measure and Julius Caesar (both in 1950). For a further two years, he was with the Birmingham repertory theatre, with whom he appeared as Caesar at the Old Vic and, to rave reviews, in Paris.
Eventually, however, he felt he should be making concessions to the popular new medium of television, and he moved to London. There he took roles in a number of live BBC Wednesday plays, and began to appear in episodes of series including The Avengers and The Saint.
His triumph as Catweazle sealed his TV reputation, drawing him into countless series and dramas including All Creatures Great and Small, The Tomorrow People, Tales of the Unexpected, Blott on the Landscape and Rumpole of the Bailey. In three 1979 episodes of Doctor Who he was Organon the astrologer – during the Tom Baker era – and even played an alternative version of the Time Lord in two audio versions of Doctor Who stories released in 2003 and 2005.
Bayldon made numerous film appearances, rubbing shoulders with greats such as Sidney Poitier (To Sir With Love, 1967), Peter Sellers (Casino Royale, 1967, and The Pink Panther Strikes Again, 1976), Albert Finney (Scrooge, 1970) and Vincent Price (The Monster Club, 1981).
His TV acting continued well into his 80s, when he noted that he was still well qualified to play old men, and he had credits in Midsomer Murders, Heartbeat, Casualty, New Tricks and My Family in more recent years. He would attend the annual gathering of the Catweazle fanclub with enthusiasm, and in 2005 revealed that he had finally been able to watch the show with a sense of detachment. “I turned it on and I was sitting back watching myself without being conscious at all that it was me,” he said. ‘“And I was jaw-dropped. I suddenly thought: ‘This fella’s bloody good.’”
I also thought he was great in Born to Boogie (1972) but that may be because I was a huge T-Rex fan as a kid.
Rest in Peace Geoffrey.
Jonathan Demme, the Oscar-winning filmmaker who observed emphatically American characters with a discerning eye, a social conscience and a rock ’n’ roll heart, achieving especially wide acclaim with The Silence of the Lambs and Philadelphia, died on Wednesday at his home in Manhattan. He was 73.
His publicist, Leslee Dart, confirmed the death. Mr. Demme disclosed that he had cancer in 2015.
Mob wives, CB radio buffs and AIDS victims; Hannibal Lecter, Howard Hughes and Jimmy Carter: Mr Demme (pronounced DEM-ee) plucked his subjects and stories largely from the stew of contemporary American subcultures and iconography. He created a body of work — including fiction films and documentaries, dramas and comedies, original scripts, adaptations and remakes — that resists easy characterization.
Robert Jonathan Demme was born on Long Island, in Baldwin, on Feb. 22, 1944, and grew up mostly in nearby Rockville Centre, where he listened to music and went to the movies.
The family moved to Miami, where Jonathan went to high school and worked in a kennel and an animal hospital. Wanting to be a veterinarian, he attended the University of Florida with that in mind until he failed chemistry, at which point he went to the university newspaper, discovered it had no movie critic, and assumed the job himself, he said, so that he could get into movies free.
It happened that Mr. Levine was on vacation in Miami Beach, staying at the Fontainebleau Hotel, where he had become acquainted with the hotel’s publicist, Robert Demme. The elder Demme introduced Mr. Levine to his son, whose review of Zulu impressed him. Mr. Levine offered him a job.
A personable man with the curiosity gene and the what-comes-next instinct of someone who likes to both hear and tell stories, Demme had a good one of his own, a Mr. Deeds kind of tale in which he wandered into good fortune and took advantage of it. A former movie publicist, he had an apprenticeship in low-budget B-movies with the producer Roger Corman before turning director.
In 1971, he took a job as a unit publicist in Ireland for a Roger Corman film, Von Richthofen and Brown, about a German flying ace. Shortly after that, he began making films of his own for Corman’s production company. He wrote (with Joe Viola) and produced a biker film, Angels Hard as They Come, and wrote and directed a handful of others, including Caged Heat (1974), a heavy-breathing women’s prison movie, and Crazy Mama (1975), a campy road story with a ’50s rock score that starred Ann Sothern and Cloris Leachman as mother-and-daughter outlaws.
Demme then became known early in his career for quirky social satires that led critics to compare him to Preston Sturges. They included Handle With Care (1977), originally titled Citizens Band, and Melvin and Howard (1980), a tale inspired by true events.
“Music was my first love, movies came second,” Demme once told the New York newspaper The SoHo News. In a 1988 interview with Premiere magazine, he said: “I grew up with rock ’n’ roll — literally,” adding, “The first rock song I remember was ‘Sh-Boom,’ and since then I’ve never stopped obsessing on at least something.”
“I can’t think of any other director who is so instinctively and democratically interested in everybody he shows you,” Kael wrote.
David Byrne of Talking Heads Demme worked together frequently, notably on Stop Making Sense, a 1984 concert film about Talking Heads that many critics (and filmgoers) found mesmerizing, though it had few filmic bells and whistles. (Demme preferred to call it a “performance film” because, he said, it wasn’t about the concert experience — he didn’t show the audience until the end.)
Mr. Byrne also scored Demme’s Married to the Mob, a gaudy 1988 farce in which Michelle Pfeiffer plays the wife of a Long Island gangster (Alec Baldwin) who tries to exit the mob life after her husband is bumped off when he dallies with the girlfriend of the local boss (Dean Stockwell). Things get especially dicey when she moves with her young son into a shabby Manhattan apartment and strikes up a romance with an F.B.I. agent (Matthew Modine) who has her under surveillance.
Later, as a known commodity, Mr. Demme directed prestige Hollywood projects like Beloved (1998), an adaptation of Toni Morrison’s novel about the lingering, post-Civil War psychological horror of slavery, with Oprah Winfrey and Danny Glover in starring roles, and The Manchurian Candidate (2004), a remake of the 1962 Cold War drama of the same title about a brainwashed American prisoner of war. Mr. Demme’s updated version, starring Denzel Washington, Meryl Streep and Liev Schreiber, takes place during the Persian Gulf war.
Demme may be best remembered for two films from the 1990s that were, at the time, his career’s biggest anomalies. The first, The Silence of the Lambs (1991), was a vivid thriller based on the novel by Thomas Harris that earned five Oscars, including best picture and best director. Unlike his previous films, with their mischievous pleasure and tender melancholy, this was straightforward and serious storytelling with only a few moments of shivery humor.
The story is told largely from the perspective of an F.B.I. trainee who becomes a key figure in the pursuit of a serial killer known as Buffalo Bill when she is assigned to conduct a prison interview with Hannibal Lecter, a mad and murderous psychiatrist, hoping to extract from him clues to Bill’s identity.
Officially Licensed RE-ANIMATOR Trading Cards!
THE ULTIMATE SET IF YOU WANT EVERYTHING IN THIS COLLECTION!
THIS SEALED BOX OF 24 WAX PACKS INCLUDES:
– 2 Full Base Sets
– 2 Full Sticker Sets
– ALL 23 Chase Cards
– 1 Sketch Card
– 1 Signature Card (Autographed by Barbara Crampton!)
These awesome ‘disposable income’ cards are available to pre-order from Fright Rags HERE
Directed by Nik Kacevski
Written by Nik Kacevski and Tess Meyer
Produced by George Kacevski, Tess Meyer, and Enzo Tedeschi
Starring Joshua Brennan, Charlotte Best, Coco Jack Gillies, Kaitlyn Boyé, Joshua Morton, Roger Sciberras, Ric Herbert, Georgia Scott and Diana Popovska
It was supposed to be so simple. You do a job, you make the meet, you get paid.
As an experienced flipper, Jimmy “Skinny” Skinford knows the protocol all too well. Having said that, being kidnapped and forced to dig your own grave will spanner the nicest of deals in the sharpest of ways.
But his fortune turns when a push of his dead man’s shovel unearths the opportunity of a life time; a woman, buried but still breathing, who just can’t seem to die. Her mysterious gift extends to others through touch and in her company Skinny launches head first into a scheme of unparalleled mayhem.
Coming face to face with the most depraved deviates of the criminal underworld, Skinny will have to pay his dues in order to make the meet, get his payload and have his chance at immortality.
But this gift horse comes with plans of her own, and dark consequences that threaten to sever Skinny’s world piece by piece.
Skinford will have it’s world premiere at Event Cinemas George Street, Sydney, on Sunday, March 12 at 7pm. Tickets available HERE
Sir John Hurt, who won a BAFTA and an Oscar nomination for his iconic portrayal of the Elephant Man, has died. The star, one of Britain’s most treasured actors, died aged 77 at his home in Norfolk after a long battle with pancreatic cancer, it was revealed yesterday.
His widow, Anwen Hurt, today said it will be ‘a strange world’ with out the actor, whose death has prompted an outpouring of grief from the showbusiness industry, with director Mel Brooks and J K Rowling among those paying tribute. Mrs Hurt added: ‘John was the most sublime of actors and the most gentlemanly of gentlemen with the greatest of hearts and the most generosity of spirit. He touched all our lives with joy and magic and it will be a strange world without him.’
Despite revealing that he had been diagnosed with pancreatic cancer in the summer of 2015, Hurt was matter-of-fact about his mortality.
Speaking to the Radio Times, he said: ‘I can’t say I worry about mortality, but it’s impossible to get to my age and not have a little contemplation of it. We’re all just passing time, and occupy our chair very briefly,’ he said.
Born in Derbyshire in 1940, the son of a vicar and an engineer, Hurt spent what he described as a lonely childhood at an Anglo-Catholic prep school before he enrolled at a boarding school in Lincoln.
His acting aspirations were almost shattered forever by his headmaster’s insistence that he did not stand a chance in the profession. He left school to go to art college but dropped out, impoverished and living in a dismal basement flat.
He finally plucked up enough courage to apply for a scholarship and auditioned successfully for the Royal Academy of Dramatic Art in London, although he later recalled being so hungry he could hardly deliver his lines.
Hurt played a wide range of characters over the course of 60 years, was well known for roles including Quentin Crisp in The Naked Civil Servant, the title role in The Elephant Man and more recently as wand merchant Mr Ollivander in the Harry Potter films. However, John Merrick notwithstanding here are a few of my personal favourte John Hurt roles:
Playing Timothy Evans, who was hanged for murders committed by his landlord John Christie, played chillingly by Richard Attenborough in 10 Rillington Place (1971), earning John Hurt his first BAFTA nomination for Best Supporting Actor/
Hurt was fantastic in Midnight Express (1978), for which he won a Golden Globe and a BAFTA and was nominated for an Academy Award for Best Supporting Actor. Around the same time, he lent his voice to Ralph Bakshi’s animated film adaptation of Lord of the Rings, playing the role of Aragorn. Hurt also voiced Hazel, the heroic rabbit leader of his warren in the exceptional film adaptation of Watership Down (both 1978) and later played the major villain, General Woundwort, in the animated television series.
His other role at the turn of the 1980s included Kane, the first victim of the title creature in the Ridley Scott film Alien (1979, a role which he reprised as a parody in Spaceballs). Gilbert Ward “Thomas” Kane is the Nostromo‘s executive officer, who during the investigation of a wrecked ship, moves closer to an egg to get a closer look. The now iconic ‘facehugger’ attaches to him and, unbeknownst to him and the crew, impregnates him with an Alien embryo. Kane remains unconscious until the facehugger dies and falls off. At dinner afterwards, Kane goes into convulsions; an infant Alien bursts through his chest, killing him in one of cinemas most famous scenes.
Hurt played Winston Smith in the film adaptation of George Orwell’s novel Nineteen Eigthy-Four (1984). Also in 1984, Hurt starred in The Hit an under-rated British crime film directed by Stephen Frears which also starred Terence Stamp and Tim Roth.
Dead Man (1995) a twisted and surreal Western, written and directed by Jim Jarmusch which also starred Johnny Depp, Billy Bob Thornton, Iggy Pop, Chrisin Glover and Robert Mitchum (in his final film role).
He also featured in a few graphic novel adaptations before they became big business for everyone, Hellboy (2004) and it’s sequel Hellboy II: The Golden Army (2008) based on the graphic novels by Mike Mignola are great fun. He also took a similar role to that of Big Brother in the film V For Vendetta (2006), when he played the role of Adam Sutler, leader of the fascist dictatorship.
More than thirty years after The Naked Civil Servant, Hurt reprised the role of Quentin Crisp in An Englishman in New York (2009), which depicts Crisp’s later years in New York. Hurt also returned to Orwell’s Nineteen Eighty-Four, playing the on-screen Big Brother for Paper Zoo Theatre Company’s stage adaptation of the novel in June 2009.
Of his latter years I particularly enjoyed his portrayal of the crotchety and bigoted Old Man Peanut in 44 Inch Chest (2009), and his support roles in Brighton Rock (2010) and Tinker, Tailor, Soldier, Spy (2011).
Rest in Peace.
To celebrate the creepiest holiday of the year, Deadhouse Films are giving away, for FREE, either a DVD or BluRay of the worldwide phenomenon THE TUNNEL.
All they are asking is that you pay the cost of shipping this Australian flick to you from the Land Down Under.
One-week only, one disc per email address, but feel free to tell as many friends as you like!
The discs from this offer will be shipped together in mid-November once the promotion is over. Click on the link HERE and have your PayPal details handy…
The Boy is an original horror-thriller directed by William Brent Bell (The Devil Inside) starring Lauren Cohan (“The Walking Dead”).
Greta (Cohan) is a young American woman who takes a job as a nanny in a remote English village, only to discover that the family’s 8-year-old is a life-sized doll that the parents care for just like a real boy, as a way to cope with the death of their actual son 20 years prior. After violating a list of strict rules, a series of disturbing and inexplicable events bring Greta’s worst nightmare to life, leading her to believe that the doll is actually alive.