THE SENTINEL: WOMEN, THE DEVIL AND NEW YORK

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Nitehawk’s Senior Film Programmer Caryn Coleman writes on the devil, women, and New York in The Sentinel for Shock Til You Drop. Get Tickets to our 35mm screening of The Sentinel this weekend at midnite, part of our The Works: Jeff Goldblum

Are you one of the Legion?…

The devil certainly has a thing for New York women; at least in film. Like its striking satanic predecessor Rosemary’s Baby (1968), Michael Winner’s The Sentinel (1974) is rooted within an everyday reality. This makes it intimately relatable and, therefore, appropriately terrifying. These films exploit the familiarity of our shared experiences: who hasn’t been sad, wanted a family, or had trouble with a significant other? They place the idea horror within the context of the “home” which, as a literary Gothic staple has been going since the 1800s, but cinematically it represents that postmodern shift into the urban space where your neighbors, friends and lovers are whom you should now fear the most. This is especially true if you’re a young woman and only exacerbated if you’re a young woman living in a chaotic city like New York…READ THE REST

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Q&A: The Corrupt Cops of THE SEVEN FIVE

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On Saturday, May 9, Nitehawk hosted a panel discussion with the subjects of the new documentary THE SEVEN FIVE, which chronicles one of the largest police corruption cases in New York City history, where Michael Dowd and his cohorts made out big in crack infested East New York. Led by New York Observer journalist Joshua David Stein, Dowd and his crew, Walter Yurkiw, Kenneth Eurell (who turned on Dowd), and Dori Eurell in a frank discussion about the ugly combination of power, drugs, and money.

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Nitehawk Trailer: COLD WAR (May Brunch)

Red Dawn | Top Secret | The Hunt for Red October | Dr. Strangelove | Rocky IV

Fitfully bookended by the building and tearing down of the Berlin Wall, The Cold War certainly inspired a lot of articles, protests, books, espionage, and a diverse group of films. Get your papers in order and let’s hope we make it through Checkpoint Charlie because our COLD WAR series is waiting just over the border…

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“SuperTrash” author Jacques Boyreau on killer Shatner midnite IMPULSE

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Nitehawk is teaming up with Jacques Boyreau, author of SuperTrash: Hermaphro Chic, Movie Fetish and 21st Century Anxiety to present the 1974 trash classic IMPULSE (Buy Tickets) starring William Shatner as a murderous, polyester-clad gigolo. Below, Boyreau takes us through his choice…

Asked by Nitehawk’s John Woods to describe connections between SuperTrash and Impulse, I time-travel to a cinema-spot in San Francisco called The Werepad, where for twelve years — 1994 to 2006 — we pummeled our scene and screened many a film print, not to mention threw a whole bunch of uptempo parties. The Werepad, as witness-able from these interior pics, was not your average warehouse in the Bay, it was an architectural color of hell where we incubated among other items, a persuasion that became known as SuperTrash.

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I published a book recently under that title and according to some Ph.D. reviewers, I make Antonin Artaud seem sane. Therein situates my connection to Impulse, one of the more mental movies we archived during our SF stay. I guess you could say the deluge of childlike lunacy outputted by William Shatner in Impulse — so spoiled and needy and optimistic — was a cracked pat on our backs! Truly do certain movies fight for a right to be nuts; in that regard, Impulse is altruistic on behalf of many many jagged loads.

When Roger Ebert called the movies an “empathy machine,” he didn’t admit the system prefers giving deranged advice! Alas! Amen! Yo! Gimme Some Psycho!

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On Explorers: The Adventure Begins In Your Own Back Yard!  

explorers_slider-960x370Nitehawk’s projectionist Joe Muto writes about one of his favorite films, Explorers, that just so happens to be playing at brunch this weekend in 35mm. (Get Tickets)

This is the second time that I’ll have the pleasure of manually projecting an original print of a favorite childhood film of mine. A film that, 25 years ago, i never would have dreamt I’d be writing about, never mind projecting for an audience.  Fans of the genre should come out this weekend for Explorers. And if you’ve never seen it….well… just as the aliens says at the end of the film, “It’s the stuff that dreams are made of.”

Whenever I think about my absolute favorite films of all time, I’m reminded of something crucial. If the year 1985 was taken out of the equation, I’d be left with a giant hole in my soul.  In fact, something like 80% of what I love, what I know, what I understand about myself, would be lost.  It’s inconceivable. But 1985 man!  With Back To The Future, The Goonies, The Breakfast Club, and Return To Oz, it’s remarkable how much of my childhood loves stem from this particular year in history.

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Nitehawk Trailers: Tune In, Turn On (April Midnite)

Enter The Void | Pink Floyd: Live at Pompeii | Fritz the Cat | The Kentucky Fried Movie

It’s remarkable how being in all kinds of mind frames can really change your perspective and help you view things differently. What you choose to accept as reality moving forward is up to you! So begins our April midnite series Tune in, Turn on. Death could very well be only the beginning with one eye still firmly on your formal mortal existence.

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Bruce LaBruce on THE DRIVER’S SEAT (1974)

unnamedArtist, filmmaker, provocateur Bruce LaBruce talks about The Driver’s Seat, a film he selected and will introduce on April 29 at Nitehawk (get your tickets here)…

In the mid-eighties, my roommate Candy and I rented a movie called The Driver’s Seat at After Dark, the local video store. It starred Elizabeth Taylor, with a cameo by Andy Warhol, so we couldn’t have been more excited. I’d always heard it was a Eurotrashy B-movie and the VHS copy quality was terrible, as if it had been ripped from a television broadcast, so somehow I didn’t get it at the time. About five years ago I re-watched a much better quality version online and it was a revelation. 

Elizabeth Taylor’s performance in an extremely challenging role struck me as one of her best. (She made the film on two conditions: that she could choose the cinematographer, and that it should be as faithful as possible to Spark’s novel.) The direction, by Italian theatre, opera, and film director Giuseppe Patroni Griffi, adapting a very bizarre and audacious novel by Muriel Spark (she also wrote The Prime of Miss Jean Brodie), seemed remarkable. And it was shot by legendary cinematography Vittorio Storaro, who had already worked with Bertolluci on The Conformist and Last Tango in Paris, and would go on to shoot Apocalypse Now.

The Driver’s Seat, bathed in a magical golden light, represents one of my favourite pieces of cinematography. Beyond that, the film seems totally prescient and relevant today, with its numerous cataclysmic terrorist events, and Taylor’s complaints of violation at the airport security check. It’s also one of the most complex feminist statements of the seventies, serving as a kind of allegory for a woman in search of her ultimate orgasm. Incidentally, the film was produced by the nephew of director Roberto Rossellini, Franco, whose lover, Antonio Falsi, who also starred in Griffi’s ‘Tis Pity She’s a Whore (also shot by Storaro), plays the hot garage mechanic in The Driver’s Seat. Franco Rossellini also produced Caligula, which Falsi acted in, and both men were reputedly lost to AIDS.

See The Driver’s Seat in 35mm at Nitehawk Cinema on April 29 (purchase tickets here). And don’t miss the Bruce LaBruce film retrospective at the Museum of Modern Art (April 23–May 2, 2015). 

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Post No Bills: James Bond Posters from Around the World

The Deuce: A View to a Kill (1985, John Glen)
Thursday, March 12; 9:30pm | Buy Tickets

For over fifty years, the many faces of James Bond have won the hearts and minds of all mankind. From the very beginning, Bond was an international brand, spawning from the U.K. and then dotting the map in every viable market. The fun part about Bond’s global game of hopscotch, is that each market got their own twist on marketing, tweaking stills and bits of art to suit the locals’ taste. The nice result is a mis-mash of styles from slick Japanese collages to odd Thai reproductions.

Below we’ve cobbled together some of our favorite foreign Bond posters, starting form the 60s and moving all the way into modern times, when it becomes clear that savvy globalized studios have a stronger hold on marketing material.

Dr. No (1962) – Japanese01 Doc no Jap

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Introduction: Richard Stanley for LOST SOUL

Director Richard Stanley, subject of David Gregory’s documentary LOST SOUL: THE DOOMED JOURNEY OF RICHARD STANLEY’S ISLAND OF DR. MOREAU, has made special introduction to our midnite screenings of the film this weekend. Editor Douglas Buck will intro in person! Enjoy and get your tickets here.

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Nitehawk Trailers: COMMITTED

From Sam Fuller’s Shock Corridor in 35mm to a Live Sound Cinema presentation of Robert Weine’s The Cabinet of Doctor Caligari, Nitehawk looks at the mental institution in film with its March series COMMITTED.

 

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Nitehawk Trailers: Lil’ Terrors

Critters | Ghoulies | Leprechaun | Gremlins 2: The New Batch | Night of the Creeps

Big scares come in little packages with our Lil’ Terrors creature features. Size doesn’t matter for these aliens, ghouls, slugs, leprechauns, a cute monsters gone bad.

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Post No Bills: Polish Poster Artist “Basha”

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Twisted Romance: Possession (1981, Andrzej Zulawski)
Friday, February 20 & Saturday, February 21; Midnite | Buy Tickets

Polish posters have gained a kind of notoriety around the internet, mainly for being kind of crazy looking. One of our favorite posters from a Polish artist is the sensuous but repulsive poster for Andrzej Zulawski’s Possession (Pictured above). The artist behind this poster is Polish artist Barbara Baranowska, who also went by the shortened Basha. Her work is limited, only producing a few French film posters and Polish book covers, but her versatility is impressive.

Below we’ve cobbled together a collection of her work, from obscure Polish pictures to Hollywood features like The Sugarland Express, Goodbye Girl and The Paralax View.

Do widzenia, do jutra (1960)
Do widzenia, do jutra (1960)Dziewczyna z dobrego domu (1962)
Dziewczyna z dobrego domu (1962)
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Post No Bills: The Seedy 80’s Posters of Burt Reynolds

The Deuce: Sharky’s Machine (1981, Burt Reynolds)
Thursday, February 12; 9:30pm | 35mm | Buy Tickets

The 80s were kind of a mixed bag for ol’ Burt Reynolds. He worked consistently, which is always a plus, but he spent most of the decade slumming in in low-rent thrillers, cheap romantic comedies and dumb-as-hell Hal Needham movies. The result of Burt’s decade of hard work is something of a marvel when you condense it all down to just the one-sheets. Behold a decade’s worth of cheap skirts bound for soap opera stardom, every type of mustache you can think of, and a hairline that’s in full on retreat.

Rough Cut (1980)
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Smokey and the Bandit II (1980)
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Friday Links (February 6, 2015)

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Everything goes horribly wrong in trailer for ‘Island of Dr. Moreau’ doc ‘Lost Soul’ – via Entertainment Weekly.

2015 Sundance Film Festival winners – via the Hollywood Reporter.

The trailer for Magic Mike XXL is here! – via indiewire.

Harper Lee’s sequel to To Kill a Mocking Bird comes out this summer – via The Guardian

 

 

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