VIDEO: Remember When El-P and Killer Mike Came to Nitehawk and Nas Debuted a New Dilla Track?

Nas-Run-The-JewelsTo celebrate the release of their dynamite new record, Run the Jewels 2, rappers El-P and Killer Mike held a release party at Nitehawk to answer some questions, and to get drunk while watching The Warriors. Before they rolled out the gangland classic, the duo (and Mass Appeal’s Sacha Jenkins) brought out legendary Queensboro lyricist Nas, who debuted his new track “The Season,” produced by late Detroit producer J Dilla.

It was the track that launched a thousand blog posts. We were excited, the crowd was excited, El-P and Killer Mike were clearly excited. It was awesome. Video below.

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A Nite to Dismember, Part 2: Dracula – Prince of Darkness (1966)

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 A Nite to Dismember is Nitehawk’s annual Halloween movie marathon, five back to back horror films played until the crack of dawn. For its second year, N2D features five of the best horror sequels ever made: Evil Dead II, Bride of Frankenstein, Friday the 13th Part 2, and Return of the Living Dead.

Below, Hatched editor Kris King (@KrisKingTornado) discusses the night’s fourth film, Dracula: Prince of Darkness, Hammer’s second Dracula film featuring Christopher Lee in the count’s cloak.

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Every time I watch one of Hammer’s Dracula films I’m surprised at how much they remind me of the Friday the 13th series. Each film introduces a new batch of yahoos wandering about where they shoudn’t, they wake up Dracula, Dracula does his thing, and then he dies. Like Jason, killing Dracula is only a temporary solution. No matter what you do – set him on fire, drive a stake through his heart, douse him in holy water – the big man will inevitably finds his way back. (more…)

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A Nite to Dismember, Part 2: ‘Friday the 13th Part 2′ (1982)

dismember-splash2A Nite to Dismember is Nitehawk’s annual Halloween movie marathon, five back to back horror films played until the crack of dawn. For its second year, N2D features five of the best horror sequels ever made: Evil Dead II, The Bride of Frankenstein, Friday the 13th Part 2, and Return of the Living Dead.

Below, Fangoria editor Sam Zimmerman (@samdzimmerman) discusses the night’s third film, Friday the 13th Part 2.

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“Did you know a young boy drowned…?” asks Pamela Voorhees in Sean Cunningham’s Friday the 13th. This is a decent deal of time before the fright of our lives, before said young boy defies what we know to be the natural order of things and emerges ferociously—his sad deformity crafting a sort of sea monster—from Crystal Lake. But this brilliant nightmare, a terrifying epilogue by which to end one of the most iconic slashers of all time is ultimately a dreamy jolt. It’s Alice’s fractured mind, following a night of murder and campfire tales, at work. Surely, Jason couldn’t truly return. (more…)

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Q&A: STYLE WARS Producer Henry Chalfant & Guest Writers

On October 7, Nitehawk Cinema and Noisey presented legendary graffiti documentary Style Wars as part of our ongoing Music Driven series. Sacha Jenkins led a Q&A with the film’s producer Henry Chalfant, as well as several writers featured in the movie: Sharp, Spin, Crime 79, Sak and Kr.

 
 

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A Nite to Dismember, Part 2: Bride of Frankenstein (1935)

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A Nite to Dismember is Nitehawk’s annual Halloween movie marathon, five back to back horror films played until the crack of dawn. For its second year, N2D features five of the best horror sequels ever made: Evil Dead II, The Bride of Frankenstein, Friday the 13th Part 2, and Return of the Living Dead.

Below, Hatched editor Caryn Coleman (@caryn_coleman) discusses the night’s second film, The Bride of Frankenstein. (more…)

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A Nite to Dismember, Part 2: Evil Dead II (1987)

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A Nite to Dismember
Friday, October 31; Midnite – 8am | Buy Tickets

A Nite to Dismember is Nitehawk’s annual Halloween movie marathon, five back to back horror films played until the crack of dawn. For its second year, N2D features five of the best horror sequels ever made: Evil Dead II, Bride of Frankenstein, Friday the 13th Part 2, and Return of the Living Dead.

Below, Hatched editor Kris King discusses the night’s first film, Evil Dead II, Sam Raimi’s untouchable splatterhouse classic.

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Halloween and Horror go hand-in-hand, but, really, only a certain kind of horror film fits the bill on the day for devilish revelry. Halloween, ultimately, is about having a good time; and if a horror film lacks a certain lightness in touch, it can really harsh your hallowed buzz. In the pantheon of fun horror, you’d be hard pressed to come up with a more perfect Halloween horror film than Evil Dead II.

The film plays out as if written by a sleep-deprived kid, high on Snickers and candy corn: “There are monsters! And all of the furniture can laugh! And blood comes out the walls! And the good guy has a chainsaw for a hand!” Evil Dead II is a perfectly executed load of nonsense, a film that insists upon a reaction — a laugh, a shriek, it really doesn’t matter just so long as you feel something.

A kind of remake/sequel hybrid, Evil Dead II doesn’t follow up the first film so much as start over with a new set of rules and tricks and then pushes the story along. Director Sam Raimi’s original Evil Dead is a classic in its own right, but it’s heavy on mood and no-budget gore effects and has a clear intent to rattle the viewer senseless. From its onset, it’s clear that Evil Dead II plays with a different deck of cards.

The first act of Evil Dead II quickly touches on the story beats of the first film: college student Ash takes his girlfriend out to a secluded cabin for a romantic getaway where he accidentally awakens an ancient evil that’s intent on ruining everyone’s day. After going a few rounds with his possessed girlfriend, Ash is left a crazed, blood-soaked mess (where the first film ends). When the unwitting relatives of the cabin’s owner turn up, they peg Ash as a murderer and lock him in the cellar while the evil in the house starts taking stabs at its new guests.

Evil Dead II somehow shows up the original in wackadoo special effects and gushing blood while maintaining a light, funny touch. Blood doesn’t just flow, it sprays out with the force of a fire hose. On the film’s commentary track, star Bruce Campbell jokes that he almost drowned while filming one gag where he was practically water boarded with 100 gallons of fake blood.

Watching Ash evolve from a shrieking coward into a silver-tongued tough is the real joy of Evil Dead II. Baptized in the blood of his undead friends, Ash becomes one of the few horror icons who uses his prowess for slicing and dicing for good rather than evil.

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Best of the Rest: Final Girl

This week, we’re winding up our month long series Final Girl, a program dedicated to the women in horror who – time and again – endure unspeakable torment for our collective entertainment. We think we picked the best Final Girls out there for the series (Halloween‘s Laurie Strode, Scream‘s Sidney Prescott, Texas Chainsaw Massacre‘s Sally Hardesty), but there are a few left out of the mix that deserve attention.

Below, Hatched editors Caryn Coleman and Kris King have put together a list of Nitehawk’s other favorite Final Girls.
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Q&A: Nitehawk & Tribeca Film Institute Summer Film Series

Back in July of 2014, Nitehawk got together with Tribeca Film Institute for a weeklong series highlighting some of our favorite documentaries to premiere at the Tribeca Film Festival. We had Q&A’s for every movie:  Director/Producer Justin Weinstein for An Honest Liar; Director Marshall Curry and subject Matt VanDyke for Point and Shoot; and directors Jennifer Grausman, Sam Cullman and Mark Becker for Art and Craft.

AN HONEST LIAR Q&A: Director/Producer Justin Weinstein

 POINT AND SHOOT Q&A: Director Marshall Curry and Matt VanDyke

ART AND CRAFT Q&A: Jennifer Grausman, Sam Cullman & Mark Becker

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Nitehawk Programmer Caryn Coleman Talks Feminism, Horror and the Final Girl on Bitch Media Podcast

This past weekend, our Senior Programmer Caryn Coleman (@caryn_coleman) popped up on Bitch Media’s Popaganda podcast to talk about the Final Girl trope we’ve dedicated our midnites and brunches to this October. Caryn talks feminism and horror movies, the films we chose and why, and what – after years of watching horror movies – still sends her hiding under the covers.

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Post No Bills: Halloween

Final Girl: Halloween (1978, John Carpenter)
Friday, October 10, Saturday, October 11 & Sunday, October 12; Midnite | Buy Tickets

The story of Halloween is a weird one. Michael Myers kills his parents as a boy and then as an adult, he tries to finish the job: first spending two movies going after his sister, Laurie, and then two movies going after his niece, Jamie. Then there’s a druid cult that uses Michael’s DNA to make babies to fulfill some sort of prophecy and then… screw it, let’s have him try to kill Laurie again. It’s been rebooted twice, Halloween. Impressive.

Below we’ve collected some high quality posters from the franchise from all over the world. Stand outs are a really odd Japanese Halloween poster where Michael has gigantic eyes, and –our personal favorite — the Italian Halloween 6 poster that just added some nudity to the original. Because, you know, Italians (more…)

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NAS: TIME IS ILLMATIC Q&A: Director One9 and Producer Erik Parker

Queens rapper Nas changed the game with his debut album Illmatic, which turns 20 this year, and already the record has gotten a fancy re-issue, tons of radio play — and now — a feature length documentary. The film itself isn’t so much VH1 music doc to the life of Nasir Jones, but rather the story of a family and a neighborhood, the hard environment that Nas synthesized into poetry.

Back in July, we screened NAS: TIME IS ILLMATIC to a sold out crowd, and the film’s production team of One9 and Erik Parker were there to field questions on how they tracked down Nas, the history of the Queensbridge Projects, and what material never quite made it to the final cut. Video is below. One love.

NAS: TIME IS ILLMATIC Q&A: Director One9 and Producer Erik Parker from Nitehawk Cinema on Vimeo.

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Q&A: Bennet Miller on THE CRUISE

On September 19, Nitehawk Cinema presented a special screening of Bennett Miller’s (Capote, Foxcatcher) documentary The Cruise as part of the Film Society of Lincoln Center’s New York Film Festival Opening Acts series. Following the screening was a Q&A with the Miller and Eugene Hernandez, Deputy Director of the Film Society.

 

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Stabby Scary Spooky Time: October at Nitehawk

dismember-splash2It’s October! Our favorite time of the year. The weather is just right, you get to wear all kinds of fancy new clothes, and you can binge on horror movies without any guilt whatsoever.

We have a whole slew of horror and more in store for you this month, including our massive series on horror’s most fearsome foe: the Final Girl. Also a special presentation of The Assassination of Jesse James by the Coward Robert Ford with Casey Affleck in house; a special screening of NY graffiti-doc Style Wars and a special 20th anniversary screening of Pulp Ficiton! Plus, out all-nite Halloween horror movie marathon: A Nite to Dismember! It’s all below. Bewaaarreeeee (more…)

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The Influence of Billy Wilder’s ACE IN THE HOLE

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For many, legendary director Billy Wilder’s 1951 film Ace in the Hole is not only his best but also one of the most influential films of the last century. Unfortunately, despite its uncanny commentary on the news media that is still relevant today, it’s slightly under the radar for a lot of audiences. Because of it’s perfect mixture of brilliant filmmaking (from the cinematography to the writing to the acting, ah, Kurt Douglas) and a scathing look at the media’s influence to create a news frenzy, we’re excited to screen it here at Nitehawk this Tuesday as part of our Journalist in Film series with VICE News. But before you take our word for it, read what the likes of John Sayles, Martin Scorsese, and Chuck Bowen have to say about the film…

John Sayles (from THE DISSOLVE)
“It’s a really dark film, and it’s got Billy Wilder’s acidic view of human nature. I really reacted to the tawdriness of it, which you rarely really saw done well at the time. Kirk Douglas’ performance—one of the interesting things you see in Michael Douglas is that he’s one of the few lead actors who’s willing to play a heel, like in the Wall Street movies. And his father was the same way. Kirk Douglas could play a hero, but very often, he played a charismatic heel. You know from the start here that this guy’s too big for the world he’s landed in, and he’s going to be pretty ruthless. Film noir is a claustrophobic genre. There’s no escape in film noir. There’s a point in Miller’s Crossing where John Turturro’s character is under the gun, and he says, “Let me go, I’ll leave, I’ll go out of town,” and you wanna say, “There is no out of town in film noir! There’s only this closed system, so don’t believe him! There’s nowhere for him to go!”

With Ace In The Hole, there’s the claustrophobia of the mine, but really, the claustrophobia is in this closed, sleazy system of greedy people with their own agendas, and it’s going to end in tragedy. The only nice guy is the guy who’s trapped down at the bottom of the mine, and of course he doesn’t stand a chance if that’s the world he’s depending on to save his life.”

Martin Scorsese (from MARTIN SCORSESE’S FILM SCHOOL: THE 85 FILMS YOU NEED TO SEE TO KNOW ANYTHING ABOUT FILM)
“This Billy Wilder film was so tough and brutal in its cynicism that it died a sudden death at the box office, and they re-released it under the title Big Carnival, which didn’t help. Chuck Tatum is a reporter who’s very modern–he’ll do anything to get the story, to make up the story! He risks not only his reputation, but also the life of this guy who’s trapped in the mine.”

Chuck Bowen (from SLATE MAGAZINE)
“Ace in the Hole appropriately opens in motion. Chuck Tatum (Kirk Douglas) doesn’t waste time. Consideration, nuance, empathy—words that are anathema to a man who prizes action and momentum. In a striking opening shot, we see a tow truck pulling a convertible behind it as it idles into a small western town. Tatum’s sitting behind the convertible’s steering wheel, though you wouldn’t guess from his cocksure expression that he’s out of work and in dire economic straits; for him, this truck is merely a substitute for the limo he’ll inevitably return to. The truck stops in front of the Albuquerque Sun-Bulletin‘s office, and Tatum marches in and gets himself a crummy newspaper job after launching into a series of double and triple entendres that establish him as a brilliant reporter who can’t work for anybody. Talent, after all, only means so much when you’re drunk or screwing your boss’s wife, though Tatum intends to prove that hunger, more so than even talent, trumps any setback or limitation.”…more

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