Happy Wednesday, everyone! For today’s edition of Daily Dead’s 2020 Holiday Gift Guide, we’re focusing on one of the most important aspects of cinema: the music. And what better way to enjoy your favorite horror and sci-fi soundtracks and scores than to listen to them on vinyl? Here’s a look at some stellar releases from 2020, as well as a few other vinyl offerings that genre fans would love to discover under the tree this year.
Mondo:
Halloween: 40th Anniversary Edition - Original Soundtrack Vinyl
The Invisible Man - Original Motion Picture Soundtrack 2Xlp
Videodrome Main Theme 7-inch
They Live – Original Motion Picture Soundtrack LP
Sei Donne Per L'Assassino (Blood And Black Lace) - Original Motion Picture Soundtrack LP
Freaked – Original Motion Picture Soundtrack 2Xlp
A Nightmare On Elm Street - Original Motion Picture Soundtrack Vinyl
Ghosthouse - Original Motion Picture Soundtrack LP
Back To The...
Mondo:
Halloween: 40th Anniversary Edition - Original Soundtrack Vinyl
The Invisible Man - Original Motion Picture Soundtrack 2Xlp
Videodrome Main Theme 7-inch
They Live – Original Motion Picture Soundtrack LP
Sei Donne Per L'Assassino (Blood And Black Lace) - Original Motion Picture Soundtrack LP
Freaked – Original Motion Picture Soundtrack 2Xlp
A Nightmare On Elm Street - Original Motion Picture Soundtrack Vinyl
Ghosthouse - Original Motion Picture Soundtrack LP
Back To The...
- 12/9/2020
- by Heather Wixson
- DailyDead
After losing out three times in Oscar's best documentary category, American Factory co-director Julia Reichert is certainly ready to finally take home an Academy Award.
"I'll be real honest, it would be extremely meaningful after four nominations and my age and my state of life. It would be very meaningful," Reichert, who is undergoing chemotherapy as she battles terminal cancer at age 73, told THR. "There's no cure for what I have. And it could be six months, a year, or more."
The Oscar-nominated feature portrays a Chinese billionaire launching a factory ...
"I'll be real honest, it would be extremely meaningful after four nominations and my age and my state of life. It would be very meaningful," Reichert, who is undergoing chemotherapy as she battles terminal cancer at age 73, told THR. "There's no cure for what I have. And it could be six months, a year, or more."
The Oscar-nominated feature portrays a Chinese billionaire launching a factory ...
- 1/27/2020
- The Hollywood Reporter - Film + TV
Awards season has brought another key victory for the powerful Mexican drama Roma. Last night, the Director’s Guild of America handed out their 2019 awards, and Outstanding Directorial Achievement in Feature Film went to Alfonso Cuarón for his work behind the camera on the Netflix movie. After winning one of the 2019 DGA Awards, it’s […]
The post 2019 DGA Award Winners: Alfonso Cuarón’s ‘Roma’ Victory Gets Closer to Oscar Gold appeared first on /Film.
The post 2019 DGA Award Winners: Alfonso Cuarón’s ‘Roma’ Victory Gets Closer to Oscar Gold appeared first on /Film.
- 2/4/2019
- by Ethan Anderton
- Slash Film
Bleecker Street acquired the icy drama “Arctic” starring Mads Mikkelsen for North America and some international territories at the Cannes Film Festival, the studio announced on Friday.
Mikkelsen stars as an intrepid adventurer who is stranded in the Arctic after his plane crashes. With a determined attitude and sharp survival skills he aims to find a path to be rescued, but when a helicopter seeking to save him crashes, he must make moral and ethical decisions about those survivors too.
The film premiered at the Cannes Film Festival on Thursday night.
Also Read: 16 Cannes Winners That Went on to Take Oscar Gold (Photos)
First-time director Joe Penna co-wrote the script with Ryan Morrison, who also edited the film. Maria Thelma Smáradóttir (“Prisoners“) also stars. The film offers vast, forbidding images of the frozen mountains of the Arctic, and Mikkelsen is the core of the movie, as a man drawing on vast inner reserves in his desire to survive, but also demonstrating moral courage in seeking to save a fellow survivor.
Producers are Chris Lemole and Tim Zajaros of Armory Films, who also financed, and Noah C. Haeussner of Union Entertainment Group. Martha De Laurentiis, Manu Gargi and Einar Thorsteinsson are executive producers.
The deal was negotiated between Kent Sanderson and Avy Eschenasy on behalf of Bleecker Street with CAA Media Finance and UTA for U.S. rights with Xyz handling international sales on behalf of the filmmakers.
Read original story Bleecker Street Acquires Mads Mikkelsen Survival Drama ‘Arctic’ At TheWrap...
Mikkelsen stars as an intrepid adventurer who is stranded in the Arctic after his plane crashes. With a determined attitude and sharp survival skills he aims to find a path to be rescued, but when a helicopter seeking to save him crashes, he must make moral and ethical decisions about those survivors too.
The film premiered at the Cannes Film Festival on Thursday night.
Also Read: 16 Cannes Winners That Went on to Take Oscar Gold (Photos)
First-time director Joe Penna co-wrote the script with Ryan Morrison, who also edited the film. Maria Thelma Smáradóttir (“Prisoners“) also stars. The film offers vast, forbidding images of the frozen mountains of the Arctic, and Mikkelsen is the core of the movie, as a man drawing on vast inner reserves in his desire to survive, but also demonstrating moral courage in seeking to save a fellow survivor.
Producers are Chris Lemole and Tim Zajaros of Armory Films, who also financed, and Noah C. Haeussner of Union Entertainment Group. Martha De Laurentiis, Manu Gargi and Einar Thorsteinsson are executive producers.
The deal was negotiated between Kent Sanderson and Avy Eschenasy on behalf of Bleecker Street with CAA Media Finance and UTA for U.S. rights with Xyz handling international sales on behalf of the filmmakers.
Read original story Bleecker Street Acquires Mads Mikkelsen Survival Drama ‘Arctic’ At TheWrap...
- 5/11/2018
- by Sharon Waxman
- The Wrap
If you don’t count Wednesday night’s screening of “Black Panther” on the beach, the most fun to be had watching movies at this year’s Cannes Film Festival might well have come early in Russian director Kirill Serebrennikov’s “Leto,” when a train full of disaffected young musicians terrorize their more sedate passengers with a full-throated version of the Talking Heads’ “Psycho Killer.”
Or 40 minutes or so later, when a busload of commuters breaks into Iggy Pop’s “The Passenger.”
Like the film itself, those sequences are energetic, messy, a little surreal and wholly enjoyable, a tribute to the power of rock ‘n’ roll to shake things up while also providing good fun.
Also Read: 16 Cannes Winners That Went on to Take Oscar Gold (Photos)
“Leto,” which premiered on Wednesday night and screened for the press on Thursday morning, is the wildest and most bracing film to screen in the main competition so far this year. Part fond remembrance of an early-’80s Leningrad rock scene and part glam-rock fever dream, “Leto” asks an audience to surrender to excess and at times to silliness, and it richly rewards them for doing so.
Serebrennikov is one of two main-competition directors who is not allowed by authorities in his home country to come to the festival, the other being Iran’s Jafar Panahi. He has been under house arrest for almost a year on fraud accusations, though his supporters say it’s a trumped-up charge by a Russian government that wants to punish him for his art.
There’s a current of anti-government sentiment running through “Leto” in the way its musicians can’t play the government-supported Leningrad Music Club until their lyrics have been approved by a stern censor who tells them, “Soviet rock musicians must find all that’s good in humanity.” When they do play, stern guards watch over the audience to make sure they don’t stand up, move or do anything but applaud politely.
Also Read: 'Donbass' Review: Jarring War Film Reminds Us That No One Is Safe
But that’s not the focus of the film, which is based on the life of Soviet rock musician Viktor Tsoi, who was a legendary figure in his home country but is largely unknown outside Russia. To those who aren’t familiar with Tsoi’s music, “Leto” works as a more universal story of striving and of rock ‘n’ roll dreams.
Tsoi, played by Tee Yoo, is introduced as he makes a pilgrimage to see established local musician Mike (Roman Bilyk), the leader of a band and a community of misfits whose idols are David Bowie, Lou Reed and T-Rex’s Marc Bolan. They pay lip service to punk music, but they’re really glam-rockers at heart.
Serebrennikov doesn’t go full glam with the film, though. For the most part, “Leto” is shot in lustrous black and white that can seem gritty at times but more often turns the film into a rock ‘n’ roll reverie, a fever dream born of “Aladdin Sane” and “The Velvet Underground and Nico” (and occasionally accompanied by onscreen animation in a number of terrific fantasy sequences).
Also Read: Terry Gilliam's 'Don Quixote' Loses Amazon as Us Distributor, Wins Court Fight to Screen as Cannes Closer
Tee Yoo, a Korean actor who learned Russian phonetically for the film, is suitably enigmatic as the gifted man at the center of a dizzying movement, while Bilyk is touching as the young rebel trying to adjust to the fact that he’s become an elder statesman of sorts.
At heart, this is a story of musicians who are dealing with several layers of frustration — cultural, artistic, personal — but manage to break through, one way or another. There’s a love triangle of sorts, as Viktor flirts with and falls for Mike’s wife, Natasha (a quietly compelling Irina Stashenbaum), but the heart of the film is in the songs, both Tsoi’s own music and Western tunes like “Psycho Killer,” Iggy Pop’s “The Passenger” (used in a priceless bus sequence) and a ghostly, hallucinatory version of the hit Bowie gave to Mott the Hoople, “All the Young Dudes.”
A mocking line from that last song essentially serves as the theme of this film: “Oh man, I need TV when I got T-Rex?” These people didn’t need Soviet TV, they did have T-Rex, and for a while it was glorious — though as the end of the film points out the ones among them who died young, the glory is tinged with deep melancholy.
Like rock ‘n’ roll itself, “Leto” aims to be great and doesn’t worry about being messy. Unlike anything else at Cannes so far this year, it cranks the dial to 11 and is all the better for it.
Read original story ‘Leto’ Film Review: Musical Biopic Is a Rock ‘n’ Roll Fever Dream At TheWrap...
Or 40 minutes or so later, when a busload of commuters breaks into Iggy Pop’s “The Passenger.”
Like the film itself, those sequences are energetic, messy, a little surreal and wholly enjoyable, a tribute to the power of rock ‘n’ roll to shake things up while also providing good fun.
Also Read: 16 Cannes Winners That Went on to Take Oscar Gold (Photos)
“Leto,” which premiered on Wednesday night and screened for the press on Thursday morning, is the wildest and most bracing film to screen in the main competition so far this year. Part fond remembrance of an early-’80s Leningrad rock scene and part glam-rock fever dream, “Leto” asks an audience to surrender to excess and at times to silliness, and it richly rewards them for doing so.
Serebrennikov is one of two main-competition directors who is not allowed by authorities in his home country to come to the festival, the other being Iran’s Jafar Panahi. He has been under house arrest for almost a year on fraud accusations, though his supporters say it’s a trumped-up charge by a Russian government that wants to punish him for his art.
There’s a current of anti-government sentiment running through “Leto” in the way its musicians can’t play the government-supported Leningrad Music Club until their lyrics have been approved by a stern censor who tells them, “Soviet rock musicians must find all that’s good in humanity.” When they do play, stern guards watch over the audience to make sure they don’t stand up, move or do anything but applaud politely.
Also Read: 'Donbass' Review: Jarring War Film Reminds Us That No One Is Safe
But that’s not the focus of the film, which is based on the life of Soviet rock musician Viktor Tsoi, who was a legendary figure in his home country but is largely unknown outside Russia. To those who aren’t familiar with Tsoi’s music, “Leto” works as a more universal story of striving and of rock ‘n’ roll dreams.
Tsoi, played by Tee Yoo, is introduced as he makes a pilgrimage to see established local musician Mike (Roman Bilyk), the leader of a band and a community of misfits whose idols are David Bowie, Lou Reed and T-Rex’s Marc Bolan. They pay lip service to punk music, but they’re really glam-rockers at heart.
Serebrennikov doesn’t go full glam with the film, though. For the most part, “Leto” is shot in lustrous black and white that can seem gritty at times but more often turns the film into a rock ‘n’ roll reverie, a fever dream born of “Aladdin Sane” and “The Velvet Underground and Nico” (and occasionally accompanied by onscreen animation in a number of terrific fantasy sequences).
Also Read: Terry Gilliam's 'Don Quixote' Loses Amazon as Us Distributor, Wins Court Fight to Screen as Cannes Closer
Tee Yoo, a Korean actor who learned Russian phonetically for the film, is suitably enigmatic as the gifted man at the center of a dizzying movement, while Bilyk is touching as the young rebel trying to adjust to the fact that he’s become an elder statesman of sorts.
At heart, this is a story of musicians who are dealing with several layers of frustration — cultural, artistic, personal — but manage to break through, one way or another. There’s a love triangle of sorts, as Viktor flirts with and falls for Mike’s wife, Natasha (a quietly compelling Irina Stashenbaum), but the heart of the film is in the songs, both Tsoi’s own music and Western tunes like “Psycho Killer,” Iggy Pop’s “The Passenger” (used in a priceless bus sequence) and a ghostly, hallucinatory version of the hit Bowie gave to Mott the Hoople, “All the Young Dudes.”
A mocking line from that last song essentially serves as the theme of this film: “Oh man, I need TV when I got T-Rex?” These people didn’t need Soviet TV, they did have T-Rex, and for a while it was glorious — though as the end of the film points out the ones among them who died young, the glory is tinged with deep melancholy.
Like rock ‘n’ roll itself, “Leto” aims to be great and doesn’t worry about being messy. Unlike anything else at Cannes so far this year, it cranks the dial to 11 and is all the better for it.
Read original story ‘Leto’ Film Review: Musical Biopic Is a Rock ‘n’ Roll Fever Dream At TheWrap...
- 5/10/2018
- by Steve Pond
- The Wrap
Despite being two of the longest running institutions in cinema, the Oscars and Cannes have not always been the best of bedfellows. Only one film, 1955’s “Marty,” has won both the Palme D’Or and Best Picture. But many more films that have played on the croisette at Cannes have been nominated or won other big prizes from the Academy. These are the 16 films that both won the Palme D’Or and won an additional Oscar.
“Marty” (1955)
In the first year that Cannes started calling their top prize the Palme D’Or, the Delbert Mann drama and romance based on the Paddy Chayefsky teleplay won four Oscars, including Best Picture, Best Director, Best Writing and Best Actor for Ernest Borgnine.
“The Silent World” (1956)
Jacques-Yves Cousteau’s pioneering, underwater nature documentary beat out films from Satyajit Ray, Alfred Hitchcock, Ingmar Bergman, Akira Kurosawa and more to win the Palme, and it also took home the Best Documentary Oscar.
“Black Orpheus” (1959)
Marcel Camus’s dreamy, contemporary take on the Orpheus and Eurydice Greek myth won the Palme and the Best Foreign Language Oscar.
“La Dolce Vita” (1960)
Federico Fellini’s sensuous reverie of a film “La Dolce Vita” managed Oscar nods for Best Director and Screenplay, but only won for Best Costume Design.
“A Man and a Woman” (1966)
The Academy rewarded this French New Wave romance starring Anouk Aimee and Jean-Louis Trintignant with two Oscars, one for its screenplay and another for Best Foreign Language Film.
“Mash” (1970)
It’s surprising to see Cannes anoint a film as irreverent as Robert Altman’s screwball war satire “Mash,” but though the Oscars nominated it for Best Picture, the award went to another war film, “Patton.” “Mash” did pick up a win for Altman’s ingenious ensemble screenplay.
“Apocalypse Now” (1979)
Francis Ford Coppola’s Vietnam war masterpiece was still a work-in-progress when it screened at Cannes, and it would split the Palme with “The Tin Drum” that same year. It was nominated for eight Oscars and won two, but lost Best Picture to “Kramer vs. Kramer.”
“The Tin Drum” (1979)
After splitting the Palme with “Apocalypse Now,” “The Tin Drum” won the Best Foreign Language Film Oscar with ease.
“All That Jazz” (1980)
Weirdly, Bob Fosse’s musical was nominated alongside “Apocalypse Now” at the 1979 Oscars, opening in December of that year, but it won the 1980 Cannes after cleaning up four Oscars just a month earlier.
“Missing” (1982)
Jack Lemmon won Cannes’s Best Actor prize for Costa-Gavras’s political thriller in addition to “Missing” winning the Palme. And Lemmon and co-star Sissy Spacek each scored acting nominations in addition to the film being nominated for Best Picture, but it only won an Oscar for Best Adapted Screenplay.
“The Mission” (1986)
Starring Robert de Niro and Jeremy Irons as Spanish Jesuits trying to save a native American tribe, Roland Joffe’s “The Mission” won the Palme and earned seven nominations but only one Oscar win for Best Cinematography.
“Pelle the Conqueror” (1987)
The legendary Max von Sydow plays a Swedish immigrant in Denmark in this Danish film that won the Palme, the Best Foreign Language Oscar and netted Sydow his first acting nomination.
“The Piano” (1993)
Holly Hunter won the Best Actress prize at both Cannes and the Oscars for Jane Campion’s drama that won the Palme D’Or and was nominated for eight Oscars in all.
“Pulp Fiction” (1994)
Much has been written about the bombshell Quentin Tarantino set off when “Pulp Fiction” debuted at Cannes and polarized audiences by winning the Palme, not to mention the cultural rift it created when it went head to head with “Forrest Gump” at the Oscars and lost.
“The Pianist” (2002)
Winning Best Director for Roman Polanski and Best Actor for Adrien Brody, “The Pianist” was a strong favorite to win Best Picture after winning the Palme, but it lost to the musical “Chicago.” Just don’t expect a repeat from Polanski anytime soon.
“Amour” (2012)
Michael Haneke had just won his second Palme D’Or for his sobering romance about old age “Amour,” and rightfully so. The film paired French New Wave legends Jean-Louis Trintignant and Emmanuelle Riva and scored five Oscar nominations in all, including Best Picture, but only came away with a win for Best Foreign Language Film.
Read original story 16 Cannes Winners That Went on to Take Oscar Gold (Photos) At TheWrap...
“Marty” (1955)
In the first year that Cannes started calling their top prize the Palme D’Or, the Delbert Mann drama and romance based on the Paddy Chayefsky teleplay won four Oscars, including Best Picture, Best Director, Best Writing and Best Actor for Ernest Borgnine.
“The Silent World” (1956)
Jacques-Yves Cousteau’s pioneering, underwater nature documentary beat out films from Satyajit Ray, Alfred Hitchcock, Ingmar Bergman, Akira Kurosawa and more to win the Palme, and it also took home the Best Documentary Oscar.
“Black Orpheus” (1959)
Marcel Camus’s dreamy, contemporary take on the Orpheus and Eurydice Greek myth won the Palme and the Best Foreign Language Oscar.
“La Dolce Vita” (1960)
Federico Fellini’s sensuous reverie of a film “La Dolce Vita” managed Oscar nods for Best Director and Screenplay, but only won for Best Costume Design.
“A Man and a Woman” (1966)
The Academy rewarded this French New Wave romance starring Anouk Aimee and Jean-Louis Trintignant with two Oscars, one for its screenplay and another for Best Foreign Language Film.
“Mash” (1970)
It’s surprising to see Cannes anoint a film as irreverent as Robert Altman’s screwball war satire “Mash,” but though the Oscars nominated it for Best Picture, the award went to another war film, “Patton.” “Mash” did pick up a win for Altman’s ingenious ensemble screenplay.
“Apocalypse Now” (1979)
Francis Ford Coppola’s Vietnam war masterpiece was still a work-in-progress when it screened at Cannes, and it would split the Palme with “The Tin Drum” that same year. It was nominated for eight Oscars and won two, but lost Best Picture to “Kramer vs. Kramer.”
“The Tin Drum” (1979)
After splitting the Palme with “Apocalypse Now,” “The Tin Drum” won the Best Foreign Language Film Oscar with ease.
“All That Jazz” (1980)
Weirdly, Bob Fosse’s musical was nominated alongside “Apocalypse Now” at the 1979 Oscars, opening in December of that year, but it won the 1980 Cannes after cleaning up four Oscars just a month earlier.
“Missing” (1982)
Jack Lemmon won Cannes’s Best Actor prize for Costa-Gavras’s political thriller in addition to “Missing” winning the Palme. And Lemmon and co-star Sissy Spacek each scored acting nominations in addition to the film being nominated for Best Picture, but it only won an Oscar for Best Adapted Screenplay.
“The Mission” (1986)
Starring Robert de Niro and Jeremy Irons as Spanish Jesuits trying to save a native American tribe, Roland Joffe’s “The Mission” won the Palme and earned seven nominations but only one Oscar win for Best Cinematography.
“Pelle the Conqueror” (1987)
The legendary Max von Sydow plays a Swedish immigrant in Denmark in this Danish film that won the Palme, the Best Foreign Language Oscar and netted Sydow his first acting nomination.
“The Piano” (1993)
Holly Hunter won the Best Actress prize at both Cannes and the Oscars for Jane Campion’s drama that won the Palme D’Or and was nominated for eight Oscars in all.
“Pulp Fiction” (1994)
Much has been written about the bombshell Quentin Tarantino set off when “Pulp Fiction” debuted at Cannes and polarized audiences by winning the Palme, not to mention the cultural rift it created when it went head to head with “Forrest Gump” at the Oscars and lost.
“The Pianist” (2002)
Winning Best Director for Roman Polanski and Best Actor for Adrien Brody, “The Pianist” was a strong favorite to win Best Picture after winning the Palme, but it lost to the musical “Chicago.” Just don’t expect a repeat from Polanski anytime soon.
“Amour” (2012)
Michael Haneke had just won his second Palme D’Or for his sobering romance about old age “Amour,” and rightfully so. The film paired French New Wave legends Jean-Louis Trintignant and Emmanuelle Riva and scored five Oscar nominations in all, including Best Picture, but only came away with a win for Best Foreign Language Film.
Read original story 16 Cannes Winners That Went on to Take Oscar Gold (Photos) At TheWrap...
- 5/8/2018
- by Brian Welk
- The Wrap
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