The 4K remasters of James Cameron’s The Abyss, True Lies and Aliens are coming in for criticism – and AI is getting some of the blame.
James Cameron has long been one of my favourite directors, and I’m not alone. I can still remember where I saw many of his films for the first time, especially the early titles, as I was growing up.
The Terminator premiered on BBC2 in a series called Moviedrome where the film was introduced by director Alex Cox. The Abyss I saw on a Sunday evening as it premiered on Channel 4, an infamous broadcast where the uncut version was mistakenly screened.
Being a fan, I have always purchased the latest physical media edition of Cameron’s films. I even bought into the UK laserdisc market at the wrong time, six months before the launch of DVD (I had no idea!), and purchased Terminator 2...
James Cameron has long been one of my favourite directors, and I’m not alone. I can still remember where I saw many of his films for the first time, especially the early titles, as I was growing up.
The Terminator premiered on BBC2 in a series called Moviedrome where the film was introduced by director Alex Cox. The Abyss I saw on a Sunday evening as it premiered on Channel 4, an infamous broadcast where the uncut version was mistakenly screened.
Being a fan, I have always purchased the latest physical media edition of Cameron’s films. I even bought into the UK laserdisc market at the wrong time, six months before the launch of DVD (I had no idea!), and purchased Terminator 2...
- 1/2/2024
- by John Abbitt
- Film Stories
Ryan Lambie Aug 9, 2016
From 2001 and Metropolis, to The Wicker Man and Event Horizon: a look at nine films with scenes we may never see...
There are some movies whose images and ideas are so indelible, it's difficult to imagine a world without them. Yet films are by their nature delicate things; they're the end-product of months or even years of craftsmanship, and whether they're stored on celluloid or captured digitally, they're as vulnerable to the ravages of time or acts of god as any other artform.
Cinema history is littered with stories of lost and damaged movies. Back in the 1920s, eminent director Erich von Stroheim made Greed, an expensive, nine-and-a-half hour epic that was repeatedly cut until only 140 minutes of its original footage remained. Legend has it that a janitor accidentally threw out the removed footage and, just like that, years of work were gone - seemingly forever.
From 2001 and Metropolis, to The Wicker Man and Event Horizon: a look at nine films with scenes we may never see...
There are some movies whose images and ideas are so indelible, it's difficult to imagine a world without them. Yet films are by their nature delicate things; they're the end-product of months or even years of craftsmanship, and whether they're stored on celluloid or captured digitally, they're as vulnerable to the ravages of time or acts of god as any other artform.
Cinema history is littered with stories of lost and damaged movies. Back in the 1920s, eminent director Erich von Stroheim made Greed, an expensive, nine-and-a-half hour epic that was repeatedly cut until only 140 minutes of its original footage remained. Legend has it that a janitor accidentally threw out the removed footage and, just like that, years of work were gone - seemingly forever.
- 8/2/2016
- Den of Geek
Ryan Lambie Published Date Friday, July 1, 2016 - 06:38
“When a film makes you gag, and you leave the cinema feeling kinda weird, then that’s a sign that it’s working.” Director and Moviedrome presenter Alex Cox was talking about David Cronenberg’s debut feature Shivers when he said those words in the 1990s, but he could have just as easily been talking about Nicolas Winding Refn’s The Neon Demon.
This is the film, you may recall, that left people wailing and yelling at the screen when it made its debut in Cannes earlier this year. It isn’t difficult to imagine Refn standing off to one side somewhere and smiling at such a seething reaction, because his films are engineered to provoke and prod. You might not like Refn’s movies - which include Bronson, Valhalla Rising, Drive (his most commercial film yet) and 2013‘s Only God Forgives,...
“When a film makes you gag, and you leave the cinema feeling kinda weird, then that’s a sign that it’s working.” Director and Moviedrome presenter Alex Cox was talking about David Cronenberg’s debut feature Shivers when he said those words in the 1990s, but he could have just as easily been talking about Nicolas Winding Refn’s The Neon Demon.
This is the film, you may recall, that left people wailing and yelling at the screen when it made its debut in Cannes earlier this year. It isn’t difficult to imagine Refn standing off to one side somewhere and smiling at such a seething reaction, because his films are engineered to provoke and prod. You might not like Refn’s movies - which include Bronson, Valhalla Rising, Drive (his most commercial film yet) and 2013‘s Only God Forgives,...
- 6/30/2016
- Den of Geek
While the days may be getting longer, energy levels are steadily depleting, but the end of Hkiff 2012 is in sight. With less than a week to go now, however, the festival is showing no signs of letting up and the final few days promise to be more packed full of cinematic treasure than those I have already managed to enjoy. So perhaps today represents the quiet before the storm...Day 8 (30 March)The Story Of Film: An Odyssey (dir. Mark Cousins, United Kingdom)I first became familiar with the Northern Irish film scholar and critic Mark Cousins when he took over curating and presenting duties of the 1990s BBC film show Moviedrome. He has since become a filmmaker of note in his own right and last...
- 4/2/2012
- Screen Anarchy
"There have been lots of books that tell the history of the movies, but so far almost no films," Mark Cousins told indieWIRE's Peter Knegt last September. We should qualify that statement, of course. As Nick Pinkerton notes in the Voice, there have been documentaries on the history of cinema, though some might filter that history "through the director's particular prejudices or national heritage (Godard's Histoire(s) du Cinéma, finally released on DVD last December; Oshima's 100 Years of Japanese Cinema; A Personal Journey With Martin Scorsese Through American Movies). Or it might mean sticking to one facet of the timeline, as in historian Kevin Brownlow's extraordinary work on the medium's adolescence, Hollywood."
That point made, back to Cousins: "You can sit in a room to write a book about movies, but to tell the story of how a flickering Victorian novelty became a global art form on film, you have to travel the world,...
That point made, back to Cousins: "You can sit in a room to write a book about movies, but to tell the story of how a flickering Victorian novelty became a global art form on film, you have to travel the world,...
- 2/1/2012
- MUBI
Rise of the Planet of the Apes; The First Movie; Super 8; Mr Popper's Penguins
One of the most interesting aspects of this year's traditional pre-Oscar shenanigans has been the growing campaign to earn a supporting actor nomination for Andy Serkis for his typically entrancing performance-capture work on Rise of the Planet of the Apes (2011, Fox, 12). Having previously lent thespian credibility to this emergent artform with key roles in the Lord of the Rings trilogy (Gollum/Sméagol) and King Kong (the beauty behind the titular beast), Serkis continues to bridge the gap between acting and technology as the beating heart of British director Rupert Wyatt's intelligent series reboot.
Subtly mutating the bold slave uprising motif of J Lee Thompson's 1972 oddity Conquest of the Planet of the Apes (the most controversial instalment of the original series), this casts young simian Caesar as the accidental byproduct of a vivisective experiment to test a new,...
One of the most interesting aspects of this year's traditional pre-Oscar shenanigans has been the growing campaign to earn a supporting actor nomination for Andy Serkis for his typically entrancing performance-capture work on Rise of the Planet of the Apes (2011, Fox, 12). Having previously lent thespian credibility to this emergent artform with key roles in the Lord of the Rings trilogy (Gollum/Sméagol) and King Kong (the beauty behind the titular beast), Serkis continues to bridge the gap between acting and technology as the beating heart of British director Rupert Wyatt's intelligent series reboot.
Subtly mutating the bold slave uprising motif of J Lee Thompson's 1972 oddity Conquest of the Planet of the Apes (the most controversial instalment of the original series), this casts young simian Caesar as the accidental byproduct of a vivisective experiment to test a new,...
- 12/11/2011
- by Mark Kermode
- The Guardian - Film News
Ryan salutes the BBC2 series Moviedrome, which for 12 years introduced a plethora of cult films to unsuspecting UK audiences…
For better or worse, I have Alex Cox to thank for my enduring appetite for film. In the late 80s and early 90s, when I was still at school and the Internet was still the preserve of the rich and the Us military, the BBC2 series Moviedrome introduced me, and I suspect a legion of other impressionable youngsters, into the fascinating alternate world of obscure or low-budget movies.
Beginning in 1988, director Alex Cox introduced a series of cult and exploitation movies, commencing with Robin Hardy's folk horror, The Wicker Man. Before long, Sunday nights became an oasis of the weird and the sensational, and as a youth still watching cartoons like Transformers and Thundercats, films like Invasion Of The Body Snatchers and The Fly seemed like startling broadcasts from another universe.
For better or worse, I have Alex Cox to thank for my enduring appetite for film. In the late 80s and early 90s, when I was still at school and the Internet was still the preserve of the rich and the Us military, the BBC2 series Moviedrome introduced me, and I suspect a legion of other impressionable youngsters, into the fascinating alternate world of obscure or low-budget movies.
Beginning in 1988, director Alex Cox introduced a series of cult and exploitation movies, commencing with Robin Hardy's folk horror, The Wicker Man. Before long, Sunday nights became an oasis of the weird and the sensational, and as a youth still watching cartoons like Transformers and Thundercats, films like Invasion Of The Body Snatchers and The Fly seemed like startling broadcasts from another universe.
- 4/21/2011
- Den of Geek
It will be no great shock to hear that living in London has both advantages and disadvantages. It is true that the cost of a 200 yd train journey may be the equivalent of a small flat in Hull, and rather like rats in New York it is said that you are never more than 100 metres away from a Premiership footballer or someone "in media", but the capital does have one thing in its favour: a vast range of unique cultural opportunities, among them some of the best independent cinemas in the country. It is true that many other cities, too, offer a wonderful alternative to the looming multiplex (Brighton, Oxford, Manchester, Bristol, to name just four that I have experienced myself) but merely by virtue of geographical and population size, London is unrivalled. At anything up to £15 they can be expensive, but for the chance to see a treasured classic on the big screen,...
- 11/30/2009
- by Nick Clarke
- t5m.com
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