Peter Lorre (I) - News Poster


Werewolf in a Girls’ Dormitory

Italian horror from the early 1960s covers a wide range of quality, from eerie hauntings to tacky vampire romps. For one of his first major credits, ace giallo scribe Ernesto Gastaldi cooks up Lycanthropus, a murder mystery in which the savage slashing is committed by a drooling maniac with a hairy face, wild eyes and saber-toothed fangs. You saw the poster out front, kid — do you think it might be … a werewolf? Director Paolo Heusch’s thriller is no classic, but neither is it stupid — and the original Italian language option on this disc reveals good work by a spirited cast. Dreamy Polish starlet Barbara Lass is a much more assertive, independent female than what we expect from conventional Italo horror fare.

Werewolf in a Girls’ Dormitory



Severin Films

1961 / B&w / 1:66 widescreen / 85 min. / Street Date November 12, 2019 / 34.98

Starring: Barbara Lass (Kwiatkowska), Carl Schell, Curt Lowens, Maurice Marsac, Luciano Pigozzi,
See full article at Trailers from Hell »

Halloween 2019: Roger Corman’s Edgar Allan Poe Cycle Feels Like October

  • DailyDead
[This Halloween season, we're paying tribute to classic horror cinema by celebrating films released before 1970! Check back on Daily Dead this month for more retrospectives on classic horror films, and visit our online hub to catch up on all of our Halloween 2019 special features!]

There are few horror blankets warmer to me than the Roger Corman Poe adaptations the director made with star Vincent Price in the 1960s. More than the familiarity of Hammer horror, more than the delicious junk food that is the slasher genre, the Corman/Poe cycle feels like October. Not even my beloved Universal Monsters offer the same amount of comfort, the same sense of seasonal mood. These are movies that I turn to every year to set the tone for October.

Because his name has become so synonymous with penny-pinching schlock—cheap movies shot on the quick, minimum investment for maximum return—it’s often overlooked that Roger Corman was a great director. For evidence of this, look no further than his Edgar Allan Poe adaptations, a series of eight films Corman made between 1960–1965, beginning with House of Usher and culminating with The Tomb of Ligeia. Though the films vary a little in quality,
See full article at DailyDead »

How had I never seen... "M" (1931)?

Series Debut! As a kind of dark mirror to our "Over & Over" column, we've invited Team Experience to fill in some of their most shameful film history gaps and tell us about their experience. We all have gaps in our viewing with over a century of film history behind us! To kick things off here's a 'Lang-delayed' encounter for Mark. - Editor

by Mark Brinkerhoff

I first became aware of M, Fritz Lang’s seminal 1931 German thriller, while flipping through Vanity Fair’s Hollywood, a weighty, sumptuous 2000 coffee table book. Therein, opposite a cuckoo photo of Doris Day with half a dozen dyed poodles, is a haunting photo of actor Peter Lorre with the following caption...
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It’s Fritz Lang versus CinemaScope, for the first and last time. The format suited to snakes and funerals effectively hamstrings the great filmmaker’s expressive camera direction, yet the movie is one of the best of MGM’s last-gasp ’50s costume dramas. Corrupt smuggler Stewart Granger is redeemed by the faith of a young boy who believes in him; in this story the words “He’s my friend” take on a big significance. Come see director Lang struggle to adapt the wide-wide screen to accommodate his brand of real cinema.



Warner Archive Collection

1955 / Color / 2:55 widescreen / 87 min. / Street Date August 13, 2019 / available through the WBshop / 21.99

Starring: Stewart Granger, Jon Whiteley, George Sanders, Joan Greenwood, Viveca Lindfors, Liliane Montevecchi, Melville Cooper, Sean McClory, Alan Napier, John Hoyt, Donna Corcoran, Jack Elam, Dan Seymour, Ian Wolfe.

Cinematography: Robert H. Planck

Film Editor: Albert Akst

Original Music: Miklos Rozsa

Written by Jan Lustig,
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Cinespia Sets September Movies Including ‘Blade Runner,’ ‘Harry Potter,’ at Hollywood Forever Cemetery

  • Variety
Cinespia announced the list of titles screening at the Hollywood Forever Cemetery in September.

First up is the Sunday, Sept. 1 screening of the 1989 rom-com “When Harry Met Sally” starring Billy Crystal and Meg Ryan. Then director Ridley Scott’s 1982 sci-noir mashup “Blade Runner” will come to the cemetery on Saturday, Sept. 7. The 1950 rising starlet versus established diva drama “All About Eve” will play on Sep. 14. Closing out the season is the 2001 Ewan McGregor and Nicole Kidman led musical “Moulin Rouge!” with a post viewing fireworks show.

This year’s season, sponsored by Amazon Studios, is the 18th anniversary of the iconic Los Angeles outdoor cinematic experience. Fans often dress up as characters and shout out famous lines as they come on screen.

The 1991 surfer/heist flick “Point Break” will kick off the month of August on Saturday. The late John Singleton’s 1991 “Boyz N The Hood” will screen on Saturday,
See full article at Variety »

20,000 Leagues Under the Sea

Hidden behind the membership-only barrier of The Disney Movie Club is a long-delayed, long-missed key feature from The Mouse, Walt’s masterful super-production of the timeless Jules Verne classic. Despite the funny songs and an annoyingly ‘ork-ork’-ing sea lion, the lavishly filmed show embraces the dark side of Verne’s vision — Captain Nemo is nothing less than an anti-Colonial terrorist, waging a one-submarine war against international warmongers. With the commanding James Mason in the role, the film’s furious politics are as impressive as the to-die-for art direction: this Disney family attraction has us rooting for the terrorist and against the Imperialist European powers.

20,000 Leagues Under the Sea


The Disney Movie Club

1954 / Color / 2:55 widescreen / 127 min. / Anniversary Edition / Street Date June 18, 2019 / Disney Movie Club exclusive.

Starring: Kirk Douglas, James Mason, Paul Lukas, Peter Lorre, Robert J. Wilke, Ted de Corsia, Carleton Young.

Cinematography: Franz Planer

Film Editor: Elmo Williams
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Casablanca with Live Music by The St. Louis Symphony Orchestra June 23rd

“Of all the gin joints, in all the towns, in all the world, she walks into mine”

Considered a landmark in American cinema, the romantic Casablanca will enchant as the Slso performs the score live.

Sunday June 23rd at 2pm. Watch all the drama unfold as the Slso performs Max Steiner’s moving score while the timeless film plays on the big screen. Winner of the Academy Award for Best Picture and lauded as one of the greatest movies of all time by the American Film Institute, Casablanca will sweep you up in the story of Rick and Ilsa’s love. Conducted by Norman Huynh. Ticket Information can be found Here

I there was ever a film deserved to be considered a classic then Casablanca is it, Even if you haven’t seen it before you’ll recognize much of the dialogue; it is probably the most quoted, and misquoted,
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Aladdin movie review : Will Smith as genie is loveably zingy and splendid

Aladdin movie review is here. The musical fantasy produced by Walt Disney Pictures, is a live-action adaptation of Disney's 1992 animated film of the same name. Helmed by Guy Ritchie known for brilliant crime comedies like Lock, Stock And Two Smoking Barrels, and Snatch along with the entertaining Sherlock Holmes series. Releasing on 24th?May 2019, Aladdin is based on the classic Arabian folktale from One Thousand and One Nights, starring Will Smith as genie, Naomi Scott as Princess Jasmine and Mena Massoud as Aladdin. Does it fulfills or expectations?. Find out in the review of Aladdin.

Stand out moment

Chief animator Eric Goldberg creates one incredible moment where Will Smith makes a parade of caricatures ranging from late William F. Buckley Jr. to late Peter Lorre.

The Story of Aladdin

A poor thief from Agrabah "street rat" Aladdin (Mena Massoud) is smitten with the Sultan's daughter Princess Jasmine (Naomi Scott
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Film Review: Will Smith in ‘Aladdin’

  • Variety
Of all the characters in Walt Disney Studios’ canon, is there any more animated than the Genie from “Aladdin”? In 1992, old-school cartooning seemed the only way to keep up with comedian Robin Williams’ rapid-fire sense of humor and free-associative gift for improvisation. Much of the appeal of the original “Aladdin” came thanks to the ingenuity of its animators, led by Eric Goldberg, who used the medium to transform the mile-a-minute wish-meister before our eyes — as in one memorable moment when he cycles through caricatures, from William F. Buckley Jr. to a Marine Corps drill sergeant, kissy-lipped Yiddish bubbe, and back-from-the-dead Peter Lorre. The beloved charater’s elastic quality makes “Aladdin” perhaps Disney’s most daunting live-action adaptation yet, to say nothing of how Hollywood’s growing awareness of representation issues renders the original highly “problematic.”

Without Williams, or the near-infinite flexibility of hand-drawn animation, the challenge becomes how to translate
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Mad Movie Love: A 2019 TCM Classic Film Festival Preview

Well, here we are, just a few short days away from the kickoff of the 10th annual TCM Classic Film Festival. I promise I am excited for what will undoubtedly be yet another stimulating weekend of buzzing about in Hollywood, engaged in an exuberant celebration of all things classic Hollywood with all manner of fellow travelers from the furthest-flung locales around the country and the world. But what I also am is pre-exhausted, which is a condition that has preceded at least the last five TCMFFs I’ve attended, regardless of the quality and consistency of the individual festivals themselves. I’ve attended every Tcmff since the inaugural festival in 2010, am about to dive deep into the tenth such gathering, and after ten years one develops ways of forgetting, in much the same way that, say, a cyclist can allow herself to forget the grueling aspects of a long-distance road
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'M — A City Hunts a Murderer': TV Review | Berlin 2019

'M — A City Hunts a Murderer': TV Review | Berlin 2019
Sporting the same title as Fritz Lang’s iconic 1931 film starring Peter Lorre as the serial killer, the new six-episode television remake M – A City Hunts a Murderer makes a decidedly less frightening thriller on the small screen. It combines the primal horror of murdering children with the cheerful banality of a TV police procedural, occasionally wandering off into comic territory. One would think the story of a child murderer doesn’t lend itself to comedy, but this Austrian television production, shot on location in wintry Vienna, sprouts dark humor.

Clearly, the series’ director, co-screenwriter and co-producer David ...
See full article at The Hollywood Reporter »

David Schalko Talks ‘M – A City Hunts a Murderer’

  • Variety
David Schalko Talks ‘M – A City Hunts a Murderer’
Berlin — A desperate city hunts for a child killer in the six-part drama series “M – A City Hunts a Murderer,” a modern-day interpretation of Fritz Lang’s iconic film which world premieres Feb. 12 as part of the Berlin Film Festival’s TV strand, Berlinale Series.

The six-hour limited series is a Superfilm production by John Lueftner and David Schalko for Austrian public broadcaster Orf and Germany’s TV Now, the new streaming service of the Rtl Mediagroup. Directed by Schalko, the series stars well-known German actors Udo Kier (“Downsizing”), Moritz Bleibtreu (“Atomised”), and Lars Eidinger (“Personal Shopper”).Beta Film is handling global sales.

Schalko spoke to Variety about the inspiration behind “M,” and how he faced the daunting challenge of reimagining Lang’s 1931 classic for the modern age of prestige TV.

In adapting Fritz Lang’s “M,” you’ve chosen to interpret and reimagine one of the landmarks of cinematic history.
See full article at Variety »

Berlin Review: ‘The Golden Glove’ is a Grotesque, Calamitous Misfire for Fatih Akin

Fatih Akin’s latest movie is a fetid stain on the CV of a good filmmaker. Akin has made the true story of a repulsive, grotesque serial killer into a repulsive, grotesque movie, a calamitous misfire for a critical darling of recent German cinema. This is a film that wallows in the most appalling sexual abuse, that fetishizes facial disfigurement and physical deformity and, most cowardly of all, gives no voice to women who were the victims of horrific historic crimes. Set in the early 1970s, it offers a view into many of the trappings of that era’s misogyny, but gives nothing in the way of ironic retrospection or insight–especially inexcusable in today’s #MeToo era. The House of Jack Built, released to indignant uproar last year, is a profound statement of human condition by comparison.

Based on a non-fiction novel by Heinz Strunk, this is the story
See full article at The Film Stage »

Bogey and Bacall in To Have And Have Not Screening February 5th at Webster University

“You know you don’t have to act with me, Steve. You don’t have to say anything, and you don’t have to do anything. Not a thing. Oh, maybe just whistle. You know how to whistle, don’t you, Steve? You just put your lips together and… blow!”

Humphrey Bogart and Lauren Bacall in To Have And Have Not screens at Webster University Tuesday February 5th. The screening will be at 7:30 at Webster University’s Moore Auditorium (470 East Lockwood). The film will be introduced by Cliff Froelich, Executive Director of Cinema St. Louis and Adjunct Professor of Film Studies at Webster University.A Facebook invite for the event can be found Here. This is the first of four Humphrey Bogart/Lauren Bacall collaborations that will be screening at Webster in February. The others are: The Big Sleep Feb 12th, Dark Passage Feb 19th, and Key Largo Feb 26th.
See full article at »

‘The Souvenir’ Review: Joanna Hogg’s Magnificent Self-Portrait of Love, Loss, and Creative Awakening — Sundance

‘The Souvenir’ Review: Joanna Hogg’s Magnificent Self-Portrait of Love, Loss, and Creative Awakening — Sundance
There isn’t much of a story in Joanna Hogg’s heartfelt and searingly honest “The Souvenir” — the British filmmaker, somehow a breakthrough talent for the last 30 years, has always been less interested in plot than condition — and so this romantic drama about a young woman’s doomed first love might just as well be summarized by a poem from the late Mary Oliver:

“Someone I loved once gave me

a box full of darkness.

It took me years to understand

that this, too, was a gift.”

Set in the early 1980s, shot with the gauzy harshness of “Phantom Thread,” and named after an 18th century rococo painting by Jean-Honoré Fragonard, “The Souvenir” finds Hogg reaching into her own past in order to reclaim it as a present; it’s a somewhat disguised self-portrait that’s sketched with almost four decades of distance between its artist and her canvas,
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Beat the Devil

The star lineup sparkles in this witty, lighthearted tale of a gang of international schemers and cutthroats trying to — well, what they’re trying to do is all but irrelevant. John Huston throws his picture together like a party, for a droll ‘thriller’ that yields off-kilter comic riches. It’s Bogart, Robert Morley, Peter Lorre and Gina Lollobrigida, plus Jennifer Jones as we’ve not seen her before or since. Truman Capote’s sly, unbeatably hip dialogue — reportedly written on the fly — celebrates the underhanded ambitions of greedy fools everywhere.

Beat the Devil


Twilight Time

1953 / B&W / 1:37 Academy / 94 min. / Street Date January 22, 2019 / Available from the Twilight Time Movies Store / 29.95

Starring: Humphrey Bogart, Jennifer Jones, Gina Lollobrigida, Robert Morley, Peter Lorre, Edward Underdown, Ivor Barnard, Marco Tulli, Bernard Lee, Mario Perrone, Giulio Donnini, Saro Urzì, Manuel Serrano.

Cinematography: Oswald Morris

Film Editor: Ralph Kemplen

Continuity: Angela Allen

Dialogue Coach:
See full article at Trailers from Hell »

Beta Closes Major Sales, Drops Trailer on Berlinale Series Title ‘M’ (Exclusive)

  • Variety
Beta Film has rolled out its first major territory sales on drama series “M – Eine Stadt sucht einen Mörder” (“M – A City Hunts a Murderer”), which has just been confirmed by the Berlin festival as one of seven shows selected for its TV strand, Berlinale Series.

Viasat has licensed pay-tv rights for Russia and Cis countries. TV giant Globo has also closed pay-tv rights for Brazil. Canal Plus has licensed Polish rights, in a further pay-tv deal. Scandinavia is in final negotiations.

Beta handles world sales outside Austria and Germany. The drama series is a Superfilm production by John Lueftner and David Schalko for Austrian public network Orf and Germany’s TV Now, the new streaming service of the Rtl Mediagroup. “M” marks their first original fiction production. Home video in Germany is handled by Universum Film.

A potential Berlinale Series talking point, “M – A City Hunts a Murderer” is
See full article at Variety »

The B-Film Retrospective at the Viennale

  • MUBI
The Devil BatOver the past few years the Vienna International Film Festival's retrospective, organized in close partnership with the venerable Austrian Filmmuseum, has shifted its focus from the standard—though no less rewarding—practice of showcasing the work of Great Directors to carving out new lateral paths through cinema history, opening oblique thematic and geographical doorways that fruitfully undermine the notion of cinema as the product of a single monolithic creator. From tracing the circuitous second life of certain stories and their variations as they crop up, like musical refrains, in the form of remakes, sequels or re-imaginings across time to exploring the idea of utopia and its ideological correction in Soviet cinema, the Viennale's retrospective has become a dynamic platform through which to re-think cinema in all of its wonderful and varied complexity. This year was no different with the retrospective detouring from the sanitized, big budget, star-driven
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Joe Dante’S 3D Ace In The Hole

Trailers From Hell readers, as well as all film fans in the Los Angeles area, are getting a special treat this coming Friday evening, when Joe Dante’s marvelous 2010 3D thriller The Hole screens at the Tcl Chinese Theaters.

The event marks the official launch of the new multimedia brand Untold Horror which, according to the project’s press release, “was conceived as a brand dedicated to answering the question that genre fans often ask: ‘Whatever happened to that movie?’ The documentary series will explore the tantalizing projects that were announced but died in development hell, uncover the compelling unannounced projects by our favorite artists that fans have never heard about, and discover just what it would take to bring some of them back to life.”

All of which makes The Hole a perfect jewel with which to introduce a project with such a trajectory, being itself a movie which was highly anticipated,
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IndieWire Honors Video: Bill Hader Says That the Loss of FilmStruck ‘Was Like a Family Member Died’

IndieWire Honors Video: Bill Hader Says That the Loss of FilmStruck ‘Was Like a Family Member Died’
On November 1, the 2018 IndieWire Honors ceremony celebrated eight filmmakers and actors for their achievement in creative independence. We’re showcasing their work with new interviews conducted right before they accepted their awards at the event.

Bill Hader’s last few weeks have brought a flurry of emotions. Deep into production on “Barry” Season 2, the recent announcement that FilmStruck would be shuttering seemed to bring out a lot of sympathy from the actor’s inner circle.

“That was a big kick in the balls. It was like a family member died. I got so many texts from people who were like ‘Dude, I’m so sorry,’” Hader told IndieWire. “It was like someone made a website just for me. And then WarnerMedia went, ‘Oh wait, this is just for Bill.’”

Discussing how the site helped his evolving film knowledge arsenal, Hader talked about picking up inspiration from films like the Billy Wilder
See full article at Indiewire »
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