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After 136 years, one of history’s greatest crime mysteries may finally be solved. Recent DNA analysis has provided what researcher Russell Edwards calls a “100 per cent” match linking Polish-born barber Aaron Kosminski to the infamous Jack the Ripper murders. This breakthrough has reignited discussions around the case, leading many to revisit films inspired by the Ripper’s reign of terror.

If you’re looking for the perfect movie to watch in light of this revelation, there’s no better choice than Alfred Hitchcock’s silent-era masterpiece The Lodger: A Story of the London Fog (1927).

Why The Lodger: A Story Of The London Fog is a Must-Watch

Though Hitchcock never explicitly names Jack the Ripper in The Lodger, the film is heavily influenced by the real-life events surrounding the murders. The story follows a mysterious tenant who checks into a London lodging house just as a serial killer, known as the Avenger,...

There he is! The "Master of Suspense" hiding in plain sight. Can you identify all of his cameos? Do you know where he is in every one of his own films? Time for something a bit fun this year - enjoy this supercut video collecting every single Alfred Hitchcock cameo. There's a grand total of 40 of them! Spanning from 1927 to 1976 and in both B&W and color across his entire filmography. Wikipedia explains: "English film director Alfred Hitchcock made cameo appearances in 40 of his films. They began during production of The Lodger: A Story of the London Fog when an actor failed to show up, and the director filled in for him." There are obviously some more iconic and unforgettable cameos, like the one where he gets on the train with a cello in Strangers on a Train (1951), or the one where he gives actress Jane Wyman a look in...

Hollywood would be dull if Alfred Hitchcock and Walt Disney had never taken their respective career paths. Hitchcock was the Master of Suspense, a filmmaker who consistently grabbed fictional books and turned them into spellbinding and evergreen motion pictures. Thanks to his creativity, most of his films helped shape their respective genres. The Lodger: A Story of the London Fog provided the template for thrillers, North by Northwest planted a seed for Bond-like spy movies, while Psycho is always part of the research material for any ambitious horror director.

As for Walt Disney, he was the animator and producer who introduced several new elements into the development of cartoons. He also invested in theme parks, a move that made his film productions even more popular.

Given the achievements of both individuals, few would expect them to draw daggers. After all, Hollywood heavyweights are always more likely to dine together in...

In a career that lasted over 50 years, Alfred Hitchcock was never stymied by expectations, hampered by codes, or inhibited by good taste. He always found a way to navigate the morass of cultural mores, finding ecstatic freedom within societal strictures. The last of these aspects, edging past good taste, provide the tastiest, trashiest facets of the director's penultimate masterpiece, Frenzy, a 1972 film that brought Hitchcock astride the directors who were now finding their own form, who took great inspiration from the Master of Suspense, and added their own Freudian hang-ups into stark, bloody relief. Perhaps no other director embodies the power of suggestion quite like Hitchcock, but in 1972, audiences were already beginning to crave something more fleshy.

Hitchcock's taste for the macabrely allusive began in earnest with 1927's The Lodger: A Story of the London Fog, an early example of a mistaken identity story that would become a prominent element...

The Lodge blends various horror elements, keeping audiences on edge with psychological, paranormal, and suspenseful twists. Riley Keough's gripping performance contributes to the film's unsettling atmosphere and leaves viewers questioning the characters' fates. Despite critical acclaim, the limited release of The Lodge resulted in its underappreciation within the horror genre, but it remains a must-watch.

Horror is one of the most reliable genres for filmmakers as they can work with a relatively low budget and achieve box office success, as we've seen with recent films such as Longlegs. It has a pretty easy blueprint to follow, too. Take some regular people, put them in an uncomfortable situation, and proceed to have all sorts of bad things happen. Audiences know what to expect, making horror a safe bet for creatives. However, the oversaturation of the field means that not every title can get the proper recognition it deserves. One of...

By 1932, Alfred Hitchcock didn't have the reputation as a titan of the film industry that he would gain after his move to Hollywood in 1939. He wasn't the man behind some of the greatest literary adaptations, horror films, and thrillers of the 20th Century. He wasn't yet known for his inclination to harass, objectify, and demean his actors, and even his famous silhouette was decades away. By the time of our story, Hitchcock was only 32 years old but already a certified hit maker with his seminal silent film The Lodger: A Story of the London Fog. He was still working in England and had been given the opportunity to make the first British sound film, Blackmail, in 1929.

Alfred Hitchcock made cameo appearances in the majority of his movies, starting with an unintended appearance in The Lodger: A Story of the London Fog. Hitchcock's signature cameos often feature props like musical instruments and cigarettes, and he typically wears a bowler hat and coat. Spotting Alfred Hitchcock in his movies became a game for audiences and helped build him a cult following, making his films even more rewatchable.

Alfred Hitchcock was a prolific director with a career spanning decades, and during that time he made cameos in a majority of his movies. Famously known as the master of suspense, he also notably made an average of one film a year for most of his time in the industry. This gave him plenty of opportunities to make appearances in his own movies, a tradition that began by accident. Afterward, he continued making brief cameos in his films, up until...

Some of Alfred Hitchcock's earliest films are lost forever, as poor preservation and distribution methods resulted in their destruction or deterioration. Hitchcock's would-be feature directorial debut, Number 13, was never finished due to financial troubles, and only a few scenes were shot. The Mountain Eagle, Hitchcock's second completed film, is missing and likely was not preserved properly, as even Hitchcock himself admitted to hating it and thought his career was finished after making the movie.

Alfred Hitchcock was one of the greatest and most prolific filmmakers, and many of his movies are must-see classics, but there are a few of his films that can't be seen at all, as they're lost forever. Famously known as the "Master of Suspense," Hitchcock began his directing career in England in the 1920s before moving to Hollywood in 1940. Most of the best Hitchcock movies consist of titles released after his transition to American cinema,...

Decades before Psycho mortified theater audiences with its audacious plot twists, venerated director Alfred Hitchcock self-referentially dubbed his 1927 silent film The Lodger: A Story of the London Fog as "the first true Hitchcock movie." Based on author Marie Belloc Lowndes' novel of the same name about a Jack the Ripper-inspired serial killer, it's easy to see why. Made in his native Britain, The Lodger is the Master of Suspense's third feature-length film, resting neatly at the beginning of his expansive oeuvre and marking the first time all the motifs synonymous with his name alchemized into a single product. The film's tightrope-delicate dance between barbed wire tension, daringly brazen social nuance, and a darkly subversive mystery fuse together to aptly foreshadow Hitchcock's entire career.

Nicolas Cage and Nicholas Hoult’s vampire horror-comedy “Renfield” will get its world premiere at the Overlook Film Festival on March 30.

Hoult stars as Renfield, the tortured aide to Dracula, who is being played by Cage. Chris McKay directed the film, and Ryan Ridley penned it. Additional cast members include Awkwafina, Shohreh Aghdashloo, Brandon Scott Jones and Ben Schwartz.

Lee Cronin’s “Evil Dead Rise” will close out the festival on April 2. Lily Sullivan and Alyssa Sutherland star in the film about estranged sisters reuniting, only to have flesh-possessing demons force them into a battle to survive. Rob Tapert, Sam Raimi and Bruce Campell produced the film.

Cage, McKay, John Goodman, Joe Dante, Jim Jarmusch and Logan Carter are among the in-person guests at Overlook.

Other films premiering at the festival include Philip Barantini’s “Accused,” Alexis Jacknow’s “Clock,” Nick Kozakis’ “Godless: The Eastfield Exorcism,” Ariel Vida’s “Trim Season...

Today, The Overlook Film Festival unveils the slate for its 2023 edition, to take place in New Orleans from March 30-April 2. The horror-focused festival will open with Universal’s Dracula reboot Renfield and close with Evil Dead Rise, the latest entry in the Evil Dead franchise. Additional programming includes interactive events, live performances, immersive programming and parties. Several retrospective titles have also been announced, entailing a 30th anniversary screening of Joe Dante‘s Matinee, a 10th anniversary screening of Jim Jarmusch‘s Only Lovers Left Alive, Alfred Hitchcock’s silent film The Lodger accompanied by a live score and William Castle’s The Tingler “featuring surprise […]

The post The Overlook Film Festival Announces 2023 Lineup first appeared on Filmmaker Magazine.

Today, The Overlook Film Festival unveils the slate for its 2023 edition, to take place in New Orleans from March 30-April 2. The horror-focused festival will open with Universal’s Dracula reboot Renfield and close with Evil Dead Rise, the latest entry in the Evil Dead franchise. Additional programming includes interactive events, live performances, immersive programming and parties. Several retrospective titles have also been announced, entailing a 30th anniversary screening of Joe Dante‘s Matinee, a 10th anniversary screening of Jim Jarmusch‘s Only Lovers Left Alive, Alfred Hitchcock’s silent film The Lodger accompanied by a live score and William Castle’s The Tingler “featuring surprise […]

The post The Overlook Film Festival Announces 2023 Lineup first appeared on Filmmaker Magazine.

The Overlook Film Festival announced today the full lineup for its upcoming 2023 edition, taking place March 30 – April 2 in New Orleans, Louisiana.

“The horror festival will welcome audiences back to America’s most haunted city with 50 films (26 features and 24 short films from 12 countries), along with extensive offerings including interactive events, live performances, immersive programming, parties and more scary surprises,” hypes the press release.

“The festival will open with the world premiere of the highly anticipated modern vampire tale Renfield, starring Nicholas Hoult as the titular tortured aide to history’s most narcissistic boss, Dracula, played by Oscar winner Nicolas Cage. A Universal Pictures film based on an original idea by The Walking Dead and Invincible creator Robert Kirkman, Renfield is directed by Chris McKay with a screenplay by Ryan Ridley, and will be followed by a live Q&a featuring Nicolas Cage and Chris McKay. Renfield arrives in theaters April 14. The...

Attending The Overlook Film Festival in New Orleans last year was one of my favorite horror experiences of the decade thus far, and Daily Dead is proud to return as one of the sponsors for this year's festival, taking place March 30th–April 2nd!

I couldn't wait to see what Overlook had in store for attendees this year, but I was not prepared for how spellbinding this year's lineup would be. From the world premiere screening of Renfield to the closing night showing of Evil Dead Rise, there are 26 features and 24 short films to look forward to, as well as the return of the Halloween costume party, the weekend-long immersive game, and Final Exam Trivia sponsored by Daily Dead!

On top of all that (and much more), in-person special guests will include Nicolas Cage, John Goodman, Joe Dante, Jim Jarmusch, and Chris McKay!

Below, we have the official press release with full details,...

Nicolas Cage and Nicholas Hoult’s vampire drama Renfield is set to open the Overlook Film Festival with a world premiere.

And director Lee Cronin’s Evil Dead Rise, executive produced by Sam Raimi, will close the genre film festival, which unveiled its lineup on Tuesday. Evil Dead Rise stars Lily Sullivan, Alyssa Sutherland, Morgan Davies, Gabrielle Echols and Nell Fisher.

Universal’s Renfield horror comedy from director Chris McKay features a dynamic between Cage’s Dracula and Hoult’s tortured henchman and is set to hit theaters on April 14.

Overlook has also booked world premieres for Philip Barantini’s Accused, which stars Chaneil Kukar (Sex Education); Alexis Jacknow’s Clock, toplined by Dianna Agron, Jay Ali and Melora Hardin; Nick Kozakis’s Godless: The Eastfield Exorcism, an Aussie pic that stars Georgia Eyers, Dan Ewing, Tim Pocock, Eliza Matengu, John Wood and Rosie Traynor; Ariel Vida’s Trim Season...

Brett Morgen’s “Moonage Daydream,” a freewheeling documentary about David Bowie, doesn’t offer a chronology of the life of the late pop icon. Rather it provides a fever dream of sound and vision, with songs torn apart, reimagined and reassembled in ways that reflect its subject’s chameleonic music and art.

The doc, out now in IMAX theaters, was a labor of love for Morgen that took four years to assemble and edit. It was another 18 months constructing the ambitious soundtrack, which required the talents of the Oscar-winning “Bohemian Rhapsody” team of Ventura, Calif.-based rerecording mixer Paul Massey (with David Giammarco); London-based supervising sound and music editor John Warhurst and supervising sound editor Nina Hartstone; and Dolby Atmos Music Studios.

Veteran mixer Massey recommended Warhurst and Hartstone to Morgen. “We know instinctively what each other is about to do,” Massey explains.

One of the challenges for Massey was...

The Oscars don’t always get it right. There have been many notable injustices since the first ceremony took place in 1929, but surely none more surprising than the absence of Alfred Hitchcock’s name from the list of winners.

The man responsible for some of the greatest films ever made, and who committed many of cinema’s most deathless images to celluloid, never won an Academy Award despite being nominated for best director on five occasions: Rebecca in 1940, Lifeboat in 1944, Spellbound in 1945, Rear Window in 1954 and Psycho in 1960.

However, these five movies represent just a small percentage of Hitchcock’s magnificent oeuvre of 52 films. To counteract this injustice, here is my selection of his 20 greatest.

20. Blackmail (1929)

A young woman kills a man who tries to rape her and then finds herself caught between the investigating policeman, who happens to be her fiance, and a blackmailer. Generally considered to be the first British talkie,...

The Oscars don’t always get it right. There have been many notable injustices since the first ceremony took place in 1929, but surely none more surprising than the absence of Alfred Hitchcock’s name from the list of winners.

The man responsible for some of the greatest films ever made, and who committed many of cinema’s most deathless images to celluloid, never won an Academy Award despite being nominated for best director on five occasions: Rebecca in 1940, Lifeboat in 1944, Spellbound in 1945, Rear Window in 1954 and Psycho in 1960.

However, these five movies represent just a small percentage of Hitchcock’s magnificent oeuvre of 52 films. To counteract this injustice, here is my selection of his 20 greatest.

20. Blackmail (1929)

A young woman kills a man who tries to rape her and then finds herself caught between the investigating policeman, who happens to be her fiance, and a blackmailer. Generally considered to be the first British talkie,...

The Oscars don’t always get it right. There have been many notable injustices since the first ceremony took place in 1929, but surely none more surprising than the absence of Alfred Hitchcock’s name from the list of winners.

The man responsible for some of the greatest films ever made, and who committed many of cinema’s most deathless images to celluloid, never won an Academy Award despite being nominated for best director on five occasions: Rebecca in 1940, Lifeboat in 1944, Spellbound in 1945, Rear Window in 1954 and Psycho in 1960.

However, these five movies represent just a small percentage of Hitchcock’s magnificent oeuvre of 52 films. To counteract this injustice, here is my selection of his 20 greatest.

20. Blackmail (1929)

A young woman kills a man who tries to rape her and then finds herself caught between the investigating policeman, who happens to be her fiance, and a blackmailer. Generally considered to be the first British talkie,...

Alfred Hitchcock described his third film, The Lodger, as the true beginning of his directorial career but it would prove a near fatal screen debut for its leading light June Tripp

December 1925 was a busy month for June. A fixture of the West End stage since childhood, her surname, Tripp, had been excised by the impresario Charles B Cochran because it “sounds a bit comical for a dancer”. She spent the days rehearsing for a musical, Kid Boots, the evenings starring in another, Mercenary Mary, and then would “rush to the studio at midnight”, to act in a horse-racing short film opposite the fading American film star Carlyle Blackwell. The studio was at Poole Street, Islington, in north London, built five years earlier by Paramount but now rented out, most often to a British company, Gainsborough, run by Michael Balcon.

The short, Riding for a King, starred the celebrated jockey...

Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past round-ups here.

See our comprehensive guide to where to stream the best films of 2021.

Adrienne (Andy Ostroy)

I hadn’t seen any of Adrienne Shelly’s work at the time of her death, but you couldn’t follow the film world in 2006 without hearing about what happened. News sites first latched onto the assumption of suicide only to discover what happened was murder—the culprit found, arrested, and confessed shortly afterwards. And amidst that tragic whirlwind during the final two months of that year, Shelly’s latest film as writer-director-star, Waitress, was in submission at Sundance. It would eventually bow at the festival, find distribution, become an overnight indie darling, and spawn a Broadway musical adaptation with songs by Sara Bareilles. She unfortunately never...

“f you believe, my dear Francesca, you are… gullible. Can you look around this world and believe in the goodness of a god who rules it? Famine, Pestilence, War, Disease and Death! They rule this world.”

Vincent Price is gold in his hometown of St. Louis. Don’t miss the upcoming screening of the local hero’s best films. Vincent Price in director Roger Corman’s Masque Of The Red Death (1964) will be showing Wednesday, October 20th at 8 pm. Tickets are $5 each The Arkadin is located at 5228 Gravois Ave, St Louis, Mo 63116. Films are currently showing on the Backlot Patio (Enter through the Heavy Anchor) and bringing extra lawn chairs is strongly encouraged. The Arkadin Cinema site can be found Here

The famous Aip Corman-Poe series of films concluded with a great one-two punch: The Masque Of The Red Death and The Tomb Of Ligeia, both released in 1964. Corman had...

“You’re shivering. Keep your handcuffs hidden and we’ll get some brandy.”

Alfred Hitchcock’s The Lodger: A Story Of The London Fog (1927) will be showing Wednesday, October 13 at 8 pm. This night is presented by Silents, Please Stl. Tickets are free, but donations are highly appreciated. All donations go to Silents, Please Stl. The Arkadin is located at 5228 Gravois Ave, St Louis, Mo 63116. Films are currently showing on the Backlot Patio (Enter through the Heavy Anchor) and bringing extra lawn chairs is strongly encouraged. Donations are accepted that evening or in advance Here. The Arkadin Cinema site can be found Here

In The Lodger: A Story Of The London Fog, a serial killer known as “the avenger” is murdering blonde women in London. A new lodger, Jonathan Drew, arrives at Mr. and Mrs. Bounting’s in Bloomsbury and rents a room. The man has some strange habits, he...

“Why should you be afraid to die? Your soul has been dead for a long long time.”

Halloween month just got better in St. Louis as The Arkadin Cinema and Bar announces their spooky October line-up. The Arkadin Cinema, a local independent theater hosts a super-fun outdoor film series that takes place in the back lot at The Heavy Anchor (5226 Gravois Ave in St. Louis) Showtime is 8:00. Enter through the front of The Heavy Anchor. Proof of vaccination or negative Covid test from the past 72 hours is required for all events. All events are 21+.Limited seating available. They have some chairs available, but it’s strongly recommended that you bring your own chair, if you can. Masks are required for entry and must be worn when not eating or drinking.

For more details and ticket information, visit the Arkadin website Here

Here’s the kooky, spooky line-up:

October 1:...

Exclusive: UK distributor Lightbulb Film Distribution has made its highest-profile acquisitions to date out of the recent Cannes virtual market, including comedy Ride The Eagle, starring Jake Johnson, D’Arcy Carden, J.K. Simmons and Susan Sarandon.

The movie follows Leif (Johnson) who inherits a picturesque log cabin after his estranged mother Honey (Sarandon) dies. But there is a condition; he must first complete her elaborate to-do list. With the help of his ex (Carden), local eccentric (Simmons) and Nora, his faithful canine companion, Leif embarks on a journey of self-discovery.

Trent O’Donnell directs and co-wrote the screenplay with Johnson. The deal was struck with Scott Bedno of Myriad Pictures.

“We are thrilled to be bringing Ride The Eagle to UK audiences this autumn. Shot entirely during lockdown, it’s a film that will make you laugh – and that’s something we need more than ever”, commented Lightbulb’s Sales & Acquisitions Director Peter Thompson.

With the recent announcement that star Jodie Whittaker and showrunner Chris Chibnall will be departing Doctor Who following the next season, we have confirmation that Season 14 will be yet another opportunity to regenerate the long-running science fiction show. In that spirit, we reached out to the many Doctor Who viewers amongst our writers to get their personal fan perspectives on what they’d like to see from the next iteration of Who. Here’s what we came up with. Add your own wish-list items below…

Make the Doctor a Bit of a Bastard

My number one wish-list item for season 14 is I want the Doctor to be a bit of a bastard. Steven Moffat had his flaws, but one thing I loved was his interpretation of what the Doctor *is*. The way Moffat sees the Doctor is that there is this vast, ancient alien god, full of loneliness, grief, and...

The first clapperboard is set to slam at the end of April on this movie which is directed by Thierry Binisti, steered by Ts Productions and sold by Be For Films. 29 April will see Thierry Binisti commence filming on his 3rd fiction feature film Le Prix du passage. Mostly known for A Bottle In The Gaza Sea, the director has assembled a cast composed of Alice Isaaz, Adam Bessa (seen in Blessed and hitting screens this year in Haute couture) and Belgium’s Catherine Salée (nominated for the Best Supporting Role Magritte in 2013, 2014, 2015 and...

Thrillers have been around ever since Alfred Hitchcock came up with The Lodger: A Story of the London Fog, a 1927 silent movie loosely based on the gruesome tales of Jack the Ripper (a mysterious serial killer who haunted the dingiest areas of London during the late 19th century.) Since then, the genre has undergone endless mutations, each one resulting in a fresh perspective.

Related: 10 Best Animated Movies With Female Lead Characters

Although Thrillers are technically meant to appeal to the viewer's basest senses — excitement, fear, anxiety in a controlled setting — there have been a decent number of cinematically fantastic examples as well. Some of them merit more than one viewing, and a few actually reveal more about the story with each rewatch.

As Disney quietly disappears huge swathes of film history into its vaults, I'm going to spend 2020 celebrating Twentieth Century Fox and the Fox Film Corporation's films, what one might call their output if only someone were putting it out.And now they've quietly disappeared William Fox's name from the company: guilty by association with Rupert Murdoch, even though he never associated with him.***Two of the 1940s Raymond Chandler adaptations, Howard Hawks' The Big Sleep (1946) and Edward Dmytryk's Murder, My Sweet (1944), are rightly considered classics. Hawks identified the key challenge of the first-person detective story: find a leading man interesting enough that the audience doesn't get bored of seeing him in every scene. Hawks hired Bogart.Dmytryk was lumbered with Dick Powell, but Powell stretched himself and Dmytryk did everything to make the surroundings interesting, even nightmarish.The third movie from the third major studio is Robert Montgomery...

With a seemingly endless amount of streaming options—not only the titles at our disposal, but services themselves–each week we highlight the noteworthy titles that have recently hit platforms. Check out this week’s selections below and an archive of past round-ups here.

A Burning Hot Summer (Philippe Garrel)

What makes Philippe Garrel’s films so distinct is their blend of autobiographical pain and silent-film mise-en-scène–a failed relationship or revolution rendered not so much through the increasingly dialogue-heavy scripts of his films, but the placement of bodies, gestures, and, furthermore, the dreams that contain and emerge from them. Yet while A Burning Hot Summer may be the only film he’s made in the 21st century not shot in black-and-white, once the senior Maurice Garrel (in his final role) appears as an apparition in his grandson’s hospital bed-bound vision, the personal and the fantastical have formed their most natural relationship.

Jodie Whittaker is now a worldwide name thanks to shattering the glass ceiling (literally) by being cast as Doctor Who‘s Thirteenth Doctor, the first actress to play the Time Lord. However, her connection to the series could have extended back even further if things had originally gone to plan.

Whittaker’s revealed that she was initially almost cast in a guest role in Matt Smith’s first season as the Eleventh Doctor back in 2010. The star confirmed the interesting “what if?” scenario in an interview with The Times. She admitted that she couldn’t remember what role she was up for, but we don’t suppose she holds any grudges for missing out on that part, seeing as she currently runs the show.

So, Whovians, it’s now your job to work out what role Whittaker might have played in season 5. Radio Times has put forward a few good suggestions,...

Alfred Hitchcock celebrates his 119th birthday on August 13. Born in 1899, the director has long been revered as one of the most influential filmmakers of all time. He also holds the unfortunate distinction of being one of Oscar’s biggest losers, with five Best Director nominations and no wins. Still, who needs an Oscar when you’ve impacted world cinema as significantly as “Hitch” has? In honor of his birthday, let’s take a look back at 25 of his greatest films, ranked from worst to best.

Known as “the Master of Suspense,” Hitchcock cut his teeth directing silent movies in his native England. With films like “The Lodger” (1927), he gained a reputation for helming tense and stylish psychological thrillers. With the invention of sound came an added element to Hitchcock’s work: a sly sense of humor.

He moved to America in 1940 to direct two films that earned Best Picture nominations: “Foreign Correspondent” and “Rebecca,...

With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.

Bombshell: The Hedy Lamarr Story (Alexandra Dean)

The tell-all “autobiography” Ecstasy and Me: My Life As A Woman was exactly what Hedy Lamarr’s agent wanted to make quick money. But it wasn’t her life. Whether her ghostwriter’s words were true or not, the story dealt with everything she hoped wouldn’t define her legacy. Sadly she never had the chance to set the record straight with...

No, it’s not a the-day-after sequel to The Lost Weekend, but a class-act mystery-horror from 20th-Fox, at a time when the studio wasn’t keen on scare shows. John Brahm directs the ill-fated Laird Cregar as a mad musician . . . or, at least a musician driven mad by a perfidious femme fatale, Darryl Zanuck’s top glamour girl Linda Darnell.

Hangover Square

Blu-ray

Kl Studio Classics

1945 /B&W / 1:37 Academy / 77 min. / Street Date November 21, 2017 / available through Kino Lorber / 29.95

Starring: Laird Cregar, Linda Darnell, George Sanders, Faye Marlowe, Glenn Langan, Alan Napier.

Cinematography: Joseph Lashelle

Film Editor: Harry Reynolds

Original Music: Bernard Herrmann

Written by Barré Lyndon

Produced by Robert Bassler

Directed by John Brahm

Here’s a serious quality upgrade for horror fans. Although technically a period murder thriller, as a horror film John Brahm’s tense Hangover Square betters its precursor The Lodger in almost every department. We don...

Close-Up is a feature that spotlights films now playing on Mubi. The retrospective Early Hitchcock is showing August 11 - September 12, 2017 in the United States.ChampagneAround the time of his dazzling expressionistic breakthrough The Lodger (1927), and Blackmail (1929), his innovative foray into sound—and England’s first talkie—Alfred Hitchcock was testing the narrative waters of his potential filmic output. It was a terrifically productive period for the promising London-born auteur, with nearly 20 features in ten years, and looking back at these early works, the tendency is often to pinpoint instances of his trademark aesthetic to come (easy to do with something like The Lodger; less so with something like The Ring, also 1927). However, when sampling these titles, and keeping in mind the most popular Hitchcockian characteristics had yet to be regularly implemented, new and uncommon propensities emerge. Such is the case with a trilogy of films to be shown as part...

“Hitch Begins”

By Raymond Benson

The British silent film period of director Alfred Hitchcock is simultaneously interesting and frustrating. It’s the former because it allows one to view a genius at the very beginning of his career—the kernels of motifs and themes, as well as stylistic choices, can be spotted and analyzed. It’s the latter because only one or two of the nine silent pictures he made are truly memorable and most are available today solely as poor quality public domain transfers.

The Criterion Collection has just released a bang-up, marvelous new edition of Hitchcock’s most celebrated silent work, The Lodger—A Story of the London Fog. The disk also contains one of the rarer silent titles, Downhill (also 1927), which might be reason enough for Hitchcock enthusiasts to purchase the package.

A bit of history: Hitchcock was working for Gainsborough Pictures under the auspices of Michael Balcon...

Of all the individuals ever assigned the task of sitting alongside the camera operator to direct a motion picture, I feel confident saying that none have been subjected to closer analytical scrutiny and more widespread popular acclaim than Alfred Hitchcock. Routinely considered one of the greatest, if not the preeminent, cinematic geniuses of all time, the “Master of Suspense” boasts an unparalleled litany of superlative achievements dating back to the silent film era and continuing over the course of five decades. His career can conveniently be broken down and digested in a handful of different eras, with most Hitchcock fans beginning their acquaintance with his work based on the legendary run he enjoyed through the 1950s in perennial “greatest film of all time” candidates like Vertigo and Rear Window, then moving either forward in time to classic shockers like Psycho and The Birds from the 1960s, or backward into his...

Five new movies are joining the Criterion Collection in September, two of which were released in the last year: Kelly Reichardt’s spare, moving “Certain Women” and the documentary “David Lynch: The Art Life.” Also getting the Criterion treatment are Michael Haneke’s “The Piancho Teacher,” starring Isabelle Huppert; “Rebecca,” Alfred Hitchcock’s adaptation of the Daphne du Maurier novel and his first American production; and Murray Lerner’s documentary “Festival,” which features performances by Bob Dylan and Johnny Cash, among others.

It isn’t Criterion’s most exciting month, but there’s still much to look forward to. Details below, including Criterion’s own descriptions:

Read More: Criterion Collection Announces August 2017 Additions, Including Restored ‘Sid & Nancy’ and Mike Leigh’s ‘Meantime’

“Rebecca”

“Romance becomes psychodrama in Alfred Hitchcock’s elegantly crafted ‘Rebecca,’ his first foray into Hollywood filmmaking. A dreamlike adaptation of Daphne du Maurier’s 1938 novel, the film...

Hitchcock’s first self-professed ‘Hitch’ picture is still a winner. Many of his recurring themes are present, and some of his visual fluidity – in this finely tuned commercial ‘shock’ movie with witty visual tricks from Hitchcock’s own background as an art director. And hey, he secured a real box office name to star as the mysterious maybe-slayer, ‘The Avenger.’

The Lodger: A Story of the London Fog

Blu-ray

The Criterion Collection 885

1927 / B&W + Color tints / 1:33 Silent Ap / 91 min. / available through The Criterion Collection / Street Date June 27, 2017 / 39.95

Starring: Ivor Novello, June Tripp, Marie Ault, Arthur Chesney, Malcolm Keen.

Cinematography: Gaetano di Ventimiglia

Film Editor + titles: Ivor Montagu

Assistant director: Alma Reville

Written by Eliot Stannard from the book by Marie Belloc Lowndes

Produced by Michael Balcon and Carlyle Blackwell

Directed by Alfred Hitchcock

Alfred Hitchcock became the most notable English film director for all the right reasons — he was talented and creative,...

Late summer is all about reflection over at The Criterion Collection, as the library is spending August offering up a handful of unsung classics and new look at some longtime favorites.

Michael Curitz’s “The Breaking Point,” a mostly overlooked Hemingway adaptation, starring John Garfield and Patricia Neal, will be available on Blu-ray for the first time, while Sacha Guitry’s “La poison” arrives on home video for the first time ever. Elsewhere, Mike Leigh’s revelatory “Meantime” is getting a 2K restoration, all the better to enjoy the early work of Tim Roth and Gary Oldman. That’s not all for Oldman fans, however, as Alex Cox’s “Sid & Nancy” hits the collection with a brand new 4K digital restoration. Finally, Walter Matthau stars in the charming comedy “Hopscotch,” also available on Blu-ray in a 2K digital restoration.

Below is the complete list of August additions, with descriptions provided by Criterion.

I was 12 years old in 1968. One of my favorite places was the library, in those days the closest library to us was the Tesson Ferry Branch in South St. Louis County. My most prized possession was my library card.

My Mother used to drop me off there on a Saturday or a summer weekday and I would spend the whole day reading. One of those days I pulled a book off the shelf called Hitchcock/Truffaut and sat down to read it. I knew who Alfred Hitchcock was from his television show, and from his monthly Mystery Magazine as well as anthologies that I was reading avidly, Tales That Frightened Even Me, More Tales for the Nervous and, my favorite, Stories to be Read After Dark.

I was aware that Alfred Hitchcock was most renowned for directing movies. I had seen a few on television, Saboteur was a mainstay on Kplr TV,...

Summer 2017 is shaping up to be quite the exciting season for The Criterion Collection. In May, the library will welcome cult favorite “Ghost World” and recent Palme d’or winner “Dheepan,” while June finds Kenji Mizoguchi’s “Ugetsu,” Hitchcock’s silent classic “The Lodger” and Sam Peckinpah’s controversial “Straw Dogs” joining the club. Criterion has now added its July 2017 additions to their summer slate, and they include movies from auteurs like Tarkovsky, Rossellini and Bresson. Below is the complete list of July additions, with descriptions provided by Criterion.

Read More: The Criterion Collection Announces June Titles: ‘The Marseille Trilogy, ‘They Live by Night,’ ‘The Lodger’ and More

“Stalker” (1979) – Available July 18

Andrei Tarkovsky’s final Soviet feature is a metaphysical journey through an enigmatic postapocalyptic landscape, and a rarefied cinematic experience like no other. A hired guide—the Stalker—leads a writer and a scientist into the heart of the Zone,...

Aaron, Arik Devens, Scott Nye and Travis Trudell dig into the June Criterion announcements, Ingmar Bergman on FilmStruck, Canoa: A Shameful Memory, Werner Herzog versus Klaus Kinski, Iranian Cinema, and plenty of other topics including the latest news from Criterion and FilmStruck.

Episode Notes

1:50 – June Announcements

34:00 – Ingmar Bergman

43:00 – Canoa: A Shameful Memory

49:00 – Criterion Coming Soon & Misc News Items

53:00 – Short Takes (Burden of Dreams, McCabe & Mrs. Miller, The House is Black, For Heaven’s Sake)

1:04:00 – FilmStruck

Episode Links Criterion – Ugetsu Criterion – They Live by Night Criterion – The Marseilles Trilogy Criterion – The Lodger Criterion – Straw Dogs Scott Reviews Ingmar Bergman’s The Devil’s Eye CriterionCast 173 – Ingmar Bergman’s Summer Interlude CriterionCast 174 – Ingmar Bergman’s Summer with Monika CriterionCast 175 – Ingmar Bergman’s Smiles of a Summer Night A History of Jazz Podcast Arik Reviews Canoa: A Shameful Memory Albert Brooks Tweet about Lost in America...

Come June, the Criterion Collection will be presenting some mighty fine alternatives to the Hollywood blockbuster machine. It starts with Mizoguchi Kenji's Ugetsu and includes two early works by Alfred Hitchcock (The Lodger) and Nicholas Ray (They Live By Night), as well as Sam Peckinpah's Straw Dogs, which continues to stir controversy. For those with a taste for French cinema, a newly restored version of Marcel Pagnol's Marseille Trilogy arrives on Blu-ray for the first time. Click through the gallery below to see all the Blu-ray covers and read the official descriptions from Criterion....

[Read the whole post on screenanarchy.com...]...

A new batch of titles for the Criterion Collection for June 2017!! I’m excited for Straw Dogs, They Live by Night, and The Marseille Trilogy. Alfred Hitchcock’s The Lodger gets a new addition, but honestly, I consider it a minor work. But hey, it’s always good to get a Hitchcock release in the Criterion Collection… […]

The post The Criterion Collection Adds Straw Dogs, The Lodger, and The Marseille Trilogy For June 2017 #Criterion appeared first on Shockya.com.

Marcel Pagnols’ Marseille Trilogy, Alfred Hitchcock’s “The Lodger: A Story of the London Fog” and Nicholas Ray’s “They Live by Night” are among the new titles joining the Criterion Collection this June. In addition, Kenji Mizoguchi’s “Ugetsu” and Sam Peckinpah’s “Straw Dogs” are being upgraded in new Blu-ray editions. More information below.

Read More: The Criterion Collection Announces May Titles: ‘Ghost World,’ ‘Dheepan,’ ‘Jeanne Dielman’ and More

“Ugetsu”

“Having refined his craft in the silent era, Kenji Mizoguchi was an elder statesman of Japanese cinema-fiercely revered by Akira Kurosawa and other younger directors-by the time he made ‘Ugetsu.’ And with this exquisite ghost story, a fatalistic wartime tragedy derived from stories by Akinari Ueda and Guy de Maupassant, he created a touchstone of his art, his long takes and sweeping camera guiding the viewer through a delirious narrative about two villagers whose pursuit of fame and...

It’s mid-month, which means it is time for the next line-up for The Criterion Collection. Arriving in June is Sam Pekcinpah‘s controversial Dustin Hoffman-led thriller Straw Dogs, Alfred Hitchcock‘s early silent film The Lodger (which also includes his film from the same year of 1927, Downhill), and perhaps the most substantial release of the month, Marcel Pagnol’s The Marseille Trilogy, featuring Marius, Fanny, and César.

Also in the line-up is is Nicholas Ray‘s directorial debut, the 1948 drama They Live by Night, as well as a Blu-ray upgrade of Kenji Mizoguchi‘s landmark classic Ugetsu, which recently enjoyed a 4K theatrical restoration. Check out all the details on the releases below by clicking the box art.

In this episode of Off The Shelf, Ryan and Brian take a look at the new DVD and Blu-ray releases for the weeks of, June 21st and June 28th 2016.

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Follow-Up No episode last week Wrath of Khan exchange program Arrow, Twilight Time, and Criterion sales News Kino Lorber: No Retreat, No Surrender, The Lodger Warner Archive: To Have and Have Not, Silk Stockings Disney: Beauty and the Beast 25th Anniversary Edition Criteron: Pan’s Labyrinth, September Line-up Arrow: Woody Allen Box Set Olive Films: September titles Code Red: Highpoint Family Honor, Headhunter (Diabolik preorders) Studio Canal: Leaving Las Vegas Saturn Awards: Winners Links to Amazon

July 21st

99 River Street Anesthesia Appointment With Crime Cornbread Earl and Me The Crush Embrace Of The Serpent Fantastic Planet Hidden Fear Home of Our Own Knight of Cups Midnight Special Nikkatsu Diamond Guys: Vol. 2 Return of a...

Fox Searchlight Pictures

Prior to the 1950s, British horror consisted mainly of Tod Slaughter melodramas and the occasional vehicle for Boris Karloff or Bela Lugosi. A pair of truly notable films – Alfred Hitchcock’s The Lodger (1926) and Dead Of Night (1945) – broke the mould, but the genre met with disapproval from the UK censor, who banned Freaks and Island Of Lost Souls (both 1932) for decades.

The change came when Hammer released The Curse Of Frankenstein in 1957, which gave punters a home-grown monster movie with unprecedented levels of gore. The film played to packed houses and as Hammer’s success continued, rival studios sprung up and their output made it very clear that there was much more to British horror than watching Christopher Lee and Peter Cushing putter around a gothic castle.

From anthology films to zombie movies, there’s a certain consistency to horror pictures from the UK, an atmosphere and...

It’s the holiday season where most are thinking egg nog, fluffy snow, decorating cookies and Santa Claus. But if director Michael Dougherty has anything to say about it with his latest film Krampus, this festive time of year will include a darker Christmas legend whose shadow over pop culture is growing.

Ancient folklore warns of Krampus, a myth that has been traced back centuries throughout European cultures. Santa rewards the nice; Krampus punishes the naughty. Santa brings laughter and joy; Krampus unleashes darkness and mayhem. Santa gives presents; Krampus takes souls.

Dougherty says, “The same way that Americans send out Christmas cards, Europeans have this rich tradition of sending out Krampus cards. I was shown these beautiful illustrations of this creature called Krampus, who stole children, and images of people cowering in fear. Still, they had such a fun, mischievous quality, similar to our Halloween. I found that appealing...