Film genre – Mondovino Le Film http://mondovino-lefilm.com/ Tue, 19 Oct 2021 21:04:19 +0000 en-US hourly 1 https://wordpress.org/?v=5.8 https://mondovino-lefilm.com/wp-content/uploads/2021/07/lefilm-150x150.png Film genre – Mondovino Le Film http://mondovino-lefilm.com/ 32 32 Skeet Ulrich says no one knew who killed whom by screaming https://mondovino-lefilm.com/skeet-ulrich-says-no-one-knew-who-killed-whom-by-screaming/ https://mondovino-lefilm.com/skeet-ulrich-says-no-one-knew-who-killed-whom-by-screaming/#respond Tue, 19 Oct 2021 19:47:00 +0000 https://mondovino-lefilm.com/skeet-ulrich-says-no-one-knew-who-killed-whom-by-screaming/ Billy Loomis actor Skeet Ulrich has said that no one in the cast or crew knows whether his or Matthew Lillard character killed the Ghostface victims in Scream. Skeet Ulrich, who played Billy Loomis, one of the original two antagonists Scream, says no one knew whether it was his character or Matthew Lillard’s Stu who […]]]>

Billy Loomis actor Skeet Ulrich has said that no one in the cast or crew knows whether his or Matthew Lillard character killed the Ghostface victims in Scream.

Skeet Ulrich, who played Billy Loomis, one of the original two antagonists Scream, says no one knew whether it was his character or Matthew Lillard’s Stu who killed the film’s many victims. at Wes Craven Scream was something of a revelation when it was released in 1996, in part due to its groundbreaking approach to the horror genre itself. The conscious nature of the film drew attention to the many horror tropes established over the previous decade, which set a unique tone that no one had ever seen before. The film spawned four sequels, with a fifth titled Scream, slated for release early next year.


One of the film’s many revelations is that the masked killer who had terrorized people throughout the movie were two killers who worked together and shared the iconic Ghostface disguise. The stroke of genius kept audiences from guessing who the high school killer in the movie was, as whenever it seemed obvious who was behind it all, Ghostface would appear in the same scene, seemingly erasing that character of any suspicion. The movie’s climax reveals that Billy and Stu worked together the entire time, but the movie doesn’t specify which of them committed each murder.

Related: Scream 2022 Theory: The Killer Is Randy’s Secret Child

In a new interview with Collider, Skeet Ulrich revealed that, behind the scenes, no one knew who killed whom either. According to Ulrich, this was never even discussed. He acknowledges that fans have debated the issue for years and suggests that the debate continue, testifying to the genius of director Wes Craven. However, he concedes that some of the murders are easier to solve than others due to when his character appears on screen. Check out Ulrich’s full commentary below:

“No one ever knew, to be honest. [Laughs] There was no conversation about it. I know for insurance reasons etc. Ghostface had to be a stuntman. But yeah, we didn’t know that and it never really got into the conversation. Now, going to conventions and stuff, I hear that’s a big burning question and people have theories and got things figured out. And yet, I know Matt Lillard had a conversation with Kevin Williamson and he never thought about who was doing what. I guess that speaks a little bit about Wes’ genius, that people feel like they have clues as to who was who. And I think some are more obvious than others in hindsight, obviously. If I appear immediately after, it is clearly not me.

scream 1996

Ulrich even mentions that Lillard spoke with Kevin Williamson, the film’s writer, and even he didn’t understand this. Considering how thoughtful the scripts and stories need to be before they step on camera, it’s a surprising revelation that the question hasn’t even resulted in some behind-the-scenes conversations. Although it can be assumed, using Ulrich’s logic, that the attack on Sidney when she is home alone is carried out by Stuart since Loomis appears shortly thereafter, the person responsible for the initial attack who opening the film against the character of Drew Barrymore will probably never be conclusive. answered.

Ultimately, it was for the sake of the film that such fan debates continued for so many years after its release. Whether a film can remain culturally meaningful and be the subject of so much conversation and friendly argument for 25 years after its release is no small feat. It remains to be seen whether the new Scream The film will regain the energy and tone of the original – it includes many members of the original cast, after all – but I hope audiences will still be talking about it for many years after its release.

More: Scream 2022 Must End Franchise’s Obsession With Sidney

Source: Collider

  • Scream 5 (2022)Release Date: January 14, 2022

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10 unpopular opinions on the 2021 film, according to Reddit https://mondovino-lefilm.com/10-unpopular-opinions-on-the-2021-film-according-to-reddit/ https://mondovino-lefilm.com/10-unpopular-opinions-on-the-2021-film-according-to-reddit/#respond Mon, 18 Oct 2021 16:30:00 +0000 https://mondovino-lefilm.com/10-unpopular-opinions-on-the-2021-film-according-to-reddit/ Since it was written in the ’60s, the track record in bringing Frank Herbert’s sprawling sci-fi opus to life has not been good. However, it looks like in the hands of famous filmmaker Denis Villeneuve, fans will finally be able to see an accurate and awe-inspiring take on one of the most famous science fiction […]]]>

Since it was written in the ’60s, the track record in bringing Frank Herbert’s sprawling sci-fi opus to life has not been good. However, it looks like in the hands of famous filmmaker Denis Villeneuve, fans will finally be able to see an accurate and awe-inspiring take on one of the most famous science fiction novels ever written. In addition to praising the director of contributions to the genre as respected as Arrival and Blade runner 2049, Dune Also features a sprawling cast of top actors (including Timothée Chalamet, Rebecca Ferguson and Josh Brolin) and a score by famous composer Hans Zimmer.


RELATED: 10 Friendliest Josh Brolin Characters From Dunes

Despite the many components to recommend it, Dune has its share of detractors. From the feeling that Villeneuve won’t be able to tell the story properly on many levels to the thought that David Lynch did it better in 1984, and even that he won’t live up to the hype that his tapes- ads generated, Reddit users have ‘I didn’t hesitate to share a number of unpopular opinions.

Dune is boring and stupid

June 2021

With its richly constructed narrative, a myriad of royal houses rivaling the aristocratic complexity of Game Of Thrones, and philosophical concepts at several levels, Dune (in any iteration) has almost never been described as “extremely boring”, but denq_aurea finds its plot to be “an easy, cliché storyline” with characters “a child could imagine”.

It’s important to note that this Redditor hasn’t read any of Herbert’s books, which are filled with philosophical concepts that will be classified as fascinating or boring, with very little common ground. In addition to the breathtaking passages, there are also a lot of wild moments from the Dune series of books that movies cannot show.

Dune contains faulty logic

Gurney (Josh Brolin) and Paul (Timothee Chalamet) on the set of Dune 2021

One Redditor argues that because “humans on the whole are smarter than audiences of the past” and scrutinize every aspect of today’s science fiction films (from fictional technology to character logic), Dune should never have been done. The flawed logic inherent in his concepts of space travel, spice mining, and even the proposition that humans would eliminate all computers in the future indicates to them a disconnected perception of the modern public.

The original book was written in the 1960s and was based on understanding the construction of planets, artificial intelligence, computers, and space travel as understood at the time. Most importantly, in addition to being a product of its time, Dune also accomplished what a lot of science fiction was doing then – it came up with what “could be”, rather than “what was possible”.

Dune won’t live up to the hype

Paul wielding a dagger in Dune 2021

From the trailer for Dune premiered, fans have been groomed for the excitement and Redditor Idonthaveagoodname92 wonders “how can a movie live up to this hype?” suggesting the new movie won’t be able to answer to the expectations of the public, especially those who compare it to The Lord of the Rings.

Few films meet all of viewers’ expectations, and those who have read Herbert’s novel may find the film particularly difficult to connect with its source material, but people have rejected the the Lord of the Rings trailers when they premiered as well, complaining that they would never live up to JRR Tolkien’s books. In the end, many of the changes from the the Lord of the Rings books have actually helped films to be viewed in a more favorable light.

Dune looks really generic

Based on the movie’s trailers, Mobpu12 decided that it “looked super generic and underwhelming,” citing that despite an “incredible cast,” the rest of the aesthetic looked “super cookie-cutter.” room “. This is not usually the kind of feeling that films directed by Denis Villeneuve receive, especially since his filmography includes many titles with unique aesthetic choices.

RELATED: 10 Best Behind The Scenes Facts About Dune (2021)

Often times, directors have very little say in how their film is marketed, especially when it comes to how producers dictate how a trailer is put together. It’s possible that what now appears to be a “cookie cutter” will appear a lot more eye-catching and interesting once the movie is released.

Dune should beat Star Wars

C-3PO from Star Wars and Timothée Chalamet and Rebecca Ferguson in Dune

Nathanielhmoore thinks that because Dune “has a more guttural way of approaching [mature themes] which could really say a lot in today’s social climate, “it should become more popular than the Star wars franchise. While the two are considered “sci-fi fantasy”, the two franchises are generally considered to be incomparable.

George Lucas is said to have borrowed several concepts from Dune when he created the original Star wars trilogy, but its films have generated a multi-billion dollar, decades-old franchise precisely because it has distilled “mature themes” into universally applicable themes that can be enjoyed and understood by an audience much larger than that of the trilogy. ‘Herbert. books. Also, all the quality pieces of genre fiction are inspired by each other, and now Star wars has inspired Dune.

Jason Momoa is misinterpreted as Duncan Idaho

Dunca Idaho kneeling in Dune

Duncan Idaho is played by action star Jason Momoa in the new movie, and one Redditor thinks he’s a terrible choice for Paul Atreides’ defender and one of the most skilled swordsmen to ever walk the sands. from Arrakis, citing that “Idaho [is] supposed to have black curly hair and be slim / nimble. “

RELATED: Jason Momoa’s 10 Best Performances, According to Rotten Tomatoes

Many of the characters in the film look nothing like their novel counterparts, but Momoa being portrayed as Idaho is generally considered one of the less serious offenses. Josh Brolin, portrayed as Gurney Halleck, doesn’t have long, stringy blonde hair and doesn’t even get a chance to play tag!

Denis Villeneuve just remade David Lynch’s film

Dune: David Lynch has no interest in Denis Villeneuve's film

While not everyone agrees with David Lynch’s 1984 version of Dune correctly captures Herbert’s book, the filmmaker is unique enough that his work appears original. Redditor Severe_Reason believes that Denis Villeneuve’s version “is LITERALLY a remake of the David Lynch film” rather than his own adaptation of Dune, in which he needs “twice as long to literally tell the same story”.

Most fans of Villeneuve’s work would say that while he has a certain reputation with reboots after Blade Runner 2049, he has his own take on Herbert’s book, a vision that will be totally different from anything Lynch has created.

And Villeneuve shouldn’t have his name so related to the film

Denis Villeneuve Dune next big sci-fi franchise

A Redditor believes that because Villeneuve “isn’t a household name” and doesn’t have an “impressive resume” of films, he shouldn’t have his name so attached to Dune, but also thinks David Lynch’s fame for the 1984 version is well deserved and appropriate.

Villeneuve has steadily increased his name’s notoriety among moviegoers over the past decade with films like Sicario, Prisoners, Arrival, and Blade runner 2049, so if it’s not a household name it will be soon, and Dune maybe that’s what makes it one. When it comes to David Lynch’s version, even the most ardent Lynch fans are divided over whether his name should always be associated with a movie that some believed was under his talents.

Dune should be a Game Of Thrones-style miniseries

dunes movie poster

kgm2s-2 think that because “the world of Dune is so rich and detailed, the themes so poignant and the characters all so memorable “that he deserves his own Game Of Thrones-esque mini-series rather than a 2-3 hour movie. They would be happy to “watch 8 years of 10 hour episodes of Dune in the blink of an eye “, comparable to the charts of the hit HBO series.

Dune was already made into a miniseries almost two decades ago with mixed results, and as good as it is, Game Of Thrones is also a caveat about what happens when a creative team fails to bring an incredibly complex plot filled with dozens of characters to a satisfying ending that fans will come to terms with.

Dune doesn’t deserve to be done

Film and book on the dunes

While it has been literally decades since the world of Dune was explored onscreen, Redditor Rutard 54 believes that since the book wasn’t very good, it “doesn’t deserve a movie adaptation at all” as it is just “Sand Dunes. Spices. [and] Space. ”This view is seen as incredibly reductive, with a common belief that the film is worth making precisely because the book is full of so much more.

Herbert’s book and its sequels are considered to be one of the most difficult fictions to ever make for film, but no matter how complex their plots, their sprawling characters, or their philosophical concepts, fans still aspire to a film that captures what they stand for because the scale of their story is so epic.

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15 horror movies set in Toronto and the places you can still visit https://mondovino-lefilm.com/15-horror-movies-set-in-toronto-and-the-places-you-can-still-visit/ https://mondovino-lefilm.com/15-horror-movies-set-in-toronto-and-the-places-you-can-still-visit/#respond Sun, 17 Oct 2021 09:26:09 +0000 https://mondovino-lefilm.com/15-horror-movies-set-in-toronto-and-the-places-you-can-still-visit/ As Halloween approaches, it looks like the time has come to revisit some of the horror movies shot in and around Toronto. There have certainly been many, from the zombie movies directed by the legendary George Romero to those who took over the abandoned Hearn power station. Here are some remarkable horror movies made in […]]]>

As Halloween approaches, it looks like the time has come to revisit some of the horror movies shot in and around Toronto. There have certainly been many, from the zombie movies directed by the legendary George Romero to those who took over the abandoned Hearn power station.

Here are some remarkable horror movies made in and around Toronto and the places you can still visit.

Urban legend, 1998

After the success of Scream (1996), the late ’90s were inundated with teen slasher films. Shot in Toronto, Urban Legend was one of the most successful films of this era. Several universities and campuses in Toronto were used to represent the fictional University of New England.

Location: Humber College, Lake Shore Blvd W.

Carrie, 2013

This remake of the 1972 classic was shot entirely in and around Toronto, with the film’s climax taking place on Islington Avenue in Etobicoke where Carrie (played by Chloë Grace Moretz) finally realizes the extent of her powers.

Location: 215 Islington Avenue.

Land of the Dead, 2005

Land of the Dead is the fourth Living Dead film from zombie genre legend George A. Romero. In this film, Toronto replaces the city of Pittsburg and the film is shot throughout the GTA. The Cherry Street Bridge is used in a special suspenseful scene as they attempt to bring the bridge to safety.

Location: Cherry St Strauss Trunnion Bascule Bridge

Devil, 2010

Written by M. Night Shyamalan, Devil is a horror thriller set in an elevator. While it was supposed to take place in Chicago, it was actually Toronto’s Bay Adelaide Center that would house the ill-fated elevator.

Location: 333 Bay Street

Silent Hill, 2016

The film is an adaptation of the video game Silent Hill. While the city of Brantford is used as the current town of Silent Hill, it is Toronto’s Sewells Road Bridge that is used as a police checkpoint to the abandoned city.

Location: 1119 Sewells Road.

Resident Evil: Apocalypse, 2004

In this film, Toronto is the backdrop to the fictional Raccoon City, a city stranded due to a zombie outbreak. Toronto is present throughout the film, with the highlight being filmed on the green roof of the podium at City Hall. Apocalypse is the second film in the Resident Evil franchise and the first to be shot entirely in Toronto. Afterlife (2010) and Retribution (2012) will later be filmed here as well.

Location: 100 Queen Street West.

The Dead Zone, 1983

Although not filmed in Toronto, but rather in the Niagara region, The Dead Zone made the list to bring together two powers of the horror genre, Stephen King and David Cronenberg. The film follows Johnny Smith who wakes up from a coma to discover that he now has psychic abilities.

Location: Howling Tunnel, Warner Road, Niagara Falls

Videodrome, 1983

This 1983 classic by David Cronenberg is shot entirely in Toronto. The film follows Max as he searches for the truth behind the underground TV series, Videodrome. His research leads him to the Cathode Ray mission, a homeless shelter that conducts televised experiments on its inhabitants.

Location: 125, rue Bathurst

Black Christmas, 1974

Black Christmas is renowned for being the first true slasher movie and the inspiration for films like Halloween and Friday the 13. Filming took place across Toronto with Community Center 55 in the Upper Ranges used as a police station.

Location: 97 Main Street

In the mouth of madness, 1994

Directed by horror legend John Carpenter, the film follows John Trent, a man who begins to question his own sanity as the lines between fact and fiction seem to blur. The Black Church is an important location in the film, which is actually the Transfiguration Cathedral in Markham.

Location: 10350, boul. Victoria Square, Markham

Dead Ringtones, 1988

Another entry from famous horror director David Cronenberg. This film focuses on the Mantle twins and how they take advantage of the fact that no one can tell them apart. The climax of the film takes place in their apartment in Bell Trinity Square and outside of Trinity Square Park.

Location: Trinity Square Park

Dawn of the Dead, 2004

In this 2004 remake, the Thornhill Square shopping center in Thornhill was used as the interior of the mall. However, the sections used in the film were demolished shortly after filming. The layout of the mall was filmed at the corner of Royal Orchard Blvd (under the Bayview Bridge) with the mall added with CGI.

Location: Royal Orchard Boulevard, Markham

It, 2007

While Port Hope was primarily used as the fictional city of Derry, Toronto still gets screen time with some key scenes. The entire opening sequence in the rain where George meets Pennywise was shot in Weston.

Location: Queens Dr, York

The Fly, 1986

The Fly is about a brilliant scientist, played by Jeff Goldblum who manages to teleport with his own transport machine, but with dire consequences. The film was shot downtown, with the lab scenes shot in the pre-gentrified Liberty Village.

Location: 135, rue de la Liberté.

Spiral: From the Book of Saw, 2021

The entire Saw franchise was shot in Toronto, with the exception of the first opus. Revolving around the killer Jigsaw and his gruesome murders, the Saw franchise has redefined the horror genre. In the most recent episode, Spiral, the Old Town Mortuary in Toronto on Lombard Street is used as the exterior of the police station.

Location: 86, rue Lombard.

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Tarantino’s Admitted Worst Movie Is Actually Good Enough https://mondovino-lefilm.com/tarantinos-admitted-worst-movie-is-actually-good-enough/ https://mondovino-lefilm.com/tarantinos-admitted-worst-movie-is-actually-good-enough/#respond Sat, 16 Oct 2021 01:00:00 +0000 https://mondovino-lefilm.com/tarantinos-admitted-worst-movie-is-actually-good-enough/ Quentin Tarantino once told The Hollywood Reporter that Proof of death is the worst film of his career. The writer-director explained, “I want to come out with a great filmography. Proof of death has to be the worst movie I have ever made. And for a left-handed movie, it wasn’t that bad, okay? So if […]]]>

Quentin Tarantino once told The Hollywood Reporter that Proof of death is the worst film of his career. The writer-director explained, “I want to come out with a great filmography. Proof of death has to be the worst movie I have ever made. And for a left-handed movie, it wasn’t that bad, okay? So if it’s the worst I’ve ever had, I’m fine. Since Proof of death Often awarded the bottom spot in Tarantino’s film charts, the director’s own admission that this is his lowest creative point came as little surprise.

But just because Proof of death is Tarantino’s worst movie, that doesn’t mean it’s a bad movie. It’s not as revolutionary as pulp Fiction Where Django Unchained, or as nuanced as the less gender-focused works of the director like Jackie Brown and Once upon a time in hollywood, but it’s definitely not a bad movie.

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Proof of death was Tarantino’s half of the double Mill. He collaborated with his close friend and colleague director Robert Rodriguez, who contributed to the zombie thriller Planet terror (and also helmed this incredible Boba Fett-centric episode in The Mandalorianthe second season). Growing up on double B-movies during the golden age of exploitation cinema, Tarantino and Rodriguez each realized their own take on that era and then released these films together, with mock trailers in between. of them. Mill ended up becoming the first box office bomb of Tarantino’s career – sadly, the average moviegoer didn’t share his nostalgia for dual operating features – but it was a fun experience.

Quentin Tarantino on the set of Death Proof

Mixing genres is Tarantino’s signature and the premise of Proof of death is one of his most interesting genre cocktails. Kurt Russell stars as a stuntman who uses his “death-proof” stunt car to prey on unsuspecting young women and satisfy his thirst for blood. It’s the perfect intersection between car-based action movies like The driver and Vanishing Point and grainy, blood-soaked slashers like Black christmas and The Texas Chainsaw Massacre. With a killer who uses a car to commit his murders, Proof of death offers a totally unique version of the slasher genre (and unique versions of this genre are rare).

Tarantino’s script for Proof of death, as with all of its other scripts, has an unconventional structure. It is split into two halves with two groups of protagonists: in the first half, stuntman Mike attacks a group of young women and brutally kills them all at once; in the second half, he goes after another group of young women and is shocked to find that they are ready for him.

Kurt Russell driving a death proof car in Death Proof

Lots of people who haven’t caught Proof of death in theaters and instead I ended up checking it out on a streaming service turned it off about half an hour because it didn’t seem to be going anywhere. Admittedly, the film starts slowly and has very long and very insignificant dialogue scenes. During the first 45 minutes or so, Proof of death is essentially a dating film in the mold of Richard Linklater Dazed and confused, with a group of young Texans getting drunk in a bar. But these scenes generate a huge gain. Once viewers get to the first kill, they’re hooked.

Stuntman Mike is one of Tarantino’s biggest villains. Every villainous slasher needs a unique weapon to carry out their killings – Candyman’s hook, Leatherface’s chainsaw, Freddy’s knife glove, and more. – and a Chevy Nova is a pretty unique weapon. The icing on the cake is the cast of Kurt Russell. Russell made his debut as a Disney star before being turned into an ice-cool badass action hero by John Carpenter before eventually returning to the Disney family-friendly fare. With Proof of death, The Hateful Eight, and Once upon a time in hollywood, Tarantino brought back the tough guy Kurt Russell from the ’80s. Proof of death is that Russell, one of the most charming and likable A-list actors, plays a sadistic murderer. As the turn of Michael Madsen as Mr. Blonde in Tank dogs, Russell brings an ominous charisma to the role of a vehicle killer.

Kurt Russell smiling for the camera in Death Proof

With its thrills, excessive violence and grainy visuals, Proof of death is a tribute to exploitation films. But in many ways, the tribute is too specific for its own good. Tarantino includes glaring editing snafus as stylistic flourishes. The opening bar scenes perfectly mimic the flirtatious dialogue on the nose of Russ Meyer’s steamy flicks like Faster, Pussycat! To kill! To kill!, but these movies are crude and schlocky. By imitating them, it is the same Proof of death.

What saves Proof of death is its action. The dialogue is not as stimulating or relevant to the plot as the poetic conversations of Tank dogs and pulp Fiction, but the action scenes are masterfully crafted. After leading one of the greatest fight scenes of all time for Kill Bill: Book 1, Tarantino staged one of the greatest car chases of all time for Proof of death. Having lost his illusions with all the CGIs in modern car movies like Fast Furious, Tarantino threw his hat into the ring with some of the most mind-boggling practical car stunts ever to be filmed.

The culminating car chase in Death Proof

From stuntwoman Zoë Bell – who worked as Uma Thurman’s understudy in Kill Bill – plays herself in Proof of death, she was able to show her face during all of the action sequences, especially in the climactic chase when she clings to the hood of a car at high speed. Tarantino, acting as his own cinematographer, captured Proof of deathAuthentic car chases in beautiful long shots, the camera racing down the road at the same blazing speed as the vehicles on the screen. He and longtime editor Sally Menke weren’t required to cut between the star and their stuntman, as the star of their film is his own stuntman.

It may be true that Proof of death is Tarantino’s worst movie, but it’s far from bad. It is a testament to the grandeur of the rest of Tarantino’s filmography which Proof of death is his worst movie. Tank dogs revitalized independent cinema; pulp Fiction defined the postmodern movement; Inglorious Basterds killed Hitler. Tarantino’s other films are all much stronger than Proof of death, but it’s a solid slasher with high octane car chases that results in an extremely satisfying finish.

NEXT: Quentin Tarantino Already Made The Perfect Final Movie


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10 intense horror movies fans mistook for documentaries https://mondovino-lefilm.com/10-intense-horror-movies-fans-mistook-for-documentaries/ https://mondovino-lefilm.com/10-intense-horror-movies-fans-mistook-for-documentaries/#respond Thu, 14 Oct 2021 22:00:00 +0000 https://mondovino-lefilm.com/10-intense-horror-movies-fans-mistook-for-documentaries/ Unconventional marketing tactics have long been used to promote horror projects that couldn’t count on big budgets, and, from the buzzing ARGs for avant-garde films found to promoters tying red balloons. at the sewer grates to scare off ticket sales for Stephen King. adaptations, guerrilla marketing methods can work wonders in some cases. RELATED: The […]]]>

Unconventional marketing tactics have long been used to promote horror projects that couldn’t count on big budgets, and, from the buzzing ARGs for avant-garde films found to promoters tying red balloons. at the sewer grates to scare off ticket sales for Stephen King. adaptations, guerrilla marketing methods can work wonders in some cases.

RELATED: The 10 Highest Grossing Movies of 2021 (So Far)

Another proven strategy is to pretend that a movie is a representation of real events. This is especially prevalent in the horror genre, with famous films like Amityville Horror and the original Freddy bet on the “based on a true story” chip.


The Texas Chainsaw Massacre (1974)

Leatherface makes one final murder attempt in The Texas Chainsaw Massacre

Often considered a pioneer of the slasher genre, Toby Hooper’s film, The Texas Chainsaw Massacre, was a low budget movie that didn’t feel like it was going to go much further than a few grindhouse theaters. However, it became a huge success, and that may be in part because the promoters claimed it was based on a true story.

Dubbed “one of the most bizarre crimes in the annals of American history” in the film’s opening crawl, the alleged massacre after which the film was named never really took place. It was loosely based on the crimes committed by American serial killer Ed Gein, but it is by no means an adaptation of his story.

Cannibal Holocaust (1980)

A still from the 1980 horror film Cannibal Holocaust.

1980s Cannibal holocaust has a reputation for being one of the vilest, most extreme horror movies of all time. A grindhouse project led by Italian filmmaker Ruggero Deodato, it is a flagship film in the found images genre that was originally presented as a true documentary.

The events of the film were so believable that, according to RBC, the director was charged with murder and forced to prove that the actors and actresses who starred in the film were still alive. Grizzly as it is, this marketing gimmick certainly helped bring attention to the film.

Strangers (2008)

A still from the 2008 film The Strangers.

In an opening sequence reminiscent of the first images of The Texas Chainsaw Massacre, 2008 The foreigners proclaims that the setting of the film was “inspired by real events”. While there’s certainly no shortage of weird home invasion stories to base a horror movie on, the movie doesn’t quite look like one event in particular.

RELATED: 9 Twisted Horror Movies You Must See More Than Once

According to Alternative press, director Bryan Bertino admitted that the film was at least partially inspired by the LaBianca-Tate murders. However, the similarities between the actual 1969 event and the 2008 film are only superficial.

The Poughkeepsie Bands (2007)

A still from the 2007 horror film The Poughkeepsie Tapes.

Another found footage film that adopted the pseudo-documentary style that had been well established at the time of its initial release, Poughkeepsie bands debuted at the 2007 Tribeca Film Festival, but the film has been put on hold for unknown reasons and will not receive a DVD release until 2017.

Designed as a documentary about a horrific serial killer, the film explores the gruesome content of a collection of hundreds of VHS tapes salvaged from the killer. While the marketing ploy of pretending to premiere real found footage became scarce in the late 2000s, the film’s decade of inaccessibility has raised fears for some that Poughkeepsie bands maybe the real deal.

Tobacco (1976)

A still from the 1976 horror film Snuff.

Backed by the disturbing slogan “Shot in South America … where life is cheap”, 1976’s Snuff courted controversy from its inception. According to ComingSoon.net, feminist groups challenged the film’s treatment of women, and viewers were disturbed enough to alert police departments in New York and Los Angeles.

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The poor quality cinematography exhibited in Snuff should have immediately dismissed the idea that the events depicted in the film were genuine. Sadly, the concept of a “snuff” movie – a film intended for public consumption containing actual acts of violence and murder – was a popular concern at the time and gave credence to the filmmaker’s overzealous claims.

Ghost watch (1992)

A photo from the 1992 BBC mock documentary Ghostwatch.

Long before mock documentaries became an established art form, the 1992 BBC film made for television Ghost watch broke new ground by blurring the lines between horror film and television news.

Starring real news anchors and framed as a true exploration of the paranormal, Ghost watch utterly terrified viewers, many of whom missed the warning that the events depicted on screen were, in fact, fictional. The impact of the film was so severe that, according to The independent, it has actually been credited with causing PTSD in some children.

Paranormal activity (2007)

Security footage of a couple in bed in their bedroom from Paranormal Activity (2007)

One of the highest grossing movies of all time, the first Paranormal activity The film was developed for a budget of nothing less than $ 15,000 and generated a return on investment of $ 193 million. It’s spawned a slew of sequels and side projects, but no movie in the franchise has had as much of an impact as the original.

While this is not the first found footage film to draw the line “these things really happened”, many have fallen prey to the marketing gimmick and, according to Curler, the actors were dissuaded from appearing at the film’s premiere to advance the idea that they might be dead.

Guinea pig (1985 – 1990)

A still from the Japanese horror film Guinea Pig.

Guinea pig is actually a collection of extreme gore Japanese films that debuted in the late 80’s and were meant to be an adaptation of a manga written by the director of the series.

RELATED: 10 Most Gory Italian Horror Movies Ever Made, Ranked

Each film focuses on the kidnapping and torture of various victims at the hands of sadistic killers, and the series is known for its sickening detail. As recalled by Buzzfeed, the Guinea pig the series achieved notoriety in part thanks to the actions of American actor Charlie Sheen, who once stumbled upon the second film, Flower of flesh and blood, and found it so convincing that he alerted the authorities.

Faces of Death (1978)

A close up of a human skull.

Faces of death comes across as a grueling examination of the concept of death and how living things react in the moments just before their demise. Grizzly and deeply disagreeable, Faces of death was billed as a compilation of real-world events that weren’t tampered with for the camera.

Fortunately, this is not exactly the case, and although genuine footage was used, the company’s many brutal scenes were, according to one iHorror interview with a production company owner with insider knowledge, rigged with special effects. However, a case of a body washing on a beach was in fact genuine.

The Blair Witch Project (1999)

Excerpt from the horror film The Blair Witch Project.

Backed by one of the most legendary marketing campaigns in movie history, the 1999s The Blair Witch Project was billed as a legitimate documentary produced by a group of since-deceased amateur filmmakers.

Set in the real town of Burkittsville, MD, the film is steeped in authenticity, with the substandard footage further serving to sell the narrative. The Blair Witch Project was, of course, completely fictional, but many viewers at the time of the film’s release believed they were seeing actual snippets of salvaged footage.

NEXT: The 10 Scariest Horror Movies Of All Time, Ranked

Spider-Man No Way Home Trailer Doc Ock Iron Spider Suit

Tom Holland talks about working with Alfred Molina in No Way Home



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Candyman’s remake doesn’t live up to initial expectations https://mondovino-lefilm.com/candymans-remake-doesnt-live-up-to-initial-expectations/ https://mondovino-lefilm.com/candymans-remake-doesnt-live-up-to-initial-expectations/#respond Wed, 13 Oct 2021 16:42:31 +0000 https://mondovino-lefilm.com/candymans-remake-doesnt-live-up-to-initial-expectations/ Candyman (2021), a direct sequel to fan favorite ’90s horror, hits theaters this fall and has garnered mixed reviews. Directed by Nia DaCosta and co-written with Jordan Peele, the new Candyman is a tale of urban Chicago legend from the perspective of a black artist looking back. The original film, directed by Bernard Rose, stars […]]]>

Candyman (2021), a direct sequel to fan favorite ’90s horror, hits theaters this fall and has garnered mixed reviews. Directed by Nia DaCosta and co-written with Jordan Peele, the new Candyman is a tale of urban Chicago legend from the perspective of a black artist looking back.

The original film, directed by Bernard Rose, stars Virginia Madsen as Helen Lyle, a graduate student researching murders linked to an urban legend at a housing project in Cabrini-Green. Legend tells the story of a man with hooked hands who appears when you say Candyman five times in the mirror. The story arouses her interest and she is inspired to undertake the project of debunking the mystery.

The original remains famous among fans and left high expectations for the remake. This mediocre interpretation, however, does nothing significant to contribute to the horror genre. The story follows Anthony McCoy, played by Yahya Abdul Mateen II, an artist unraveling Candyman’s past stories only to be consumed by horrors himself. With many famous actors starring, the film itself has so much potential, which has made this failed brand more and more underwhelming.

In the movie there are some points where the actors fell below the disappointing line with below average acting, for example Clive Privler, actor Brain King, has a sex scene with Jerrica Cooper ( Miriam Moss) and acting was extremely redundant and unexpressed, plus a powerful scene then part of the cinematography created. This is not an uncommon scene in the film as many parts resembled a high school theater club among the professional actors.

The overcompensation of basic repetitiveness on the description of gentrification presents itself more like a college essay. When Anthony McCoy (Yahya Abdul Mateen II) is told to find new inspiration and says his struggles on the south side are too “overplayed”, McCoy turns to other forms of oppression for his artistic gain. The irony of portraying an artist exploiting black pain for art in this film seems almost too overwhelming for the amount of brutal police brutality haphazardly conjured up throughout the film.

The movie itself fits perfectly with Hollywood’s obsession with making black struggle its own and shows it through the horror genre, selling the burden of people of color in neat packaging. While there have been themes brought up that are “culturally healthy,” like the scene with Anthony McCoy and William Burke in the laundry mat connecting on mutual trauma, this is repetitive performance activism, instead of paving the way for more inclusive creative films. as if it fills the poor place of accommodating others as a checklist instead of a new way to pave the way for better movies.

With Jordan Peele’s track record, our expectations were high for an original film with a touch of whitewashed revision. Get Out, and Us present different versions of our cinematography expectations. The script and Dialogue alone grabbed a reference to a deeper meaning and this is just another example of films reaching a nullified culture.

The film received mixed reviews on release, but has steadily increased to 72% viewership on Rotten Tomatoes, filling a void in a starving and pandemic box office. The film grossed $ 58.9 million domestically, placing it 12th in the year. “Candyman” doubled its budget by $ 25 million.

Overall, the movie itself was underrated compared to the first movie. With its inability to appeal to the undone culture and its half-and-half acting, the film itself needed more than described in the hour and thirty minutes. The expectation puts the wrong perspective on both the cast and the director on their future endeavors.


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Feature films ‘Rust’, ‘Outlaw Land’ shot in Santa Fe, Albuquerque https://mondovino-lefilm.com/feature-films-rust-outlaw-land-shot-in-santa-fe-albuquerque/ https://mondovino-lefilm.com/feature-films-rust-outlaw-land-shot-in-santa-fe-albuquerque/#respond Tue, 12 Oct 2021 07:50:41 +0000 https://mondovino-lefilm.com/feature-films-rust-outlaw-land-shot-in-santa-fe-albuquerque/ SANTA FE – Two feature films will be shot in Santa Fe in October. Outlaw land began filming in Santa Fe and Albuquerque in September and will continue in October, and Rust will shoot in the city in early November, the New Mexico Film Office has announced. “Outlaw land has yet to land in Santa […]]]>

SANTA FE – Two feature films will be shot in Santa Fe in October.

Outlaw land began filming in Santa Fe and Albuquerque in September and will continue in October, and Rust will shoot in the city in early November, the New Mexico Film Office has announced.

Outlaw land has yet to land in Santa Fe, “said Jennifer LaBar-Tapia, director of the Santa Fe film office.”Rust has been here for a few weeks. They’re on one of our five western ranches. “

Alec Baldwin stars in and is one of the producers of Rust, the story of a 13-year-old boy abandoned to himself and his younger brother after their parents died in 1880s Kansas, with New Mexico doubling for Kansas.


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Nightmare on Elm Street open against more controversial horror film https://mondovino-lefilm.com/nightmare-on-elm-street-open-against-more-controversial-horror-film/ https://mondovino-lefilm.com/nightmare-on-elm-street-open-against-more-controversial-horror-film/#respond Mon, 11 Oct 2021 04:00:00 +0000 https://mondovino-lefilm.com/nightmare-on-elm-street-open-against-more-controversial-horror-film/ A Nightmare on Elm Street is a horror classic, but a lesser-known and more controversial film overtook it when it was released. at Wes Craven Freddy opened on November 9, 1984 and ultimately changed the course of horror. The film kicked off a pop culture phenomenon with its resident boogeyman, Freddy Krueger, spawning seven more […]]]>

A Nightmare on Elm Street is a horror classic, but a lesser-known and more controversial film overtook it when it was released.

at Wes Craven Freddy opened on November 9, 1984 and ultimately changed the course of horror. The film kicked off a pop culture phenomenon with its resident boogeyman, Freddy Krueger, spawning seven more films, a remake and a TV show, as well as a merchandising bonanza. And Craven was going to shape not only the genre for the ’80s but also the’ 90s with the Scream franchise. Today, A nightmare on Elm StreeHe’s still one of the strongholds of the genre, and yet he was overshadowed on the day of its release by yet another horror film.

Although inferior in almost every respect, Silent night, deadly night sparked a lot more controversy than Craven’s now-legendary cooler and led him to what appeared to be box office gold. In fact, if things had broken out differently, it might have overtaken its competition on the day it was released.


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Silent night, deadly night was another in an endless line of dreary slasher images that were all the rage at the time. He chose a Christmas theme as a gadget, with his killer being a deranged lunatic in a Santa costume. But beyond the value of novelty and over-the-top gore, it was a lousy effort, not even being the first horror film to use a Christmas theme. 1972 Tales from the Crypt also featured a serial killer disguised as Santa Claus and the 1974s Black christmas had a similar premise. And to make matters worse, Joe Dante’s Gremlins opened a few months earlier in the summer of 1984, showcasing both an overt Christmas theme and enough shock and gore to help spur the creation of the PG-13 rating.

None of this stopped Silent night, deadly night to generate an uproar, however. Parent groups called for a boycott, and the film’s distributors canceled their ads six days after its release. The film was even the subject of a special section of At the cinema with Siskel and Ebert, with the famous duo who tear themselves apart for their content perceived as odious. None of it was wrong, strictly speaking, but by phrasing it in such terms his reviews gave him an undeserved look that did exactly what the producers wanted him to do. Loaded with free publicity, the film exceeded Freddy during its opening weekend and had to do more before being pulled from the cast after two weeks when the backlash intensified.

RELATED: 6 Notable Horror Movies Based On True Stories

Despite more disturbing content and superior craftsmanship, the lack of Santa Claus or a similar controversy continued Freddy under the radar of censors. It ultimately grossed $ 57 million at the box office on a budget of just over a million and improved the fortunes of its distributor, New Line Pictures, with the studio known for decades as “The house that Freddy built “. Silent night, deadly night, during this time, there was little that could be done once his initial shock value wore off. Although he produced his own series of sequels, they were much cheaper and more threadbare than Elm Street, and its perceived shock value was quickly forgotten amid new controversies. He retains an unconditional cult, but more for the fury he created than anything notable in the film itself.

Ironically, A nightmare on Rue de l’Orme did more to “corrupt” the culture at the time than Silent night never could. Freddy’s success turned him into a macabre theme park mascot rather than a true terror, with products that included kids’ pajamas and lunch boxes, among other things. Craven himself was so disturbed that he returned to the franchise with Wes Craven’s New Nightmare, exploring his perceived responsibility in letting a character he created as evil incarnate to become so perversely loved.

Meanwhile, the original Freddy The film continues to share a curious release date with a film that made much bigger waves at the time. But while the story made the final call, it was much harder to see this in 1984 – a reminder that movies that stand the test of time don’t always look that way when they are coming for the first time.

KEEP READING: Horror Film Fest Founder Compared Death Rate of Stoner Characters to Horny Teens

Mahershala Ali, wearing a fitted suit and a pair of black sunglasses

Marvel’s Blade has an earlier than expected release date


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Every upcoming Adam Driver movie https://mondovino-lefilm.com/every-upcoming-adam-driver-movie/ https://mondovino-lefilm.com/every-upcoming-adam-driver-movie/#respond Sat, 09 Oct 2021 21:00:00 +0000 https://mondovino-lefilm.com/every-upcoming-adam-driver-movie/ Adam Driver is in a few movies slated for release later in 2021 and 2022. Let’s take a look at each movie you can see him in next. Adam Pilot has a whole year ahead of him, and here’s everything we know about his upcoming films. Driver currently performs alongside Marion Cotillard in rock opera […]]]>

Adam Driver is in a few movies slated for release later in 2021 and 2022. Let’s take a look at each movie you can see him in next.

Adam Pilot has a whole year ahead of him, and here’s everything we know about his upcoming films. Driver currently performs alongside Marion Cotillard in rock opera Annette, which is in theaters and streaming on Amazon Prime. Although the musical drama polarized many viewers, several critics praised Driver’s performance as unbalanced comedian Henry McHenry. Despite the mixed reactions, Annette simply reinforces the driver’s versatility and talent to engage and take ownership of any role.

Driver has built an eclectic filmography over the years, earning three Emmy nominations for his work on HBO Girls, two Oscars for BlackKkKlansman and Marriage story, and a Tony nomination for the Broadway production of Burn that, among others. He worked with Spielberg and Scorsese and played everything from an introspective bus driver to the aspiring poet in Paterson to Kylo Ren and Ben Solo in the Star wars sequel trilogy. There’s really no genre that Driver doesn’t thrive in, and that’s what makes him such a sought-after artist, both in independent and mainstream films.


Related: Every Sci-Fi Movie Coming In 2021

Driver’s new projects include a variety of genres and period pieces. Two of the upcoming feature films follow historical figures and are based on true stories, while the others herald Driver’s return to science fiction and his collaboration with a longtime collaborator. Let’s see what to expect from the following versions.

The Last Duel – October 15, 2021

by Ridley Scott The last duel details the last actual judicial duel in 14th century France, as discussed in Eric Jager The Last Duel: A History of Combat Trials in Medieval France. Driver plays Jacques Le Gris, a squire accused of rape. Jodie Comer (Kill Eve, Free Guy) embodies Marguerite de Carrouges, his accuser, and Matt Damon (The Martian, the Jason bourne series) is her husband, Jean de Carrouges. Jean de Carrouges challenges Le Gris to a duel, although Le Gris claims his innocence. The caveat is that if de Carrouges dies, Marguerite will too for lying about the assault. Due to delays related to the pandemic, The last duel Originally slated for theatrical release in December 2020. It will now be released in mid-October after its premiere at the Venice Film Festival.

Gucci House – November 24, 2021

Pilot’s second collaboration with Ridley Scott (Gladiator) is in Gucci House, which explores Patrizia Reggiani’s motives surrounding the actual death of her ex-husband and Gucci boss, Maurizio Gucci, in 1995. Reggiani had hired a hitman to kill Maurizio and was later convicted. Gucci House is based on the events of Sarah Gay Gorden’s book House of Gucci: A Sensational Tale of Murder, Madness, Glamor and Greed. Driver plays the aforementioned Maurizio Gucci alongside Lady Gaga (A star is born) like his ex-wife Patrizia Reggiani. The trailer leans heavily on the flashy extravagance of the Gucci family while teasing their seedy stomach.

65 – 13 May 2022

Adam Pilot

Currently, in post-production, 65The exact plot of and the character of Driver remains a mystery. What we do know is that this is a sci-fi thriller produced by Sam Raimi (the evil Dead series) and written and directed by Scott Beck and Bryan Woods, who wrote the screenplay for A quiet place. Adam Driver will star alongside Ariana Greenblatt (Love and monsters, In the heights).

Related: Every Horror TV Show Coming In Fall 2021

White noise – to be determined

White noise is Driver’s fourth collaboration with director Noah Baumbach (Marriage story, Francoise Ha) and is currently filming in Ohio. White noise is based on the satirical novel of the same name by Don DeLillo and follows a University professor of Hitler Studies as he grapples with mortality and “The Airborne Toxic Event” that hits his Midwestern town. Driver plays Professor Jack Gladney, who is increasingly afraid of death throughout the novel and seeks to alleviate his paranoia. Greta Gerwig (Francoise Ha) plays Jack’s wife, Babette. White noise will air on Netflix sometime in 2022. Overall, there are quite a few projects Adam Pilot fans must look forward to it.

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“The Many Saints of Newark” disappoints https://mondovino-lefilm.com/the-many-saints-of-newark-disappoints/ https://mondovino-lefilm.com/the-many-saints-of-newark-disappoints/#respond Fri, 08 Oct 2021 15:36:19 +0000 https://mondovino-lefilm.com/the-many-saints-of-newark-disappoints/ Tthe many saints of Newark, the prequel to the beloved TV series The Sopranos which opened last week in theaters and on HBO Max, is the biggest cinematic disappointment of 2021 to date. Yes The Sopranos paved the way for a new form of cinematic art – multi-part, multi-season television drama – the prequel seems […]]]>

Tthe many saints of Newark, the prequel to the beloved TV series The Sopranos which opened last week in theaters and on HBO Max, is the biggest cinematic disappointment of 2021 to date. Yes The Sopranos paved the way for a new form of cinematic art – multi-part, multi-season television drama – the prequel seems to want to bury an entire genre: ethnic Mafia film.

Hollywood’s first attempts to portray the Italian Mafia were not impressive. Francis Ford Coppola renewed the genre in 1972, with his first opus in The Godfather trilogy, a film he intended to be so authentic the audience would “smell like spaghetti.” He succeeded much more than that. Coppola’s villains, painted in intense chiaroscuro, put a new twist on Americans’ perennial interest in outlaws. This time, the evildoers were linked by ancient tribal loyalties to criminal organizations whose very existence has spread like a cancer in American institutions. Numerous gangster films were made in the decades that followed – films about Cubans, Jews, Irish, Blacks and, of course, other films about Italians. All the amoral men of different bloodlines, gathered in American soil to do whatever they want.

It was the cinema of multiculturalism – and assimilation. The intrigues revolve around the integration process, which they show that Michael Corleone felt discriminated against, and not without reason, by the political establishment WASP in Nevada, or the Irish-Italian sub-mafioso of Martin Scorsese. Goodfellas living in a troubled marriage with a nice Jewish girl. The very existence of the genre requires a certain degree of tolerance and openness.

It also relies on a fairly sophisticated audience, which understands that while antiheroes are interesting and every culture has its own, the majority of Americans of all ethnicities are decent human beings. The ethnographic details may be accurate and the events depicted in the film may be based on historical facts, but these figures do not represent the typical Irish-American or Cuban-American experience. Rather, it is a dramatic interpretation of a culture, devoid of condescending connotations.

For a red-blooded American, the target audience, these films were a natural way to experience the different traditions that have melted into America: Show me your bad guys, and I’ll show you mine. This project was based on the idea that we can all get along if only we learn more about each other; To the extent that it has worked, it is thanks to cultural phenomena largely independent of politically correct bureaucratic initiatives like Italian-American Heritage Month or diversity trainings.

The meeting of cultures was reflected in the plots of the genre: Irish mobsters making pacts with blacks and Jews on HBO shows Boardwalk Empire, for example. A certain respectful distance and lineage purity was generally observed, as Frank Pentangeli suggests in The Godfather II: “Your father did business with Hyman Roth; your father respected Hyman Roth; but your father never trusted Hyman Roth.

The films showed tight-knit tribes zealously protecting their traditions in strange lands, but in the real world, the rate of intermarriage skyrocketed. Part of the appeal of this type of cinema was that it featured iconic characters from rapidly disappearing ethnic enclaves. “This Sicilian thing that has lasted for 2000 years” in the words of Kay Corleone – the ethnic culture, tracing its roots in antiquity, whose heirs look, feel and think in a way so different from the seed of Albion which populated the North of the American plains, was based in the democratic capitalist republic Anglo-American.

E pluribus unum is a tough sell in the post-1619 Project America. In the midst of the Covid-19 confinements imposed in early 2020, our institutions have abandoned multiculturalism in favor of awakening. The Awakened viewed the United States as hopelessly racist, a nation founded to perpetuate black slavery and, after slavery was eradicated, determined to reduce its African-born citizens at all costs.

There are many reasons why the Soprano prequel fails so miserably. Set in 1967, it shows the fall of Don Dickie Moltisanti, played by Alessandro Nivola. Michael Gandolfini, as young Tony Soprano, perfectly mirrors his father’s deliberative sidelong eye, but the script is a mess. Comprised of a handful of poorly integrated event chains, it gives the impression that the filmmakers have pulled together the equivalent of a season of episodes into one feature film. The characters are poorly developed and the plots are probing.

Worse yet, the visceral realism and cultural fidelity that made the genre what it was seem missing. Nothing in the film smells of spaghetti; the only inspired parts depict the black liberation struggle. It’s not a revolutionary breakthrough in crowd-pleasing movies. Black liberation themes have already taken center stage, including in the 1984 Coppola classic. The Cotton Club.

What is new is unusually selfless complacency. Dickie Moltisanti has a black associate, Harold McBrayer (Leslie Odom Jr.) who is involved in race riots. It is impossible to read a man so engrossed in the hottest moral cause of the day as a villain. With a character arc that reverses that of Michael Corleone, who started out as a war hero and ended up destroying his daughter, McBrayer just doesn’t belong in the genre. In the world of the irrecoverable, he is redeemed. If by the end of the twentieth century it was possible to show unquestionably evil people occasionally doing something worthwhile, perhaps out of loyalty to their own tribe, or, at any rate, elevating tribal loyalty to the rank of virtue (see the Irish mob arming the IRA), in the moral universe of Black Lives Matter, all tactics are justified in the pursuit of racial fairness. Multiculturalist cinema may have been morally relativistic, but BLM cinema has its own moral compass. What is good for the liberation of blacks is good for all mankind.

There is no room in this universe for the peaceful coexistence of equally fascinating villains. The working class sons of illiterate peasants who arrived in the New World without speaking English are seen as privileged whites who cannot legitimately occupy a central position in any narrative. Under the mandate of 1619, there was no justification for making films about the Italian-American experience, let alone a film apparently designed to introduce a new member of a dynasty of Italian actors and extend the plot of a long series. .

The idea of ​​1619 is jealous. With little to offer other than mass-produced silhouettes of a raised fist – itself a Warholian derivative of early Communist propaganda – cultural revolutionaries cannot admit that Western civilization is great. The Godfather trilogy could not be conceived today, and The Sopranos original series, which began with Tony proudly showing his daughter the church for which her father created Baroque sculptures.

I have yet to see awake filmmakers create compelling characters. So far, they excel at taking on previously developed roles, typically played by white men, and assigning them to women and minorities. Particular attention is given to “challenging stereotypes”, for example, by showing women as buff warriors. This approach cannot work for images of gangsters.

In The Many Saints of Newark, black crime is the product of historical circumstances, not malice. The typical gangster drama painted a much more nuanced picture of ethnic minorities. History and social pressures have played a role in shaping personalities, as has the human ability to do evil. Coppola wasn’t too worried about creating a stereotype of an Italian; he viewed the Corleone family as the archetypal villain, as did his audience.

What passes for nastiness in 2021 hardly makes a compelling story. In our inverted moral universe, occasional racism is the greatest sin. Thus, the don Dickie Moltisanti mafia family is outraged by his use of the N-word. In the meantime, spoiler alert, the man is guilty of fratricide.

With the zealous racism of the BLM era supplanting multicultural calls for tolerance, the imperative to celebrate diversity has diminished. American institutions have outlived the Italian mafias: Las Vegas was once the game of criminal brains, but now it is controlled by corporations. The critical race theory might be a more formidable enemy.

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