We return with another edition of the Indie Spotlight, highlighting the recent independent horror news sent our way. Today’s feature includes details on The Lost Tree and The Visitant, trailers for A Grim Becoming and Horror Hotel, and much more:
Trailer for The Lost Tree: “Michael Madsen (“Reservoir Dogs,” “Kill Bill: Vol. 1,” “Kill Bill: Vol. 2”), Lacey Chabert (“Mean Girls,” “Part of Five”), Scott Grimes (“Robin Hood,” “American Dad”) and Clare Kramer (“Bring It On,” “The Rules of Attraction”) will star alongside Thomas Ian Nicholas (“American Pie,” “American Reunion,” “The Rules of Attraction”) in Brian A. Metcalf’s new horror/drama “The Lost Tree.”
Written, directed and produced by Metcalf, “The Lost Tree” is centered around a man, Noah (Nicholas), who is guilt-ridden for the death of his wife, Emma (Kramer). He travels to an isolated cabin in search of peace and isolation. But he soon learns...
Trailer for The Lost Tree: “Michael Madsen (“Reservoir Dogs,” “Kill Bill: Vol. 1,” “Kill Bill: Vol. 2”), Lacey Chabert (“Mean Girls,” “Part of Five”), Scott Grimes (“Robin Hood,” “American Dad”) and Clare Kramer (“Bring It On,” “The Rules of Attraction”) will star alongside Thomas Ian Nicholas (“American Pie,” “American Reunion,” “The Rules of Attraction”) in Brian A. Metcalf’s new horror/drama “The Lost Tree.”
Written, directed and produced by Metcalf, “The Lost Tree” is centered around a man, Noah (Nicholas), who is guilt-ridden for the death of his wife, Emma (Kramer). He travels to an isolated cabin in search of peace and isolation. But he soon learns...
- 5/26/2013
- by Tamika Jones
- DailyDead
A bi-weekly look at issues in contemporary film culture and technology.
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In spite of its prestige pic credentials, Tom Hooper's Les Misérables is almost endearingly eccentric. Almost. Shot from odd angles with distortive wide-angle lenses which often give the impression that space is warping and shifting around the characters, the film strikes an awkward balance between showy glitz and intentional roughness. Most importantly, there's the film's central gimmick: instead of lipsyncing, the leads performed most of their singing live on the set.
As gimmicks go, it's an interesting one; whether talking or singing, voices coming from moving or seated or costumed bodies sound nothing like voices recorded in a studio. The sound of "live" voices—flat notes and all—singing along to an off-screen orchestra mirrors the film's glamorous / scuzzy visual aesthetic.
It's a risky idea, and a lot of the time it doesn't quite gel. Russell Crowe, for instance,...
***
In spite of its prestige pic credentials, Tom Hooper's Les Misérables is almost endearingly eccentric. Almost. Shot from odd angles with distortive wide-angle lenses which often give the impression that space is warping and shifting around the characters, the film strikes an awkward balance between showy glitz and intentional roughness. Most importantly, there's the film's central gimmick: instead of lipsyncing, the leads performed most of their singing live on the set.
As gimmicks go, it's an interesting one; whether talking or singing, voices coming from moving or seated or costumed bodies sound nothing like voices recorded in a studio. The sound of "live" voices—flat notes and all—singing along to an off-screen orchestra mirrors the film's glamorous / scuzzy visual aesthetic.
It's a risky idea, and a lot of the time it doesn't quite gel. Russell Crowe, for instance,...
- 1/2/2013
- by Ignatiy Vishnevetsky
- MUBI
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