MISSION: IMPOSSIBLE—Story and Spectacle celebrates the phenomenon of Paramount Pictures’ thrilling MISSION: IMPOSSIBLE franchise. The exhibition will spotlight star and producer Tom Cruise’s exceptional commitment to practical stunt work, and explore how the series combines technical ingenuity, personal discipline, and artistic commitment, all in service of storytelling, character development, and performance. Sections of the exhibition will be devoted to each film in the series, with a focus on that film’s key stunt or action sequence, along with unique behind-the-scenes content that offers insight on how the remarkable stunts were prepared for and filmed, complemented by related production artifacts.

Access to MISSION: IMPOSSIBLE—Story and Spectacle is included with general Museum admission tickets during its run.

MISSION: IMPOSSIBLE—Story and Spectacle and related programs to be announced are supported by a Market New York grant from Empire State Development and I LOVE NY, New York State’s Division of Tourism.

Aside from the giallo influences, I also connected with the De Palma references. The film features a high-gloss aesthetic reminiscent of features like Body Double and Femme Fatale. It’s also steeped in shadowy noir camerawork by Ali Asad. The cinematographer creates a seductive look and feel that’s fitting to the steamy narrative it accompanies. I initially lamented that we don’t see any split-screen shots to further amplify the callbacks to De Palma’s heyday, but that might have read as too on the nose, considering that the De Palma homages don’t stop there.

The far-fetched twist is plenty reminiscent of the ultimate reveals in films like Raising Cain, Body Double, and Dressed to Kill. It’s worth mentioning that De Palma was heavily inspired by giallo films, and Marshall takes many of his cues from De Palma, so the inspiration here runs several layers deep.

On the whole, the De Palma references paired with the style-over-substance approach so common to giallo filmmaking make this erotic thriller uniquely appealing to me. With that said, it’s not nearly as good as the films that inspired it. In fact, Compulsion is pretty rough. However, it’s ultimately entertaining, visually striking, and invokes nostalgia for the iconic careers of two of my favorite directors. If that sounds like your cup of tea, you may want to check out Compulsion. The film is now available on demand and in select cinemas.

I just wanted to share a few photos from Carrie screening in Vancouver today, they did 2 screenings, back to back, sold out shows!

Flanagan and the cast went on the stage and introduced the film as a Great film and a Classic Flannegan said that he would not have thought of coming near it again for a remake, unless he thought that he would bring something new to the story, especially the bullying part that has progressed since

The lead actress in the new series has never watched the original!

It was a great evening watching this masterpiece with the audience

 

Cheers

Mustafa

4. The prom scene from Carrie

This was another reference I had for the cover art. I love Brian De Palma so much and I feel he always has an aesthetic influence working on me. It’s the point when Carrie is pushed to the edge, and all this rage she was repressing explodes out of her, and she becomes powerful and monstrous. I found it had some parallels to the transformation of Carlyn to Jane in my album, and I had some earlier demos that didn’t make it onto the record that explored this more deeply, with Jane as a Frankenstein-esque figure.

"That's a great example of a script... It was immediately there," Penn told the audience in regards to his role in Paul Thomas Anderson's One Battle After Another. "Feeling like you're hearing music or something. I was giggling for the first 20 pages, thinking that Paul had actually... This is what he's doing now! It made me so happy, and it's just feeling like you already know the song he's playing, even if you’ve never heard it before. What I was dancing to, for better or for worse, was just this music that Paul had written."

One of several films that Penn talked about was Carlito's Way, in which he starred alongside Al Pacino:

"There is nothing you can do that’s going to stop Al from going forward with a scene. You might change all the dialogue, he doesn’t care. He will adapt and make a choice so strongly. I loved working with him in that way. You could suddenly change the choreography or just see where it went...

The challenge was, when you have a lot of people in the scene, those long shots that Brian De Palma does a lot of... It’s hard not to be aware that if you fuck up, everything has to be perfect again. You’ve got to do it again and so you have to fight being cautious.

But then I just saw 'Adolescence', Stephen Graham’s incredible show... So great. The whole show in one take - each one of (the episodes). And now, I feel I should be an accountant."

Ethan Hunt's Team Being Killed Off Is Genuinely Shocking If You Don't Know It's Coming

One of the best aspects of Mission: Impossible as a blockbuster franchise is its treatment of death. While franchises like Fast and Furious get regularly joked about for constantly bringing back dead characters, the Mission: Impossible franchise doesn't do illogical revivals. While this means some Mission: Impossible characters deserve more screen time than they get, it makes their deaths impactful.

However, there's a certain polish to the death scenes in the newer films, which adds to the sense of occasion but without getting gory. The first movie, however, is extremely violent and, beyond the gruesome nature of deaths, you also don't expect to start the movie with Ethan's teammates dying. It is a perfectly executed premise to create narrative tension.

That's David Schneider Driving The Train In Mission: Impossible's Finale

Jeremy Renner was wasted by the Mission: Impossible franchise, and his character is practically reduced to just having a cameo in Mission: Impossible – Rogue Nation, but some other genuine cameos in the franchise are quite effective, especially Anil Kapoor's cameo in Mission: Impossible – Ghost Protocol as the Indian telecommunication entrepreneur who adds humor to the movie's climax.

Now, while the later movies in Mission: Impossible have more intentional comedy, the first film is much drier in its humor, and it's shocking to realize that the train driver, who watches Ethan jumping off an exploding helicopter, is actually British comedian David Schneider. His expressions of utter shock are impeccable, and the blink-and-you-miss cameo is a great Easter egg!

For the latest episode, posted today, Crucchiola welcomes Mercedes Bryce Morgan, the director of Bone Lake, which is currently playing in theaters. Here's the podcast episode description:

As October kicks into gear, we’ve got Mercedes Bryce Morgan, director of the new horror movie BONE LAKE. And not only is her own film spooky, but so is her chosen “feeling seen” subject: teen girlhood…er, we mean Sissy Spacek’s CARRIE from the horror classic CARRIE. She and Jordan get into the blurry line between exploitation and representation in horror and erotic thrillers, especially when it comes to women’s sexuality.