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.

Carrie is a classic. It’s not a perfect movie, but its status as a highly influential piece of cinematic art is undeniable. On my latest viewing of the film for Creeptober, I tried to pay close attention to why it is so effective.

First is obviously the impact of the movie’s most famous image. Carrie standing on stage in her prom dress covered in blood is about as iconic as any image in horror. Even if you’ve never seen the movie, you surely know the image. It’s chilling, and it perfectly encapsulates the theme of lost innocence.

I was also struck with how rapid the pace of the movie feels. It’s been a while since I watched Carrie, and I’d forgotten how quickly the story moves the viewer along. The movie is almost 100 minutes long, but it feels much shorter than that. That’s a testament to how engrossing Brian De Palma makes each scene.

Carrie focuses strongly on building its characters, and they inhabit a story which has relatively few major plot points. The extra space afforded to the movie by not having to fit in too much plot allows De Palma to create a strong atmosphere of dread. We’re able to sit with Carrie as she gains confidence during prom. We’re forced to ride with Chris and Billy as they prepare for their prom-night plot. We know these threads are going to weave together, but De Palma stretches it out to excruciating lengths while still feeling like the overall movie has strong forward momentum. It’s a masterful feat.

Here's the Quad description of Carrie:

Adapted from Stephen King’s debut novella, Carrie details the psychological trauma of a bullied teenager being raised by a pious zealot whose adherence to the principles of her faith veers into sheer lunacy. Anchored by two astounding performances: Sissy Spacek plays the beleaguered title character whose adolescent frustration and eventual fury leads to inconceivably visceral revenge; Piper Laurie, marking a dynamic comeback after a fifteen year absence from films (she initially thought the script was a satire), gives a superbly creepy, deranged performance as Carrie’s devout mother. Carrie’s polarizing presence at high school causes differing reactions from her classmates. Sue (Amy Irving) feels remorseful and tries to help Carrie’s self-esteem through a not-well-thought-out scheme to have her prettyboy romantic partner (William Katt) invite Carrie to the prom. Meanwhile, uber-bitch Chris (de Palma regular Nancy Allen) enlists her boyfriend (a young John Travolta) in a particularly vicious (and viscous) prank to ruin Carrie’s prom experience. All of this is brilliantly filtered through director Brian de Palma’s technical bravura aesthetic sensibilities (dramatic zooms, roving Steadicams, split diopter shots, histrionic flourishes, delightfully over-the-top campy moments interspersed with moments of unsettling quiet menace, terrifying Grand Guignol pathos, etc.) to deliver one powerful and ultimately sad modern horror classic.