Have you noticed anything different in the past few years of visiting your local multiplex? No more Harry Potter films every year mainly, but more fundamentally than that – does the screen look cleaner and more stable than usual? None of the scratches and jitter that you always used to see?
You’re witnessing the results of cinema's digital switchover, just another step our lives have taken from the analogue into the digital world. It’s maybe something many haven’t thought about too much, as they sit back, munch popcorn and drink gallons of Fanta while watching dozens of blockbusters.
But considering how many people are affected by it and its impact on how cinemas are run, maybe we should be asking: what’s wrong with this picture?
Since the film-digital debate is kind of technical, just
Christopher Lee and Boris Karloff collectively made countless films that varied widely in terms of quality. However, they always brought dignity to every role they performed. Sadly, the two icons of the horror film genre only worked together twice.The first time in the late 1950s in "Corridors of Blood" and the second and last time in what turned out to be the final film of Karloff's career, the 1968 Tigon Films production of "The Crimson Cult" (released in the UK as "Curse of the Crimson Altar" and in some territories as "The Crimson Altar" and "Black Horror"). Karloff barely got through the arduous shoot during a particularly cold and unpleasant British winter. However, always the ultimate professional, he persevered and continued the film until completion, even after having been hospitalized with pneumonia. The result is a film that is not particularly well-loved by horror film fans
Directed by John Frankenheimer.
Starring Laurence Harvey, Frank Sinatra, Janet Leigh, Angela Lansbury, Henry Silver and James Gregory.
A former Korean War Pow is brainwashed by Communists into becoming a political assassin. But another former prisoner may know how to save him.
Exploring the extremes of cold war paranoia in a stylish cloak and dagger format that must have raised more than a few eyebrows on its release in 1962, The Manchurian Candidate is a film that takes a look beyond the usual political invective.
Following the terrifying experiences of Korean War veterans as they attempt to settle back into ‘normal’ American life, the film is a supremely dark portrayal of influence and control. Laurence Harvey (Room at the Top, Darling) as Raymond Shaw creates a terrifyingly understated performance as the pawn in the games of the political elite. Specifically, his character is controlled through the use
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