Celebrating 40 years of devil possession, The Exorcist (Buy tickets) plays this weekend at midnite and, as our own Desmond Ghoulie says, “prepare to be scared”…
a place both wonderful and strange is Russ Marshalek (formerly of Silent Drape Runners). Other collaborators are sometimes a facet of a place both…, but a place both… is never others. Dark, moody, Lynch-inflected experimental electronic music. This is the dark future.
We are so excited to welcome a place both wonderful an strange to their debut performance at Nitehawk. Tonight and tomorrow night the re-imagine a score to the sexiest of the Hammer vampire flicks, The Vampire Lovers. Check out the links above to see what’s in store (aka amazingness) and to buy tickets!
Shout at the Devil: House of the Devil (Ti West, 2009). Buy Tickets.
In this 2009 interview on Cinema Blend, Ti West (writer/director of House of the Devil) talks about the house, the clothing, and the devil along with stars Greta Gerwig and Tom Noonan.
The house is a prominent figure in the film. What was the process like choosing the home to use?
West: Yeah, the location is really a testament I think mostly to Jade Healy, the production designer, because the house is not very secluded. It’s not actually secluded at all and the interior doesn’t look anything – it might as well look like this room. Like, it doesn’t look anything like it does in the movie. We completely – and the reason it took so long to pick that house was because I was like ‘Well the outside’s cool but it’s not secluded and the inside is like a super bummer’ so it would be so much work to redo it and we should try to make life easier. But, as with everything, you just always choose the hardest battles. So, you know, we went in there and Jade gutted everything and redid everything but she’s terrific. I feel like when you watch the movie the interior of the house looks like we just walked in there and started shooting and it couldn’t be further from the truth.
Live Sound Cinema: The Vampire Lovers (Roy Ward Baker, 1970) with a score by a place both wonderful and strange. BUY TICKETS.
Oh Ingrid Pitt, how we love you. In honor of this fair lady and the screening of her film The Vampire Lovers (Hammer, Horror, Peter Cushing, Vampires, Oh My!) this weekend, Hatched highlights two of our other favorite IP roles below in pseudo visual essay form…
To innocently naked…
To nearly getting her head chopped off!
Who becomes young and beautiful again…
By drinking virgin blood.
And at her sexiest, come see what she does in The Vampire Lovers this weekend!
Bloodsucking Freaks (Joel M. Reed, 1971) | Buy Tickets
Sex and violence. Our Nitehawk Nasty this month is one of our favorites, the murderous “is it real or is it fake” Bloodsucking Freaks! The theater of the absurd film comes from a long tradition of adult theater established by the Grand Guignol in France where elaborately gruesome scenes unfolded onstage that got audiences close to death but at a safe distance. Don’t worry, what you see is only an illusion…or is it?
We travel forwards, backwards and sideways through time all September with out month-long time travel series: Find the time. Here’s our trailer forPlanet of the Apes (Tickets), Terminator 2: Judgement Day (Tickets), Time Bandits (Tickets), The Dead Zone (Tickets), Donnie Darko (Tickets), and Back to the Future (Tickets).
In 1968 two films were released that changed the landscape for cinema and ushered in the era of the post-modern horror film.
The first is Roman Polanski’s Rosemary’s Baby (an adaptation of Ira Levon’s novel) in which a young New York woman is betrayed by her husband and neighbors into having Satan’s child. With its colorful characters, saturated landscape, and lush style, Rosemary’s Baby is in stark contrast to the gritty black-and-white reality expressed in the wholly original second film of 1968 – George A. Romero’s groundbreaking Night of the Living Dead. Like Rosemary’s Baby, Night fundamentally questions our ability to trust other people, particularly those closest to us but its expression of the utter collapse of society (because of an unexplained phenomena that causes the dead to walk and because of the inherently violent nature of the living) and its not-so-subtle socio-political representations, makes Night of the Living Dead a devastating experience still today.
Nitehawk’s Live+Sound+Cinema presents…
Dario Argento’s FOUR FLIES ON GREY VELVET
Featuring an incredible live score by Yello Magi (compositions by Daniel Collás).
Daniel Collás talks to Hatched about the inspiration behind his composition for this weekend’s Live Sound Cinema presentation of Four Flies on Grey Velvet…
As a big fan of the early works of Dario Argento, I was intrigued to find out about Four Flies On Grey Velvet (1971), a movie of his that I had never seen or even heard of before, in which the protagonist is a drummer in a rock and roll band who is followed by a mysterious figure and then framed for murder. Being a longtime musician and motion picture enthusiast, specifically one who is amused by the peculiar portrayals of musicians in cinema, I couldn’t believe that such a movie existed, especially considering that given the time period, there was a good chance that Goblin had scored the film. I became an instant fan of this Italian prog rock band after seeing Deep Red (1975) several years ago, mesmerized by how their spooky compositions and agile musicianship accompanied Argento’s masterpiece thriller so perfectly that they became an inextricable part of it, easily playing as big a role as David Hemmings or Daria Nicolodi, the main characters.
Our Karen Black retrospective series – THE WORKS: KAREN BLACK – has been a tremendous celebration of the amazing actress and the diversity of the roles she’s played as we’ve shown Easy Rider, Burnt Offerings, Five Easy Pieces, Family Plot, and Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. The three-month program now concludes with The Day of the Locust this Friday and Saturday at midnite (buy tickets).
Nitehawk has also hosted special guests like Sean Young, Aida Ruilova, and Alan Cumming to introduce select films in the series but for one, our series debut of Easy Rider, Karen herself took the time to answer some of the biggest questions asked regarding the movie that marks a turning point in modern American cinema.
We thank all who came to support the series and, most of all, we thank Karen Black for giving culture something so incredible to celebrate.
2001: A Space Odyssey (1968)
Friday, June 7 & Saturday, June 8; Midnight | Tickets
Making a sequel to one of the greatest movies ever made must be a horrifying undertaking. Even if the followup turns out to be something great — or even just okay — more often than not, most people will dismiss the effort out of hand, either stewing about how this new movie somehow ruins the experience of the first, or they’ll just point towards the original and just kind of frown. “Why isn’t it as good as THAT one??”
That said, I feel a great amount of sympathy for director Peter Hyams, who, with 2010: The Year We Make Contact, took on the thankless and dangerous task of picking up where a mad genius left off. Based off of Arthur C. Clarke’s sequel to 2001, 2010: Odyssey Two, Hyams’ 2010 is, without question, an inferior film to Kubrick’s transcendent masterpiece, but — then again — the same can also be said for just about every other movie ever made.