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Inferno (1980) 💀 Building on Suspiria, Argento expanded a lore inspired by Thomas De Quincey’s 1845 book Suspiria de Profundis. He dreamed up a trio of ancient, world-governing witches known as the Three Mothers, who ruled from magically constructed apartment complexes in Freiburg, Rome, and New York. Inferno focuses...

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Tom😈Loves❤️Horror😱

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On this day, 46 years ago, Dario Argento's "Inferno" (1980) was released in Italy. After completing filming, Dario Argento screened "Inferno" (1980) to [then] President of 20th Century Fox, Sherry Lansing. While watching the film with him, she grabbed Argento's arm and hung on tightly during every shocking/scary scene in the movie. Argento thought it was a good sign for the movie. When the film was over, she said to Argento that the movie was "too strong" for the American market. The movie did reasonably well all over the world, but was released only on VHS in the USA. It wasn't released in theaters. Argento was upset by this as it was an important film, which he held close to his heart. ('Dario's 'Inferno' - making the second mother)
1:11

On this day, 46 years ago, Dario Argento's "Inferno" (1980) was released in Italy. After completing filming, Dario Argento screened "Inferno" (1980) to [then] President of 20th Century Fox, Sherry Lansing. While watching the film with him, she grabbed Argento's arm and hung on tightly during every shocking/scary scene in the movie. Argento thought it was a good sign for the movie. When the film was over, she said to Argento that the movie was "too strong" for the American market. The movie did reasonably well all over the world, but was released only on VHS in the USA. It wasn't released in theaters. Argento was upset by this as it was an important film, which he held close to his heart. ('Dario's 'Inferno' - making the second mother)

DepressedBergman

83,678 görüntüleme • 8 ay önce

Videodrome (1983) 🕯️📹 Released on February 4, 1983, “Videodrome” faced a difficult theatrical run due to its transgressive content but eventually found a massive second life through home video and high-quality restorations. The film opened in 600 theaters across North America. It debuted at number 8 on the box office charts, earning approximately $1.19 million in its opening weekend. It was a significant commercial "bomb," grossing a total of $2.12 million against a budget of roughly $5.95 million. Director David Cronenberg noted that the film was difficult to categorize, neither fitting clearly as an "art-house" film nor a standard "exploitation" horror flick. Universal Pictures executives later expressed regret for giving it a wide release rather than treating it as a specialized art film. Home video was instrumental in transitioning “Videodrome” from a financial failure to a revered cult classic. The film was released on VHS and Betamax in the 1980s by companies like CIC Video. In the UK, early versions were heavily censored—cut by nearly three minutes—due to the "video nasty" moral panic of the era. The film's critical status was cemented with its inclusion in the Criterion Collection, which released a landmark DVD in 2004 and a Blu-ray in 2010. These editions featured the "unrated" version and extensive documentaries on its groundbreaking prosthetic effects. Arrow Video released a highly praised dual-format (Blu-ray/DVD) set in the UK with new restorations and archival content in 2015. New 4K restorations, approved by Cronenberg, were released to theaters and home media, further enhancing the film's "techno-surrealist" visuals for modern audiences. Today, the film is widely available for digital streaming on platforms like Peacock and for purchase through boutique labels.
1:41

Videodrome (1983) 🕯️📹 Released on February 4, 1983, “Videodrome” faced a difficult theatrical run due to its transgressive content but eventually found a massive second life through home video and high-quality restorations. The film opened in 600 theaters across North America. It debuted at number 8 on the box office charts, earning approximately $1.19 million in its opening weekend. It was a significant commercial "bomb," grossing a total of $2.12 million against a budget of roughly $5.95 million. Director David Cronenberg noted that the film was difficult to categorize, neither fitting clearly as an "art-house" film nor a standard "exploitation" horror flick. Universal Pictures executives later expressed regret for giving it a wide release rather than treating it as a specialized art film. Home video was instrumental in transitioning “Videodrome” from a financial failure to a revered cult classic. The film was released on VHS and Betamax in the 1980s by companies like CIC Video. In the UK, early versions were heavily censored—cut by nearly three minutes—due to the "video nasty" moral panic of the era. The film's critical status was cemented with its inclusion in the Criterion Collection, which released a landmark DVD in 2004 and a Blu-ray in 2010. These editions featured the "unrated" version and extensive documentaries on its groundbreaking prosthetic effects. Arrow Video released a highly praised dual-format (Blu-ray/DVD) set in the UK with new restorations and archival content in 2015. New 4K restorations, approved by Cronenberg, were released to theaters and home media, further enhancing the film's "techno-surrealist" visuals for modern audiences. Today, the film is widely available for digital streaming on platforms like Peacock and for purchase through boutique labels.

Tom😈Loves❤️Horror😱

16,931 görüntüleme • 9 ay önce

The Fog (1980) The Fog had a limited release on February 1, 1980, before expanding nationwide on February 8, 1980. It was originally scheduled for Christmas 1979 but was delayed to avoid heavy competition. The idea for the movie was born during a trip to England when John Carpenter and producer/co-writer Debra Hill visited Stonehenge. Witnessing an eerie mist rolling over the landscape, Carpenter famously asked, "What do you think is in that fog?" He also drew inspiration from the 1958 film The Trollenberg Terror, which featured monsters hiding in clouds. After viewing the initial rough cut, Carpenter was horrified, calling it "terrible" and noting it lacked scares and proper pacing. To save the project, he and Hill spent an additional $200,000 on massive reshoots just a month before the release date. Roughly one-third of the final film consists of reshoots. Key additions include: - The iconic campfire prologue with John Houseman. - The morgue scene where a corpse suddenly reanimates. - Stevie Wayne's lighthouse confrontation with the ghosts (originally, she never encountered them). - Footage of meat hooks and physical contact was added to compete with the rising popularity of "slasher" films. Despite mixed reviews from critics like Roger Ebert, who found the premise weak, the film was a major commercial success. It grossed approximately $21.3 million domestically against a modest $1.1 million budget. The Fog became a staple of the early home video era, first appearing on VHS and Betamax in late 1980. Subsequent high-definition re-releases, including a 4K UHD edition from Scream Factory in 2022, have kept it in the public eye. While initially seen as a "tame" follow-up to Carpenter’s Halloween, it is now revered as a cult classic for its masterclass in building dread. The 1980 original’s legacy was actually strengthened by the failure of the 2005 remake. The film solidified a unique piece of horror history by featuring Janet Leigh (Psycho) and Jamie Lee Curtis (Halloween) together. This "passing of the torch" between mother and daughter created a legacy of horror royalty that fans still celebrate at conventions today.
2:12

The Fog (1980) The Fog had a limited release on February 1, 1980, before expanding nationwide on February 8, 1980. It was originally scheduled for Christmas 1979 but was delayed to avoid heavy competition. The idea for the movie was born during a trip to England when John Carpenter and producer/co-writer Debra Hill visited Stonehenge. Witnessing an eerie mist rolling over the landscape, Carpenter famously asked, "What do you think is in that fog?" He also drew inspiration from the 1958 film The Trollenberg Terror, which featured monsters hiding in clouds. After viewing the initial rough cut, Carpenter was horrified, calling it "terrible" and noting it lacked scares and proper pacing. To save the project, he and Hill spent an additional $200,000 on massive reshoots just a month before the release date. Roughly one-third of the final film consists of reshoots. Key additions include: - The iconic campfire prologue with John Houseman. - The morgue scene where a corpse suddenly reanimates. - Stevie Wayne's lighthouse confrontation with the ghosts (originally, she never encountered them). - Footage of meat hooks and physical contact was added to compete with the rising popularity of "slasher" films. Despite mixed reviews from critics like Roger Ebert, who found the premise weak, the film was a major commercial success. It grossed approximately $21.3 million domestically against a modest $1.1 million budget. The Fog became a staple of the early home video era, first appearing on VHS and Betamax in late 1980. Subsequent high-definition re-releases, including a 4K UHD edition from Scream Factory in 2022, have kept it in the public eye. While initially seen as a "tame" follow-up to Carpenter’s Halloween, it is now revered as a cult classic for its masterclass in building dread. The 1980 original’s legacy was actually strengthened by the failure of the 2005 remake. The film solidified a unique piece of horror history by featuring Janet Leigh (Psycho) and Jamie Lee Curtis (Halloween) together. This "passing of the torch" between mother and daughter created a legacy of horror royalty that fans still celebrate at conventions today.

Tom😈Loves❤️Horror😱

15,850 görüntüleme • 8 ay önce

WW2 PSYCHOLOGICAL WARFARE In order to wage a war, the first battle fought to capture the hearts and minds of the people. Naturally, the inherent violent nature of war brings about great psychological resistance in civilized nations. To break this resistance, people must believe that they are fighting a monster. The British Political Warfare Executive (PWE) was a clandestine body created to produce and disseminate both propaganda. Their role in the war would go on to shape history as we know it. One of their main methods of swaying public opinion was to hire Hollywood producers to produce propaganda films. In 1938, their main objective was to promote anti-German sentiment to sway the American public into support the war that was inevitably coming. In 1981, Jack Glenn, director of the popular 1940s newsreel series March of Time, died at age 76. His obituary, published in the Bergen, New Jersey, Sunday Record on February 15, 1981, included a shocking revelation. "As senior director for the popular movie house newsreel, he often created world events with actors and movie sets. One such news feature film, Inside N@z¡Germany, made in 1938, included footage of a “concentration camp” that was filmed on Staten Island with scores of New York City actors." Prior to the advent of TV, Americans would get their news from the local theater, and millions turned out in 1938 for the release of "Inside N@z¡ Germany." Most were unsuspecting and believed that they were watching a true and accurate accounting of everyday life in Berlin. Little did they know that they were actually watching American citizens dressed up as N@z¡s, being filmed at a movie set that had been constructed in New York. These faked scenes were later included in the “Why We Fight” propaganda film series made and issued by the US government during World War II for viewing by US military personnel and the general American public. Many of the millions who have watched these staged events understandably accepted them as depictions of reality in Third Reich Germany. In 1993, Inside N@z¡i Germany was deemed "culturally significant" by the Library of Congress and selected for preservation in the United States National Film Registry One scene in particular from the film that depicted the word "jude" and a "star of david" written on a storefront window has become one of the most iconic images associated with the holocaust. It is still being pushed online to this day and can be found in archives and museums across the entire globe. The only problem with this is that....IT'S FAKE.
2:12

WW2 PSYCHOLOGICAL WARFARE In order to wage a war, the first battle fought to capture the hearts and minds of the people. Naturally, the inherent violent nature of war brings about great psychological resistance in civilized nations. To break this resistance, people must believe that they are fighting a monster. The British Political Warfare Executive (PWE) was a clandestine body created to produce and disseminate both propaganda. Their role in the war would go on to shape history as we know it. One of their main methods of swaying public opinion was to hire Hollywood producers to produce propaganda films. In 1938, their main objective was to promote anti-German sentiment to sway the American public into support the war that was inevitably coming. In 1981, Jack Glenn, director of the popular 1940s newsreel series March of Time, died at age 76. His obituary, published in the Bergen, New Jersey, Sunday Record on February 15, 1981, included a shocking revelation. "As senior director for the popular movie house newsreel, he often created world events with actors and movie sets. One such news feature film, Inside N@z¡Germany, made in 1938, included footage of a “concentration camp” that was filmed on Staten Island with scores of New York City actors." Prior to the advent of TV, Americans would get their news from the local theater, and millions turned out in 1938 for the release of "Inside N@z¡ Germany." Most were unsuspecting and believed that they were watching a true and accurate accounting of everyday life in Berlin. Little did they know that they were actually watching American citizens dressed up as N@z¡s, being filmed at a movie set that had been constructed in New York. These faked scenes were later included in the “Why We Fight” propaganda film series made and issued by the US government during World War II for viewing by US military personnel and the general American public. Many of the millions who have watched these staged events understandably accepted them as depictions of reality in Third Reich Germany. In 1993, Inside N@z¡i Germany was deemed "culturally significant" by the Library of Congress and selected for preservation in the United States National Film Registry One scene in particular from the film that depicted the word "jude" and a "star of david" written on a storefront window has become one of the most iconic images associated with the holocaust. It is still being pushed online to this day and can be found in archives and museums across the entire globe. The only problem with this is that....IT'S FAKE.

1984

623,439 görüntüleme • 2 yıl önce

Initially, John Cleese didn't have any thought of casting an American for the role of Wanda in "A Fish Called Wanda" (1988). He got the idea to cast Jamie Lee Curtis in the role only after seeing "Trading Places" (1983)- when his daughter took him to see the movie. Cleese felt that everyone in England could see the reasoning behind casting Jamie Lee Curtis in the role but no one in America could, as she had the reputation of being a "Scream Queen". Cleese chose Kevin Kline for the movie as he was a great "over-actor". On the reception of the movie in America, John Cleese said, "We were all very pleased with how 'A Fish Called Wanda' turned out. I had made sure that there was nothing in the movie that couldn’t be understood by an American. The New York Times hated it, but a lot of critics’ opinions are irrational. One doesn’t take it seriously except for the effect it has on audiences. In New York, it had a major effect and none of the magazines wanted to do interviews with us. They saw Wanda as an obscure little film of no interest to their readers. But we platformed it, opening it in two cinemas in New York and one in LA. That allowed the buzz to build and soon the magazines were ringing back saying can we have that interview after all. It took about six weeks in America before we felt it was a hit. It succeeded almost everywhere, except Portugal and Japan (perhaps because of their attachment to fish)." (John Cleese's interview with Geoffrey Macnab, Sight and Sound, 2003) P.S: On this day, 38 years ago, "A Fish Called Wanda" (1988) premiered in New York City, USA.
0:50

Initially, John Cleese didn't have any thought of casting an American for the role of Wanda in "A Fish Called Wanda" (1988). He got the idea to cast Jamie Lee Curtis in the role only after seeing "Trading Places" (1983)- when his daughter took him to see the movie. Cleese felt that everyone in England could see the reasoning behind casting Jamie Lee Curtis in the role but no one in America could, as she had the reputation of being a "Scream Queen". Cleese chose Kevin Kline for the movie as he was a great "over-actor". On the reception of the movie in America, John Cleese said, "We were all very pleased with how 'A Fish Called Wanda' turned out. I had made sure that there was nothing in the movie that couldn’t be understood by an American. The New York Times hated it, but a lot of critics’ opinions are irrational. One doesn’t take it seriously except for the effect it has on audiences. In New York, it had a major effect and none of the magazines wanted to do interviews with us. They saw Wanda as an obscure little film of no interest to their readers. But we platformed it, opening it in two cinemas in New York and one in LA. That allowed the buzz to build and soon the magazines were ringing back saying can we have that interview after all. It took about six weeks in America before we felt it was a hit. It succeeded almost everywhere, except Portugal and Japan (perhaps because of their attachment to fish)." (John Cleese's interview with Geoffrey Macnab, Sight and Sound, 2003) P.S: On this day, 38 years ago, "A Fish Called Wanda" (1988) premiered in New York City, USA.

DepressedBergman

893,125 görüntüleme • 3 ay önce

In 1963, New York City committed what one critic called an act of vandalism against its own soul. It tore down the most beautiful building it had ever built, and it has regretted it every day since. The building was Pennsylvania Station, and for half a century it was one of the great rooms of the world... It opened in 1910, designed by the architects McKim, Mead & White, and it covered eight acres in the heart of Manhattan. Its main waiting room was modeled on the Baths of Caracalla in ancient Rome, with ceilings that rose 150 feet into the air. Sunlight poured down through vast steel-and-glass canopies onto the concourse below. To step off a train and walk up into that light was, for millions of arriving travelers, the moment New York announced itself. A historian, Vincent Scully, famously wrote that, through it, one entered the city like a god. One scuttles in now like a rat... Because in 1963, the railroad, losing money and sitting on immensely valuable land, sold the air rights above the station. The great building was condemned. Wave by wave, the pink granite columns were pulled down and dumped in a New Jersey swamp, and a low, windowless complex of Madison Square Garden and an office tower was built on top of the surviving tracks. There was no law to stop it. At the time, nothing in New York protected a historic building from destruction, however beloved. Leading architects stood outside in protest as the demolition began. It made no difference... But something came out of the loss. The destruction of Penn Station horrified the public so deeply that it gave birth to the modern preservation movement in America. New York passed its landmarks law in 1965, and that law would later save Grand Central Terminal from the very same fate. In a way, Penn Station became more powerful in death than it had ever been in life. It’s really true that we never truly know what we have until we lose it... the columns of Penn Station could not be saved. But every landmark that still stands in New York today stands partly because of what their loss awakened in the people who watched them fall. Ada Louise Huxtable, the first architecture critic of The New York Times, wrote of the demolition in 1963: "The tragedy is that our own times not only could not produce such a building, but cannot even maintain it." I started this newsletter because the people who came before us left us something extraordinary, and almost no one is teaching us how to see it anymore. Every week I try to. If that is something you would like to be part of, you can join here: I write about beauty in all its forms. If you'd like to support the work, a paid subscription is what makes it possible.
0:40

In 1963, New York City committed what one critic called an act of vandalism against its own soul. It tore down the most beautiful building it had ever built, and it has regretted it every day since. The building was Pennsylvania Station, and for half a century it was one of the great rooms of the world... It opened in 1910, designed by the architects McKim, Mead & White, and it covered eight acres in the heart of Manhattan. Its main waiting room was modeled on the Baths of Caracalla in ancient Rome, with ceilings that rose 150 feet into the air. Sunlight poured down through vast steel-and-glass canopies onto the concourse below. To step off a train and walk up into that light was, for millions of arriving travelers, the moment New York announced itself. A historian, Vincent Scully, famously wrote that, through it, one entered the city like a god. One scuttles in now like a rat... Because in 1963, the railroad, losing money and sitting on immensely valuable land, sold the air rights above the station. The great building was condemned. Wave by wave, the pink granite columns were pulled down and dumped in a New Jersey swamp, and a low, windowless complex of Madison Square Garden and an office tower was built on top of the surviving tracks. There was no law to stop it. At the time, nothing in New York protected a historic building from destruction, however beloved. Leading architects stood outside in protest as the demolition began. It made no difference... But something came out of the loss. The destruction of Penn Station horrified the public so deeply that it gave birth to the modern preservation movement in America. New York passed its landmarks law in 1965, and that law would later save Grand Central Terminal from the very same fate. In a way, Penn Station became more powerful in death than it had ever been in life. It’s really true that we never truly know what we have until we lose it... the columns of Penn Station could not be saved. But every landmark that still stands in New York today stands partly because of what their loss awakened in the people who watched them fall. Ada Louise Huxtable, the first architecture critic of The New York Times, wrote of the demolition in 1963: "The tragedy is that our own times not only could not produce such a building, but cannot even maintain it." I started this newsletter because the people who came before us left us something extraordinary, and almost no one is teaching us how to see it anymore. Every week I try to. If that is something you would like to be part of, you can join here: I write about beauty in all its forms. If you'd like to support the work, a paid subscription is what makes it possible.

James Lucas

419,468 görüntüleme • 4 ay önce

Friday the 13th (1980) A low-budget independent production that unexpectedly became a global phenomenon. Despite critical backlash for its graphic violence, it launched one of the most successful horror franchises in history and defined the 1980s slasher genre. The film was born out of "need and desperation" by director Sean S. Cunningham, who sought a commercially viable project after several previous failures. Cunningham famously placed an ad in Variety for a movie titled Friday the 13th before a script even existed to secure interest and funding. Writer Victor Miller drafted the screenplay (initially titled A Long Night at Camp Blood) to create a "cinematic roller coaster" similar to Halloween (1978). It was shot in the fall of 1979 at Camp No-Be-Bo-Sco, a Boy Scout camp in Blairstown, New Jersey. Tom Savini was hired for nearly $20,000 to create the film’s iconic, realistic gore effects. Savini is also credited with suggesting the famous "jump scare" ending featuring a young Jason Voorhees emerging from the lake. Betsy Palmer took on the role of Mrs. Voorhees for $1,000 a day, primarily to purchase a new car, famously calling the script a "piece of junk" at the time. A young Kevin Bacon was also cast as one of the ill-fated counselors. Bacon often jokes that his character was destined to die because he followed the classic "slasher rules"—he both smoked a joint and had sex with his girlfriend, Marcie. Bacon revealed that the number one picture fans ask him to sign is a still of his own corpse with an arrow through its neck. While he is "easygoing" about autographs, he admits it is "a little bit disconcerting" to sign images of himself dead and bloody decades later. The film's success caught major studios off guard, leading to a bidding war won by Paramount Pictures for domestic rights ($1.5 million) and Warner Bros. for international rights. It was the 15th highest-grossing film of 1980 and the second most profitable for Paramount that year. Its massive return on investment proved that low-budget horror could be a major studio powerhouse, triggering the "slasher boom" of the 1980s. While critics like Gene Siskel and Roger Ebert condemned the film—even revealing the ending to discourage viewers—their attacks inadvertently fueled public curiosity. The film was a cornerstone of the early home video era, released on VHS, Betamax, LaserDisc, and CED in 1980. Over the decades, the film transitioned from a "trashy" independent flick to a cultural institution. Fans host annual "Crystal Lake Tours" at the original filming location and celebrate the series every Friday the 13th. It established horror staples like the "Final Girl" (Alice), the "ki-ki-ki, ma-ma-ma" sound effect by composer Harry Manfredini, and eventually, the legendary status of Jason Voorhees as a pop-culture icon.
1:49

Friday the 13th (1980) A low-budget independent production that unexpectedly became a global phenomenon. Despite critical backlash for its graphic violence, it launched one of the most successful horror franchises in history and defined the 1980s slasher genre. The film was born out of "need and desperation" by director Sean S. Cunningham, who sought a commercially viable project after several previous failures. Cunningham famously placed an ad in Variety for a movie titled Friday the 13th before a script even existed to secure interest and funding. Writer Victor Miller drafted the screenplay (initially titled A Long Night at Camp Blood) to create a "cinematic roller coaster" similar to Halloween (1978). It was shot in the fall of 1979 at Camp No-Be-Bo-Sco, a Boy Scout camp in Blairstown, New Jersey. Tom Savini was hired for nearly $20,000 to create the film’s iconic, realistic gore effects. Savini is also credited with suggesting the famous "jump scare" ending featuring a young Jason Voorhees emerging from the lake. Betsy Palmer took on the role of Mrs. Voorhees for $1,000 a day, primarily to purchase a new car, famously calling the script a "piece of junk" at the time. A young Kevin Bacon was also cast as one of the ill-fated counselors. Bacon often jokes that his character was destined to die because he followed the classic "slasher rules"—he both smoked a joint and had sex with his girlfriend, Marcie. Bacon revealed that the number one picture fans ask him to sign is a still of his own corpse with an arrow through its neck. While he is "easygoing" about autographs, he admits it is "a little bit disconcerting" to sign images of himself dead and bloody decades later. The film's success caught major studios off guard, leading to a bidding war won by Paramount Pictures for domestic rights ($1.5 million) and Warner Bros. for international rights. It was the 15th highest-grossing film of 1980 and the second most profitable for Paramount that year. Its massive return on investment proved that low-budget horror could be a major studio powerhouse, triggering the "slasher boom" of the 1980s. While critics like Gene Siskel and Roger Ebert condemned the film—even revealing the ending to discourage viewers—their attacks inadvertently fueled public curiosity. The film was a cornerstone of the early home video era, released on VHS, Betamax, LaserDisc, and CED in 1980. Over the decades, the film transitioned from a "trashy" independent flick to a cultural institution. Fans host annual "Crystal Lake Tours" at the original filming location and celebrate the series every Friday the 13th. It established horror staples like the "Final Girl" (Alice), the "ki-ki-ki, ma-ma-ma" sound effect by composer Harry Manfredini, and eventually, the legendary status of Jason Voorhees as a pop-culture icon.

Tom😈Loves❤️Horror😱

25,622 görüntüleme • 7 ay önce

Halloween 5: The Revenge of Michael Myers (1989) 🎃 Halloween 5 was fast-tracked and rushed into production immediately after the box office success of Halloween 4. Filming began in Salt Lake City, Utah, in mid-1989 without a completed screenplay. Scripts were constantly being rewritten on set. Series producer Moustapha Akkad rejected initial concepts. He completely threw out a draft that would have turned Jamie Lloyd into a killer following the cliffhanger of Halloween 4. Instead, they pivoted to a psychic bond storyline. Director Dominique Othenin-Girard introduced a mysterious "Man in Black" character and the "Thorn" rune on Michael's wrist without actually knowing what they meant. This bizarre subplot was meant to give Akkad a tool to keep Michael alive for future sequels, but it left audiences confused. The initial cut of the movie received a harsh X-rating due to severe violence. The production was forced to make extensive theatrical cuts to tone down the gore, such as a brutal scythe murder and a scene involving a hand rake. Released in October 1989 by independent studio Galaxy Releasing, the film underperformed heavily. Halloween 5 grossed just $11.6 million domestically against a $6 million budget. It holds the record as the lowest-grossing movie in the entire Halloween franchise. Internationally, theatrical distributors lost interest entirely, forcing the film to go straight to video in regions outside the United States. While its theatrical run was a failure, Halloween 5 found its audience on home media. It became a staple of late-night video store rentals during the 1990s. Anchor Bay later gave it special treatment with a "Divimax" edition DVD release. The film has been consistently kept alive through lucrative physical media box sets, including the popular Halloween: 30 Years of Terror pack and modern boutique Blu-ray/4K UHD restorations from companies like Shout! Factory. For decades, Halloween 5 was widely hated for killing off the previous film’s final girl (Rachel) early on, introducing a goofy new mask, and changing the iconic Myers house into a gothic mansion. However, time has given it a definitive cult following among horror fans: Danielle Harris's Acting: Heavily praised for delivering an emotionally intense, mostly mute performance as a traumatized child. Donald Pleasence: Appreciated for taking Dr. Loomis to a manic, dangerously unhinged level of obsession. Atmosphere & Style: Lauded for Othenin-Girard's distinctively eerie, high-contrast visual choices and brutal suspense scenes (like the laundry chute chase). Lore Setup: While messy, it is celebrated for kicking off the polarizing "Curse of Thorn" arc.
1:25

Halloween 5: The Revenge of Michael Myers (1989) 🎃 Halloween 5 was fast-tracked and rushed into production immediately after the box office success of Halloween 4. Filming began in Salt Lake City, Utah, in mid-1989 without a completed screenplay. Scripts were constantly being rewritten on set. Series producer Moustapha Akkad rejected initial concepts. He completely threw out a draft that would have turned Jamie Lloyd into a killer following the cliffhanger of Halloween 4. Instead, they pivoted to a psychic bond storyline. Director Dominique Othenin-Girard introduced a mysterious "Man in Black" character and the "Thorn" rune on Michael's wrist without actually knowing what they meant. This bizarre subplot was meant to give Akkad a tool to keep Michael alive for future sequels, but it left audiences confused. The initial cut of the movie received a harsh X-rating due to severe violence. The production was forced to make extensive theatrical cuts to tone down the gore, such as a brutal scythe murder and a scene involving a hand rake. Released in October 1989 by independent studio Galaxy Releasing, the film underperformed heavily. Halloween 5 grossed just $11.6 million domestically against a $6 million budget. It holds the record as the lowest-grossing movie in the entire Halloween franchise. Internationally, theatrical distributors lost interest entirely, forcing the film to go straight to video in regions outside the United States. While its theatrical run was a failure, Halloween 5 found its audience on home media. It became a staple of late-night video store rentals during the 1990s. Anchor Bay later gave it special treatment with a "Divimax" edition DVD release. The film has been consistently kept alive through lucrative physical media box sets, including the popular Halloween: 30 Years of Terror pack and modern boutique Blu-ray/4K UHD restorations from companies like Shout! Factory. For decades, Halloween 5 was widely hated for killing off the previous film’s final girl (Rachel) early on, introducing a goofy new mask, and changing the iconic Myers house into a gothic mansion. However, time has given it a definitive cult following among horror fans: Danielle Harris's Acting: Heavily praised for delivering an emotionally intense, mostly mute performance as a traumatized child. Donald Pleasence: Appreciated for taking Dr. Loomis to a manic, dangerously unhinged level of obsession. Atmosphere & Style: Lauded for Othenin-Girard's distinctively eerie, high-contrast visual choices and brutal suspense scenes (like the laundry chute chase). Lore Setup: While messy, it is celebrated for kicking off the polarizing "Curse of Thorn" arc.

Tom😈Loves❤️Horror😱

19,647 görüntüleme • 6 gün önce

"The Sound of Silence" is an iconic folk-rock song by the American duo Simon & Garfunkel. It was written by Paul Simon and released as a single in 1965. The song's haunting melody and evocative lyrics made it a timeless classic that continues to resonate with audiences across generations. The genesis of "The Sound of Silence" can be traced back to Paul Simon's early days as a songwriter in the early 1960s. He wrote the original version of the song when he was just 21 years old and it was initially titled "The Sounds of Silence." The song was included in their debut album, "Wednesday Morning, 3 A.M," released in 1964. However, the album had limited success, and Simon & Garfunkel's future as a duo was uncertain. Despite the lackluster performance of their debut album, the song's potential caught the attention of Tom Wilson, a producer at Columbia Records. Without Simon or Garfunkel's knowledge, he decided to remix "The Sound of Silence," adding electric instruments and drums to the acoustic version. This new version gave the song a more contemporary and dynamic sound, capitalizing on the folk-rock movement that was gaining popularity at the time. In January 1966, the remixed version of "The Sound of Silence" was released as a single, and it quickly began to climb the charts. The song struck a chord with listeners, as its lyrics tapped into feelings of isolation, alienation, and the struggle to communicate in an increasingly disconnected world. The opening lines, "Hello darkness, my old friend, I've come to talk with you again," instantly captured the imaginations of listeners and set the tone for the rest of the song. As "The Sound of Silence" gained traction, Simon & Garfunkel's popularity surged, and they went on to release more successful albums, becoming one of the most influential and celebrated musical acts of the 1960s. The song's success also played a significant role in propelling the folk-rock genre into the mainstream. Over the years, "The Sound of Silence" has been covered by numerous artists, further cementing its status as a timeless classic. Its enduring appeal lies in its ability to evoke deep emotions and contemplation, making it relevant in different historical and cultural contexts. The song's legacy has been immortalized in popular culture, appearing in films, television shows, and advertisements, further solidifying its status as a song that transcends time and resonates with people from all walks of life. Its powerful message about the importance of meaningful communication in a world filled with noise and distraction continues to be relevant and poignant to this day.
0:56

"The Sound of Silence" is an iconic folk-rock song by the American duo Simon & Garfunkel. It was written by Paul Simon and released as a single in 1965. The song's haunting melody and evocative lyrics made it a timeless classic that continues to resonate with audiences across generations. The genesis of "The Sound of Silence" can be traced back to Paul Simon's early days as a songwriter in the early 1960s. He wrote the original version of the song when he was just 21 years old and it was initially titled "The Sounds of Silence." The song was included in their debut album, "Wednesday Morning, 3 A.M," released in 1964. However, the album had limited success, and Simon & Garfunkel's future as a duo was uncertain. Despite the lackluster performance of their debut album, the song's potential caught the attention of Tom Wilson, a producer at Columbia Records. Without Simon or Garfunkel's knowledge, he decided to remix "The Sound of Silence," adding electric instruments and drums to the acoustic version. This new version gave the song a more contemporary and dynamic sound, capitalizing on the folk-rock movement that was gaining popularity at the time. In January 1966, the remixed version of "The Sound of Silence" was released as a single, and it quickly began to climb the charts. The song struck a chord with listeners, as its lyrics tapped into feelings of isolation, alienation, and the struggle to communicate in an increasingly disconnected world. The opening lines, "Hello darkness, my old friend, I've come to talk with you again," instantly captured the imaginations of listeners and set the tone for the rest of the song. As "The Sound of Silence" gained traction, Simon & Garfunkel's popularity surged, and they went on to release more successful albums, becoming one of the most influential and celebrated musical acts of the 1960s. The song's success also played a significant role in propelling the folk-rock genre into the mainstream. Over the years, "The Sound of Silence" has been covered by numerous artists, further cementing its status as a timeless classic. Its enduring appeal lies in its ability to evoke deep emotions and contemplation, making it relevant in different historical and cultural contexts. The song's legacy has been immortalized in popular culture, appearing in films, television shows, and advertisements, further solidifying its status as a song that transcends time and resonates with people from all walks of life. Its powerful message about the importance of meaningful communication in a world filled with noise and distraction continues to be relevant and poignant to this day.

Historic Vids

3,178,838 görüntüleme • 3 yıl önce

Jeepers Creepers (2001) #OTD 📽️ Released 25 years ago 🎂 One of the definitive creature features of the early 2000s. Directed by Victor Salva and executive produced by Francis Ford Coppola, it successfully revitalized the monster-movie genre with its blend of urban legend, visceral dread, and practical effects. Writer-director Victor Salva wrote the script in 1999. He was inspired by a summer of watching atmospheric horror hits like The Blair Witch Project and The Sixth Sense, which moved him to write a classic monster movie rooted in suspense rather than cheap gore. The unforgettable opening sequence—where two siblings on a road trip spot a mysterious figure dumping body-sized sheets down a pipe—was loosely inspired by a real-life true crime case. In 1990, a Michigan man named Dennis DePue murdered his wife and was seen by a passing couple dumping her body behind an abandoned schoolhouse, an event later detailed on a famous episode of Unsolved Mysteries. Salva took that terrifying premise and interwove the supernatural lore of The Creeper: an ancient, winged demon that awakens every 23rd spring for 23 days to harvest and feed on human organs to sustain itself. Character actor Jonathan Breck won the role of The Creeper after a terrifying audition. To maximize the fear factor, Salva kept Breck completely isolated from Gina Philips and Justin Long throughout production. The lead actors never saw Breck in his heavy prosthetic makeup until the cameras rolled for their first encounter, capturing genuine on-screen terror. Due to late-stage budget cuts, the original scripted ending had to be scrapped. The final, bleak sequence—where Darry is taken and his eyes are harvested—was largely worked out through last-minute improvisation by the cast and crew. Released on August 31, 2001, by MGM, Jeepers Creepers was a massive box office sleeper hit. It debuted at number one over the four-day Labor Day weekend, breaking the record at the time for the highest-grossing Labor Day opening with nearly $16 million. Ultimately, the film grossed $37.9 million domestically and over $59.4 million worldwide, easily multiplying its $10 million budget and securing the immediate greenlight for a sequel. The film’s commercial momentum carried heavily into its home video release on VHS and DVD in January 2002. Capitalizing on the peak era of physical media, the MGM Home Entertainment Special Edition DVD—featuring deleted scenes and alternate endings—became a major rental and retail success. Heavy rotation on late-night cable networks throughout the early 2000s introduced the movie to a broader audience of horror fans, cementing its transition from a theatrical hit to a household staple. Jeepers Creepers has earned a firm cult classic status within the horror community. While mainstream critics initially gave it mixed reviews—praising the intensely suspenseful, slow-burn first act but criticizing the shift into conventional monster tropes later on—audiences fell in love with it. The film is widely celebrated for producing one of the last truly iconic, original cinematic monsters of the modern era. The ominous use of the titular 1938 jazz song "Jeepers Creepers", the silhouette of the Creeper’s duster coat and wide-brimmed hat, and his rusted, screaming 1941 Chevy COE delivery truck all became unforgettable staples of modern horror iconography. Despite the franchise’s later timeline being bogged down by inferior sequels, a poorly received reboot, and severe public controversy regarding the director’s personal criminal history, the original 2001 film stands alone as an atmospheric, highly influential milestone of early-2000s horror.
1:55

Jeepers Creepers (2001) #OTD 📽️ Released 25 years ago 🎂 One of the definitive creature features of the early 2000s. Directed by Victor Salva and executive produced by Francis Ford Coppola, it successfully revitalized the monster-movie genre with its blend of urban legend, visceral dread, and practical effects. Writer-director Victor Salva wrote the script in 1999. He was inspired by a summer of watching atmospheric horror hits like The Blair Witch Project and The Sixth Sense, which moved him to write a classic monster movie rooted in suspense rather than cheap gore. The unforgettable opening sequence—where two siblings on a road trip spot a mysterious figure dumping body-sized sheets down a pipe—was loosely inspired by a real-life true crime case. In 1990, a Michigan man named Dennis DePue murdered his wife and was seen by a passing couple dumping her body behind an abandoned schoolhouse, an event later detailed on a famous episode of Unsolved Mysteries. Salva took that terrifying premise and interwove the supernatural lore of The Creeper: an ancient, winged demon that awakens every 23rd spring for 23 days to harvest and feed on human organs to sustain itself. Character actor Jonathan Breck won the role of The Creeper after a terrifying audition. To maximize the fear factor, Salva kept Breck completely isolated from Gina Philips and Justin Long throughout production. The lead actors never saw Breck in his heavy prosthetic makeup until the cameras rolled for their first encounter, capturing genuine on-screen terror. Due to late-stage budget cuts, the original scripted ending had to be scrapped. The final, bleak sequence—where Darry is taken and his eyes are harvested—was largely worked out through last-minute improvisation by the cast and crew. Released on August 31, 2001, by MGM, Jeepers Creepers was a massive box office sleeper hit. It debuted at number one over the four-day Labor Day weekend, breaking the record at the time for the highest-grossing Labor Day opening with nearly $16 million. Ultimately, the film grossed $37.9 million domestically and over $59.4 million worldwide, easily multiplying its $10 million budget and securing the immediate greenlight for a sequel. The film’s commercial momentum carried heavily into its home video release on VHS and DVD in January 2002. Capitalizing on the peak era of physical media, the MGM Home Entertainment Special Edition DVD—featuring deleted scenes and alternate endings—became a major rental and retail success. Heavy rotation on late-night cable networks throughout the early 2000s introduced the movie to a broader audience of horror fans, cementing its transition from a theatrical hit to a household staple. Jeepers Creepers has earned a firm cult classic status within the horror community. While mainstream critics initially gave it mixed reviews—praising the intensely suspenseful, slow-burn first act but criticizing the shift into conventional monster tropes later on—audiences fell in love with it. The film is widely celebrated for producing one of the last truly iconic, original cinematic monsters of the modern era. The ominous use of the titular 1938 jazz song "Jeepers Creepers", the silhouette of the Creeper’s duster coat and wide-brimmed hat, and his rusted, screaming 1941 Chevy COE delivery truck all became unforgettable staples of modern horror iconography. Despite the franchise’s later timeline being bogged down by inferior sequels, a poorly received reboot, and severe public controversy regarding the director’s personal criminal history, the original 2001 film stands alone as an atmospheric, highly influential milestone of early-2000s horror.

Tom😈Loves❤️Horror😱

14,021 görüntüleme • 1 ay önce

According to Roy Scheider, "Filming 'Sorcerer' (1977) made 'Jaws' (1975) look like a picnic". He considered the Bridge scene to be the most dangerous he has ever acted in. The scene was so real that he said, "What the audience will see on that screen is what really happened." Building the bridge cost about a million dollars. It took 3 months to complete. Friedkin called it "A mad enterprise and definitely life threatening". The bridge was built on what they considered to be a "perfect river" in Dominican Republic. It was 12 feet deep. However, there were weeks without rainfall and the level of the river started dropping. The river has never went dry before according to the locals. When the bridge was completed, the river had only 1 feet of water making it impossible to film the scene there. With only 2 scenes left to film, the crew had to leave for Mexico to shoot the bridge scene. So they decided to shoot the scene in a river in an Aztec village in a remote location in Mexico. The Bridge had to be reassembled and anchored in the new location. The shutdown of production had lasted a month which was a huge expense to the management. When the crew arrived at the village, there was a huge exodus of the local population. When Friedkin enquired, he was informed by one of the authorities that it was because of word of William Friedkin's arrival. They were a deeply religious people, and when they heard the man who made "The Exorcist" (1973) was coming to their village: they felt it was "bad karma". But few of the locals stayed and helped with the filming. Before arriving, Friedkin was informed that it rained often in the area, but didn't know that it was only in the summer season. Since it was the fall, there was no rain and the river began to drop at the rate of six inches or more a day. The water was diverted to the location of the bridge in the river using large pipes and pumping equipment. Since Friedkin wanted to shoot the scene in the rain, they brought in half a dozen large sprinklers that drew water from upriver. The scene runs twelve minutes, roughly 10 percent of the final cut, but it took months to complete and cost more than $3 million, most of it not budgeted. ("The Friedkin Connection: A Memoir", William Friedkin, 2013 & Roy Scheider's interview to the The New York Times, 1977) P.S: On this day, 49 years ago, "Sorcerer" (1977) was released in the USA.
2:14

According to Roy Scheider, "Filming 'Sorcerer' (1977) made 'Jaws' (1975) look like a picnic". He considered the Bridge scene to be the most dangerous he has ever acted in. The scene was so real that he said, "What the audience will see on that screen is what really happened." Building the bridge cost about a million dollars. It took 3 months to complete. Friedkin called it "A mad enterprise and definitely life threatening". The bridge was built on what they considered to be a "perfect river" in Dominican Republic. It was 12 feet deep. However, there were weeks without rainfall and the level of the river started dropping. The river has never went dry before according to the locals. When the bridge was completed, the river had only 1 feet of water making it impossible to film the scene there. With only 2 scenes left to film, the crew had to leave for Mexico to shoot the bridge scene. So they decided to shoot the scene in a river in an Aztec village in a remote location in Mexico. The Bridge had to be reassembled and anchored in the new location. The shutdown of production had lasted a month which was a huge expense to the management. When the crew arrived at the village, there was a huge exodus of the local population. When Friedkin enquired, he was informed by one of the authorities that it was because of word of William Friedkin's arrival. They were a deeply religious people, and when they heard the man who made "The Exorcist" (1973) was coming to their village: they felt it was "bad karma". But few of the locals stayed and helped with the filming. Before arriving, Friedkin was informed that it rained often in the area, but didn't know that it was only in the summer season. Since it was the fall, there was no rain and the river began to drop at the rate of six inches or more a day. The water was diverted to the location of the bridge in the river using large pipes and pumping equipment. Since Friedkin wanted to shoot the scene in the rain, they brought in half a dozen large sprinklers that drew water from upriver. The scene runs twelve minutes, roughly 10 percent of the final cut, but it took months to complete and cost more than $3 million, most of it not budgeted. ("The Friedkin Connection: A Memoir", William Friedkin, 2013 & Roy Scheider's interview to the The New York Times, 1977) P.S: On this day, 49 years ago, "Sorcerer" (1977) was released in the USA.

DepressedBergman

76,740 görüntüleme • 3 ay önce

“The House of the Rising Sun” is one of the oldest and most mysterious folk songs in the United States, which became a rock anthem thanks to The Animals in 1964. Its origins are lost in time. It is a traditional American ballad, likely from the 19th century or even earlier, with possible roots in old English ballads. No one knows who wrote it: it is a song of unknown authorship that was passed down orally among folk musicians, miners, travelers, and singers in the southern United States. It tells of a life ruined in New Orleans (Louisiana), at a place called “The House of the Rising Sun,” which many interpret as a brothel, a casino, or a disreputable hotel. Depending on the version, it can be told from the perspective of a woman who falls into prostitution or a man who loses himself to gambling and alcohol. The first known recording dates from 1933–1934, when Clarence Ashley and Gwen Foster recorded it. Shortly thereafter, Alan Lomax recorded a 16-year-old girl named Georgia Turner singing it a cappella in Kentucky. Even then, it was called “Rising Sun Blues.” Over time, it was covered by artists such as Lead Belly, Woody Guthrie, Joan Baez, and Bob Dylan (on his 1962 debut album). Everything changed in 1964. The Animals, a British band from Newcastle, heard it in Dylan’s version (and also in English folk circles). Eric Burdon and the others adapted it to their style: they gave it a darker, electric, and more powerful rhythm, with Alan Price’s famous organ riff and Burdon’s raspy voice. They recorded it in a single take on May 18, 1964, in just 15 minutes, during a break on their tour. At first, producer Mickie Most hesitated because of its length (over 4 minutes), but it was released as a single and became a massive hit: number 1 in the United States, the United Kingdom, and several other countries. It is considered one of the first great folk rock songs. Since then, the song has been covered hundreds of times (by Nina Simone, Dolly Parton, Muse, among many others) and continues to be featured in movies, TV shows, and stadiums.
0:29

“The House of the Rising Sun” is one of the oldest and most mysterious folk songs in the United States, which became a rock anthem thanks to The Animals in 1964. Its origins are lost in time. It is a traditional American ballad, likely from the 19th century or even earlier, with possible roots in old English ballads. No one knows who wrote it: it is a song of unknown authorship that was passed down orally among folk musicians, miners, travelers, and singers in the southern United States. It tells of a life ruined in New Orleans (Louisiana), at a place called “The House of the Rising Sun,” which many interpret as a brothel, a casino, or a disreputable hotel. Depending on the version, it can be told from the perspective of a woman who falls into prostitution or a man who loses himself to gambling and alcohol. The first known recording dates from 1933–1934, when Clarence Ashley and Gwen Foster recorded it. Shortly thereafter, Alan Lomax recorded a 16-year-old girl named Georgia Turner singing it a cappella in Kentucky. Even then, it was called “Rising Sun Blues.” Over time, it was covered by artists such as Lead Belly, Woody Guthrie, Joan Baez, and Bob Dylan (on his 1962 debut album). Everything changed in 1964. The Animals, a British band from Newcastle, heard it in Dylan’s version (and also in English folk circles). Eric Burdon and the others adapted it to their style: they gave it a darker, electric, and more powerful rhythm, with Alan Price’s famous organ riff and Burdon’s raspy voice. They recorded it in a single take on May 18, 1964, in just 15 minutes, during a break on their tour. At first, producer Mickie Most hesitated because of its length (over 4 minutes), but it was released as a single and became a massive hit: number 1 in the United States, the United Kingdom, and several other countries. It is considered one of the first great folk rock songs. Since then, the song has been covered hundreds of times (by Nina Simone, Dolly Parton, Muse, among many others) and continues to be featured in movies, TV shows, and stadiums.

🎸 Rock History 🎸

152,305 görüntüleme • 5 ay önce

Class of 1984 (1982) #OTD 📽️ Released 44 years ago 🎟️ Released on August 20, 1982, in North America, the Motion Picture Association of America (MPAA) threatened the original cut with a restrictive X rating. Because of its graphic, exploitative content—including a brutal rape sequence and a legendary showdown involving a high school shop class table saw—the film faced massive distribution hurdles. Lester was forced to trim down the most explicit gore and sexual violence to secure an R rating. In a strange twist, the uncut X-rated reels were accidentally shipped to a handful of American theaters during the initial weeks of release, fueling the movie's forbidden-fruit allure. Shocked but Thrilled. Audiences reacted with a mixture of terror and visceral satisfaction. The film grossed roughly $6.1 million on a modest $3 million budget, drawing crowds who treated it as an interactive, crowd-pleasing revenge flick where they cheered on the bloody climax. Some critics trashed it as a morally bankrupt, alarmist, and reactionary piece of trash. However, Roger Ebert famously bucked the trend, praising it as raw and offensive but brimming with genuine talent, wit, and high-energy craftsmanship. The film first premiered at the Cannes Film Market in May 1982 and faced harsh censorship across Europe. It was banned outright or heavily restricted in several countries due to concerns that it was purely nihilistic. For instance, in France, it initially received a strict 18+ ban before being lowered to a 16+ rating. Despite the bans, European audiences (particularly punk subculture groups) gravitated toward its aggressive aesthetic, Alice Cooper theme song, and a live performance by the Canadian punk band Teenage Head. It became an absolute juggernaut in the blooming VHS rental market. Highly Controversial. Many European film journalists dismissed it as sensationalist American paranoia. Some extreme left-wing critics even labeled the film's "fight fire with fire" vigilante ideology as implicitly fascist. Today, Class of 1984 is widely celebrated as a seminal cult classic of 1980s exploitation cinema. At the time of its release, the film’s depiction of graffiti-covered schools, security guards, surveillance cameras, and students walking through metal detectors was viewed as far-fetched sci-fi paranoia. Modern audiences look back at the film with a sense of eerie shock, noting that its extreme vision tragically predicted the heavy security and weapon crises that would plague real-world American schools decades later. Rather than looking like a genuine documentary, the film is now appreciated as "excellent trash at its finest"—a neon-tinted, hyper-realized snapshot of Reagan-era generational panic. Film buffs love it for its fantastic Lalo Schifrin synth-orchestral score and the sheer novelty of watching a pudgy, innocent Michael J. Fox right before Family Ties and Back to the Future catapulted him to superstardom.
2:02

Class of 1984 (1982) #OTD 📽️ Released 44 years ago 🎟️ Released on August 20, 1982, in North America, the Motion Picture Association of America (MPAA) threatened the original cut with a restrictive X rating. Because of its graphic, exploitative content—including a brutal rape sequence and a legendary showdown involving a high school shop class table saw—the film faced massive distribution hurdles. Lester was forced to trim down the most explicit gore and sexual violence to secure an R rating. In a strange twist, the uncut X-rated reels were accidentally shipped to a handful of American theaters during the initial weeks of release, fueling the movie's forbidden-fruit allure. Shocked but Thrilled. Audiences reacted with a mixture of terror and visceral satisfaction. The film grossed roughly $6.1 million on a modest $3 million budget, drawing crowds who treated it as an interactive, crowd-pleasing revenge flick where they cheered on the bloody climax. Some critics trashed it as a morally bankrupt, alarmist, and reactionary piece of trash. However, Roger Ebert famously bucked the trend, praising it as raw and offensive but brimming with genuine talent, wit, and high-energy craftsmanship. The film first premiered at the Cannes Film Market in May 1982 and faced harsh censorship across Europe. It was banned outright or heavily restricted in several countries due to concerns that it was purely nihilistic. For instance, in France, it initially received a strict 18+ ban before being lowered to a 16+ rating. Despite the bans, European audiences (particularly punk subculture groups) gravitated toward its aggressive aesthetic, Alice Cooper theme song, and a live performance by the Canadian punk band Teenage Head. It became an absolute juggernaut in the blooming VHS rental market. Highly Controversial. Many European film journalists dismissed it as sensationalist American paranoia. Some extreme left-wing critics even labeled the film's "fight fire with fire" vigilante ideology as implicitly fascist. Today, Class of 1984 is widely celebrated as a seminal cult classic of 1980s exploitation cinema. At the time of its release, the film’s depiction of graffiti-covered schools, security guards, surveillance cameras, and students walking through metal detectors was viewed as far-fetched sci-fi paranoia. Modern audiences look back at the film with a sense of eerie shock, noting that its extreme vision tragically predicted the heavy security and weapon crises that would plague real-world American schools decades later. Rather than looking like a genuine documentary, the film is now appreciated as "excellent trash at its finest"—a neon-tinted, hyper-realized snapshot of Reagan-era generational panic. Film buffs love it for its fantastic Lalo Schifrin synth-orchestral score and the sheer novelty of watching a pudgy, innocent Michael J. Fox right before Family Ties and Back to the Future catapulted him to superstardom.

Tom😈Loves❤️Horror😱

16,325 görüntüleme • 1 ay önce

In The Godfather, while Clemenza is teaching Michael how to use the gun he’ll kill Sollozzo with, he tells him that the murder will probably start a war. “These gotta happen every five years or so. Ten years… been ten years since the last one.” However, the film never explains what that previous war was or why it took place. But Mario Puzo’s original novel does - in great detail. And it’s essentially the missing chapter explaining how Vito Corleone went from being the neighbourhood Don of Little Italy to one of the most powerful Mafia bosses in all of America. By the end of Part II, Vito is a “man of respect” in his neighbourhood, and he leverages that reputation to further grow his olive oil business. He uses his “formidable powers of persuasion” to buy out his competitors and establish a monopoly on the olive oil business in New York City. He has warehouses, trucks, and a highly efficient distribution network. When Prohibition comes into law, Vito repurposes many of these assets into an incredibly lucrative bootlegging operation. During this period he restructures his organization into a formal crime family, with Genco as his consigliere, Clemenza as caporegime of the Bronx, Tessio controlling Brooklyn, and the men working under them as soldiers. He also builds an invaluable network of police and political contacts, which would serve him for years to come. However, when Prohibition comes to an end, Vito needs to pivot to another criminal enterprise to keep his organization afloat. He reaches out to Salvatore Maranzano, who controlled all gambling activity in Manhattan. Maranzano was based on the real mafia boss of the same name, one of the most powerful crime figures in New York City’s history. Vito proposes a partnership. He would offer his political connections to protect Maranzano’s businesses and help him expand into Brooklyn and the Bronx; in exchange, Vito would receive a share of the gambling profits. Maranzano “spurned the Corleone offer with contempt...” He took it as an insult, and Vito as a threat that needed to be stamped out. Maranzano had a much bigger, more powerful organization built through union-busting and extortion rackets, and strong ties to the most infamous gangster in the country, Al Capone in Chicago. “Maranzano’s refusal touched off the great war of 1933 which was to change the whole structure of the underworld in New York City.” (1/2)
1:52

In The Godfather, while Clemenza is teaching Michael how to use the gun he’ll kill Sollozzo with, he tells him that the murder will probably start a war. “These gotta happen every five years or so. Ten years… been ten years since the last one.” However, the film never explains what that previous war was or why it took place. But Mario Puzo’s original novel does - in great detail. And it’s essentially the missing chapter explaining how Vito Corleone went from being the neighbourhood Don of Little Italy to one of the most powerful Mafia bosses in all of America. By the end of Part II, Vito is a “man of respect” in his neighbourhood, and he leverages that reputation to further grow his olive oil business. He uses his “formidable powers of persuasion” to buy out his competitors and establish a monopoly on the olive oil business in New York City. He has warehouses, trucks, and a highly efficient distribution network. When Prohibition comes into law, Vito repurposes many of these assets into an incredibly lucrative bootlegging operation. During this period he restructures his organization into a formal crime family, with Genco as his consigliere, Clemenza as caporegime of the Bronx, Tessio controlling Brooklyn, and the men working under them as soldiers. He also builds an invaluable network of police and political contacts, which would serve him for years to come. However, when Prohibition comes to an end, Vito needs to pivot to another criminal enterprise to keep his organization afloat. He reaches out to Salvatore Maranzano, who controlled all gambling activity in Manhattan. Maranzano was based on the real mafia boss of the same name, one of the most powerful crime figures in New York City’s history. Vito proposes a partnership. He would offer his political connections to protect Maranzano’s businesses and help him expand into Brooklyn and the Bronx; in exchange, Vito would receive a share of the gambling profits. Maranzano “spurned the Corleone offer with contempt...” He took it as an insult, and Vito as a threat that needed to be stamped out. Maranzano had a much bigger, more powerful organization built through union-busting and extortion rackets, and strong ties to the most infamous gangster in the country, Al Capone in Chicago. “Maranzano’s refusal touched off the great war of 1933 which was to change the whole structure of the underworld in New York City.” (1/2)

Gangster Cinema Central

344,193 görüntüleme • 1 ay önce

‘HE IS KING’ 🎥💻 WORLD PREMIERE!! 🔥🔥🔥 #AIfilm taking a huge leap forward.. Thank you to everyone who has supported me and my work, including my family and close friends, it has meant the world to me, especially as I transitioned into this new space and my work took a new direction abruptly haha. AI has significantly changed my life for the better. As a visual artist & filmmaker who lives on the fringe of creative expression and work spans a range of mediums and style, this is the first time in my life, where what I am doing has given me more than inspired drive, it’s given me purpose. When I set out to make this film I wanted to tell a different kind of story, while also showing everyone what I envision for my work and the voice I wanna have as a filmmaker and artist. Time is so short in life, and often times we aren’t lucky enough to find what I’ve found. So for me, that’s what drives me, along with the need to tell stories visually of course haha. But, that sense of purpose, I want to inspire people to want to be more. Not for success, but for self fulfillment. HE IS KING, is a powerful, AI-generated short film that reframes one of the most iconic moments in American history. Written and directed by myself, the film offers an emotionally intimate and visually groundbreaking exploration of Dr. Martin Luther King Jr. on the day of his legendary “I Have a Dream” speech. “HE IS KING" is witnessed as a cinematic moment, a glimpse, of a man, a message, and a movement. Told through an emotionally intimate story and unique perspective, the film follows Dr. Martin Luther King Jr. on the day of his most iconic address, the “I Have a Dream” speech delivered from the steps of the Lincoln Memorial. But it does more than document a moment we all know well, it pulls the audience into the soul of a leader preparing to speak truth to a nation on the edge of transformation, these moments are the moments histories most undeniable choices and creation around them, are rarely told or shown. From quiet moments writing in a candlelit church, to the silent prayer of a man alone with his thoughts, to the thunderous crescendo of a quarter-million people answering his call, "HE IS KING" honors the legacy of a man not as a monument, but as a human being carrying the weight of a dream. Segregation, resistance, and unity are woven through the speech like visual echoes, grounding King’s words in lived experiences. With meticulous period detail through research, grounded performances, and a reverent tone manifested through my vision and AI, the film captures the urgency, hope, and sacrifice of the civil rights movement through a modern lens of technology today giving a uniquely spectacular showcase of what is possible in today's world. The film is a testament to the enduring power of truth as well, spoken aloud and carried forward. It captures the soul of a movement while reminding us that the dream never died with him, it evolved, rising through the voices of new leaders, and now, through innovations like AI, it has the ability to reach beyond time, across borders, and into the hands of future generations. This is not just a story about a speech. It’s about the responsibility, and the promise, of being the ones who still dream. ❤️🎥 DH Created with: Google DeepMind VEO, Runway GEN 3/4 for some of the speech shots using GVFX custom promoted filters, Kling AI 1.6 LipSync, custom voice workflow to create a new unique voice closely resembling King, Magnific.ai with their masterful upscaling in the vintage shots I created, Adobe Video Premiere/AfterEffects for editing/Color Grading, and the finish from Topaz Labs to bring it to you in 4k brilliance!
16:40

‘HE IS KING’ 🎥💻 WORLD PREMIERE!! 🔥🔥🔥 #AIfilm taking a huge leap forward.. Thank you to everyone who has supported me and my work, including my family and close friends, it has meant the world to me, especially as I transitioned into this new space and my work took a new direction abruptly haha. AI has significantly changed my life for the better. As a visual artist & filmmaker who lives on the fringe of creative expression and work spans a range of mediums and style, this is the first time in my life, where what I am doing has given me more than inspired drive, it’s given me purpose. When I set out to make this film I wanted to tell a different kind of story, while also showing everyone what I envision for my work and the voice I wanna have as a filmmaker and artist. Time is so short in life, and often times we aren’t lucky enough to find what I’ve found. So for me, that’s what drives me, along with the need to tell stories visually of course haha. But, that sense of purpose, I want to inspire people to want to be more. Not for success, but for self fulfillment. HE IS KING, is a powerful, AI-generated short film that reframes one of the most iconic moments in American history. Written and directed by myself, the film offers an emotionally intimate and visually groundbreaking exploration of Dr. Martin Luther King Jr. on the day of his legendary “I Have a Dream” speech. “HE IS KING" is witnessed as a cinematic moment, a glimpse, of a man, a message, and a movement. Told through an emotionally intimate story and unique perspective, the film follows Dr. Martin Luther King Jr. on the day of his most iconic address, the “I Have a Dream” speech delivered from the steps of the Lincoln Memorial. But it does more than document a moment we all know well, it pulls the audience into the soul of a leader preparing to speak truth to a nation on the edge of transformation, these moments are the moments histories most undeniable choices and creation around them, are rarely told or shown. From quiet moments writing in a candlelit church, to the silent prayer of a man alone with his thoughts, to the thunderous crescendo of a quarter-million people answering his call, "HE IS KING" honors the legacy of a man not as a monument, but as a human being carrying the weight of a dream. Segregation, resistance, and unity are woven through the speech like visual echoes, grounding King’s words in lived experiences. With meticulous period detail through research, grounded performances, and a reverent tone manifested through my vision and AI, the film captures the urgency, hope, and sacrifice of the civil rights movement through a modern lens of technology today giving a uniquely spectacular showcase of what is possible in today's world. The film is a testament to the enduring power of truth as well, spoken aloud and carried forward. It captures the soul of a movement while reminding us that the dream never died with him, it evolved, rising through the voices of new leaders, and now, through innovations like AI, it has the ability to reach beyond time, across borders, and into the hands of future generations. This is not just a story about a speech. It’s about the responsibility, and the promise, of being the ones who still dream. ❤️🎥 DH Created with: Google DeepMind VEO, Runway GEN 3/4 for some of the speech shots using GVFX custom promoted filters, Kling AI 1.6 LipSync, custom voice workflow to create a new unique voice closely resembling King, Magnific.ai with their masterful upscaling in the vintage shots I created, Adobe Video Premiere/AfterEffects for editing/Color Grading, and the finish from Topaz Labs to bring it to you in 4k brilliance!

Dustin Hollywood

25,952 görüntüleme • 1 yıl önce

Black Christmas (1974) 🎄 This film is considered one of the most influential horror films ever made, often cited as the "mother" of the modern slasher genre. Despite a modest initial financial performance, it has achieved massive cultural impact and critical re-evaluation over the last 50 years. Produced on a budget of roughly $686,000, it was a major hit in its native Canada, becoming the third-highest-grossing Canadian film of its time. It initially struggled in the U.S. due to competition from The Godfather Part II, but eventually grossed over $4 million worldwide, cementing its status as a financial success. Upon release, critics largely dismissed it as "senseless mayhem" or "trash". However, modern reviews are overwhelmingly positive, with a 71% rating on Rotten Tomatoes and rankings on numerous "Best Horror Movie" lists by outlets like IndieWire and Esquire. Cultural Impact and Innovation The film pioneered several tropes that defined the 1980s slasher boom: The "Final Girl": Jess Bradford (Olivia Hussey) is recognized as one of the first "final girls" in horror. Unlike later iterations, she was sexually active and had full agency, challenging the "virginal survivor" trope. It introduced the Killer's POV tracking shots, the concept of a killer stalking a group of young women, and the "calls are coming from inside the house" plot device later famously used in “When a Stranger Calls”. Influence on “Halloween”: Director Bob Clark’s discussions with John Carpenter about a hypothetical Black Christmas sequel (involving a killer escaping a psychiatric ward on Halloween) directly inspired Carpenter's 1978 classic. Released just one year after Roe v. Wade, the film is praised for its progressive treatment of reproductive rights, as Jess remains steadfast in her decision to have an abortion despite pressure from her boyfriend. Fun Fact Director Bob Clark later directed the 1983 holiday classic “A Christmas Story”. While the two films are tonally opposites, they both remain essential viewing for the Christmas season.
2:17

Black Christmas (1974) 🎄 This film is considered one of the most influential horror films ever made, often cited as the "mother" of the modern slasher genre. Despite a modest initial financial performance, it has achieved massive cultural impact and critical re-evaluation over the last 50 years. Produced on a budget of roughly $686,000, it was a major hit in its native Canada, becoming the third-highest-grossing Canadian film of its time. It initially struggled in the U.S. due to competition from The Godfather Part II, but eventually grossed over $4 million worldwide, cementing its status as a financial success. Upon release, critics largely dismissed it as "senseless mayhem" or "trash". However, modern reviews are overwhelmingly positive, with a 71% rating on Rotten Tomatoes and rankings on numerous "Best Horror Movie" lists by outlets like IndieWire and Esquire. Cultural Impact and Innovation The film pioneered several tropes that defined the 1980s slasher boom: The "Final Girl": Jess Bradford (Olivia Hussey) is recognized as one of the first "final girls" in horror. Unlike later iterations, she was sexually active and had full agency, challenging the "virginal survivor" trope. It introduced the Killer's POV tracking shots, the concept of a killer stalking a group of young women, and the "calls are coming from inside the house" plot device later famously used in “When a Stranger Calls”. Influence on “Halloween”: Director Bob Clark’s discussions with John Carpenter about a hypothetical Black Christmas sequel (involving a killer escaping a psychiatric ward on Halloween) directly inspired Carpenter's 1978 classic. Released just one year after Roe v. Wade, the film is praised for its progressive treatment of reproductive rights, as Jess remains steadfast in her decision to have an abortion despite pressure from her boyfriend. Fun Fact Director Bob Clark later directed the 1983 holiday classic “A Christmas Story”. While the two films are tonally opposites, they both remain essential viewing for the Christmas season.

Tom😈Loves❤️Horror😱

23,810 görüntüleme • 9 ay önce

Today, John Carpenter and longtime band mates Cody Carpenter and Daniel Davies share a second track from ‘Cathedral’ - a project that marks Carpenter’s highly anticipated return to the realm of audio/visual narrative storytelling. Following previously shared track “Lord of The Underground”, today we share the grinding and dramatic track “The Ferryman”, along with imagery from the graphic novel. Incredible visualizer by Antwan R. Johnson @iamtweezy904 The project spans a new album set for release August 7th on Sacred Bones Records alongside his first ever graphic novel, set for release August 4 via Storm King Comics. In a story rich with River Styx iconography, “The Ferryman” scores a scene in which we encounter the subterranean character of the same name. “I like that one because it really seems to feature all three of us in a special way,” Davies says. “It has interesting harmonies that Cody put together and John’s signature pad-style string parts. It’s more of an electronic metal track in a way, but we just wanted to make it as heavy and driving as possible.” Designed as a fully immersive project, ‘Cathedral’ functions as both soundtrack and narrative engine: each track aligns with a chapter of the graphic novel, with liner notes guiding listeners through the story. As a result the story unfurls like a film and is certainly the closest approximation to a new movie from Carpenter since 2010. “It was so cinematic and vivid,” Carpenter says of the dream that inspired the story. “I thought, ‘I have to score this.’ It’s kind of our first heavy metal album.” Pre-order your copy of the album and graphic novel today!
0:20

Today, John Carpenter and longtime band mates Cody Carpenter and Daniel Davies share a second track from ‘Cathedral’ - a project that marks Carpenter’s highly anticipated return to the realm of audio/visual narrative storytelling. Following previously shared track “Lord of The Underground”, today we share the grinding and dramatic track “The Ferryman”, along with imagery from the graphic novel. Incredible visualizer by Antwan R. Johnson @iamtweezy904 The project spans a new album set for release August 7th on Sacred Bones Records alongside his first ever graphic novel, set for release August 4 via Storm King Comics. In a story rich with River Styx iconography, “The Ferryman” scores a scene in which we encounter the subterranean character of the same name. “I like that one because it really seems to feature all three of us in a special way,” Davies says. “It has interesting harmonies that Cody put together and John’s signature pad-style string parts. It’s more of an electronic metal track in a way, but we just wanted to make it as heavy and driving as possible.” Designed as a fully immersive project, ‘Cathedral’ functions as both soundtrack and narrative engine: each track aligns with a chapter of the graphic novel, with liner notes guiding listeners through the story. As a result the story unfurls like a film and is certainly the closest approximation to a new movie from Carpenter since 2010. “It was so cinematic and vivid,” Carpenter says of the dream that inspired the story. “I thought, ‘I have to score this.’ It’s kind of our first heavy metal album.” Pre-order your copy of the album and graphic novel today!

John Carpenter

31,649 görüntüleme • 3 ay önce

Heat is one of the best films ever. Directed by Michael Mann, the 1995 crime classic has a truly “one-of-a-kind” moment: Al Pacino and Robert De Niro in the same scene for the first time. To make it happen, Mann actually created the *same film* twice. It’s an awesome story of creative dedication… …that begins in the mid-1970s, when Mann met a Chicago police detective named Chuck Adamson. Adamson was retired and consulting on Hollywood projects. He told Mann about his years chasing a bank robber named Neil McCauley, including a time they shared a coffee at a diner. In 1979, Mann wrote a 180-page script called “Heat” about Adamson and McCauley. After success producing the TV show “Miami Vice”, Mann was given an opportunity to make his script. However, it ended up as a low budget direct-to-TV film called “LA Takedown”. The film took ~3 weeks to make and — while reviews were OK — Mann’s vision was unfulfilled. After directing the critical and commercial hit “The Last of the Mohicans” in 1992, Mann could basically do any new project he wanted. And he chose to redo “LA Takedown”, but this time with a $60m budget and the biggest stars (Pacino, De Niro, Val Kilmer, Ashley Judd, Tom Sizemore, Jon Voight). After six months of filming, “Heat” came out in 1995. At 165 minutes, it was twice the length of “LA Takedown” (Mann layered on lots of narrative left out of the original). It was an instant classic and made ~$190m at the box office. Meanwhile, the much-anticipated coffee diner scene with Pacino and De Niro delivered the goods (compare it to the original below). After 2 decades and 2 films, Mann finally saw his vision through. The unwavering commitment to his original idea created a true masterpiece.
2:19

Heat is one of the best films ever. Directed by Michael Mann, the 1995 crime classic has a truly “one-of-a-kind” moment: Al Pacino and Robert De Niro in the same scene for the first time. To make it happen, Mann actually created the *same film* twice. It’s an awesome story of creative dedication… …that begins in the mid-1970s, when Mann met a Chicago police detective named Chuck Adamson. Adamson was retired and consulting on Hollywood projects. He told Mann about his years chasing a bank robber named Neil McCauley, including a time they shared a coffee at a diner. In 1979, Mann wrote a 180-page script called “Heat” about Adamson and McCauley. After success producing the TV show “Miami Vice”, Mann was given an opportunity to make his script. However, it ended up as a low budget direct-to-TV film called “LA Takedown”. The film took ~3 weeks to make and — while reviews were OK — Mann’s vision was unfulfilled. After directing the critical and commercial hit “The Last of the Mohicans” in 1992, Mann could basically do any new project he wanted. And he chose to redo “LA Takedown”, but this time with a $60m budget and the biggest stars (Pacino, De Niro, Val Kilmer, Ashley Judd, Tom Sizemore, Jon Voight). After six months of filming, “Heat” came out in 1995. At 165 minutes, it was twice the length of “LA Takedown” (Mann layered on lots of narrative left out of the original). It was an instant classic and made ~$190m at the box office. Meanwhile, the much-anticipated coffee diner scene with Pacino and De Niro delivered the goods (compare it to the original below). After 2 decades and 2 films, Mann finally saw his vision through. The unwavering commitment to his original idea created a true masterpiece.

Trung Phan

1,309,957 görüntüleme • 3 yıl önce

On September 11, 2001, 19 terrorists from the Islamic extremist group al Qaeda—founded by Osama bin Laden—hijacked four commercial passenger airplanes and carried out coordinated suicide attacks against targets in the United States. Two of the planes were flown into the twin towers of the World Trade Center in New York City. Within two hours, both towers had collapsed into rubble, demolishing a large section of lower Manhattan. A third plane hit the Pentagon in Arlington, Virginia, just outside Washington, D.C. The passengers and crew of the fourth plane fought back, and the hijackers crashed the plane in a field near Shanksville, Pennsylvania. Almost 3,000 people were killed in the 9/11 terrorist attacks, including the 19 al Qaeda terrorists. The shocking events of September 11 were televised globally and left much of the world reeling in horror. The administration of President George W. Bush responded by declaring a “war on terror” and launching the U.S.-led invasion of Afghanistan. The attacks also led to a sweeping reorganization of the federal government, including the creation of the Department of Homeland Security. ...... On September 11, 2001, at 8:46 a.m. on a clear Tuesday morning, American Airlines Flight 11, a Boeing 767 carrying thousands of gallons of jet fuel, crashed into the North Tower of the World Trade Center in New York City. The impact left a gaping, burning hole between the 93rd and 99th floors of the 110-story skyscraper, instantly killing hundreds of people and trapping hundreds more on higher floors. As the evacuation of the tower and its twin got underway, television cameras broadcast live images of what initially appeared to be a freak accident. Then, 17 minutes after the first plane hit, a second Boeing 767—United Airlines Flight 175—appeared in the sky, turned sharply toward the World Trade Center, and sliced into the South Tower between the 77th and 85th floors. The collision caused a massive explosion that showered burning debris onto surrounding buildings and onto the streets below. It immediately became clear that the United States was under attack. The hijackers were members of al Qaeda. Fifteen were from Saudi Arabia, two were from the United Arab Emirates, one was from Egypt and one was from Lebanon. The attacks were orchestrated by al Qaeda leader Osama bin Laden, who cited America’s support of Israel, its involvement in the Persian Gulf War and its continued military presence in the Middle East as grievances. Some of the hijackers had lived in the United States for more than a year and had taken flight training at American flight schools. Others had slipped into the country in the months before September 11 and acted as the “muscle” in the operation. The 19 terrorists smuggled box-cutters and knives through security at three East Coast airports—Logan International Airport in Boston, Washington Dulles International Airport in Virginia and Newark International Airport in New Jersey—and boarded four early-morning flights bound for California, chosen because the planes were loaded with fuel for long transcontinental journey. Soon after takeoff, the terrorists commandeered the four planes and took the controls, transforming ordinary passenger jets into weapons. As millions watched the events unfolding in New York, American Airlines Flight 77 circled over Washington, D.C., before crashing into the west side of the Pentagon military headquarters at 9:37 a.m. Jet fuel from the Boeing 757 ignited a devastating inferno that led to the structural collapse of a portion of the Pentagon's giant concrete building, which is the headquarters of the U.S. Department of Defense. All told, 125 military personnel and civilians were killed at the Pentagon, along with all 64 people aboard the airliner. #archaeohistories
0:41

On September 11, 2001, 19 terrorists from the Islamic extremist group al Qaeda—founded by Osama bin Laden—hijacked four commercial passenger airplanes and carried out coordinated suicide attacks against targets in the United States. Two of the planes were flown into the twin towers of the World Trade Center in New York City. Within two hours, both towers had collapsed into rubble, demolishing a large section of lower Manhattan. A third plane hit the Pentagon in Arlington, Virginia, just outside Washington, D.C. The passengers and crew of the fourth plane fought back, and the hijackers crashed the plane in a field near Shanksville, Pennsylvania. Almost 3,000 people were killed in the 9/11 terrorist attacks, including the 19 al Qaeda terrorists. The shocking events of September 11 were televised globally and left much of the world reeling in horror. The administration of President George W. Bush responded by declaring a “war on terror” and launching the U.S.-led invasion of Afghanistan. The attacks also led to a sweeping reorganization of the federal government, including the creation of the Department of Homeland Security. ...... On September 11, 2001, at 8:46 a.m. on a clear Tuesday morning, American Airlines Flight 11, a Boeing 767 carrying thousands of gallons of jet fuel, crashed into the North Tower of the World Trade Center in New York City. The impact left a gaping, burning hole between the 93rd and 99th floors of the 110-story skyscraper, instantly killing hundreds of people and trapping hundreds more on higher floors. As the evacuation of the tower and its twin got underway, television cameras broadcast live images of what initially appeared to be a freak accident. Then, 17 minutes after the first plane hit, a second Boeing 767—United Airlines Flight 175—appeared in the sky, turned sharply toward the World Trade Center, and sliced into the South Tower between the 77th and 85th floors. The collision caused a massive explosion that showered burning debris onto surrounding buildings and onto the streets below. It immediately became clear that the United States was under attack. The hijackers were members of al Qaeda. Fifteen were from Saudi Arabia, two were from the United Arab Emirates, one was from Egypt and one was from Lebanon. The attacks were orchestrated by al Qaeda leader Osama bin Laden, who cited America’s support of Israel, its involvement in the Persian Gulf War and its continued military presence in the Middle East as grievances. Some of the hijackers had lived in the United States for more than a year and had taken flight training at American flight schools. Others had slipped into the country in the months before September 11 and acted as the “muscle” in the operation. The 19 terrorists smuggled box-cutters and knives through security at three East Coast airports—Logan International Airport in Boston, Washington Dulles International Airport in Virginia and Newark International Airport in New Jersey—and boarded four early-morning flights bound for California, chosen because the planes were loaded with fuel for long transcontinental journey. Soon after takeoff, the terrorists commandeered the four planes and took the controls, transforming ordinary passenger jets into weapons. As millions watched the events unfolding in New York, American Airlines Flight 77 circled over Washington, D.C., before crashing into the west side of the Pentagon military headquarters at 9:37 a.m. Jet fuel from the Boeing 757 ignited a devastating inferno that led to the structural collapse of a portion of the Pentagon's giant concrete building, which is the headquarters of the U.S. Department of Defense. All told, 125 military personnel and civilians were killed at the Pentagon, along with all 64 people aboard the airliner. #archaeohistories

Archaeo - Histories

56,810 görüntüleme • 1 ay önce