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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...

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Tom😈Loves❤️Horror😱

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Angel (1984) Released on January 13, 1984, Angel is an American exploitation slasher thriller that became a defining "sleeper hit" of the 1980s. It was the first film released by New World Pictures after the studio was sold by its founder, Roger Corman. The film mixed a gritty, "sleazy" premise with a "found family" of colorful street characters, including an aging cowboy (Rory Calhoun) and a flamboyant drag queen (Dick Shawn). The blend of "Afterschool Special" sweetness and "sleaze-fest" violence created a jarring but memorable experience that helped the film stand out from typical 1980s slashers. Despite failing to open in the top five, Angel was a major financial success. It grossed $2.2 million in its opening weekend and stayed in the top ten for several months, eventually earning $17.5 million domestically. It was New World's highest-grossing release of 1984. The film thrived during the 1980s VHS boom, where its lurid cover art and exploitation themes helped it populate video store shelves. This popularity led to three sequels: Avenging Angel (1985), Angel III: The Final Chapter (1988), and Angel 4: Undercover (1994), though the latter two were straight-to-video releases. Today, Angel is considered a prime example of '80s "sleaze-fest" cinema with a surprising amount of heart. Its cult following is driven by its campy "instant characters," its unpretentious tone, and its depiction of a now-gone era of Hollywood Boulevard. Its enduring status is reflected in modern high-definition re-releases from boutique labels like Vinegar Syndrome, which released a dedicated "Angel Collection" Blu-ray set in 2020.
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Angel (1984) Released on January 13, 1984, Angel is an American exploitation slasher thriller that became a defining "sleeper hit" of the 1980s. It was the first film released by New World Pictures after the studio was sold by its founder, Roger Corman. The film mixed a gritty, "sleazy" premise with a "found family" of colorful street characters, including an aging cowboy (Rory Calhoun) and a flamboyant drag queen (Dick Shawn). The blend of "Afterschool Special" sweetness and "sleaze-fest" violence created a jarring but memorable experience that helped the film stand out from typical 1980s slashers. Despite failing to open in the top five, Angel was a major financial success. It grossed $2.2 million in its opening weekend and stayed in the top ten for several months, eventually earning $17.5 million domestically. It was New World's highest-grossing release of 1984. The film thrived during the 1980s VHS boom, where its lurid cover art and exploitation themes helped it populate video store shelves. This popularity led to three sequels: Avenging Angel (1985), Angel III: The Final Chapter (1988), and Angel 4: Undercover (1994), though the latter two were straight-to-video releases. Today, Angel is considered a prime example of '80s "sleaze-fest" cinema with a surprising amount of heart. Its cult following is driven by its campy "instant characters," its unpretentious tone, and its depiction of a now-gone era of Hollywood Boulevard. Its enduring status is reflected in modern high-definition re-releases from boutique labels like Vinegar Syndrome, which released a dedicated "Angel Collection" Blu-ray set in 2020.

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On this day, 39 years ago, Richard Donner's "Lethal Weapon" (1987) was released in the USA & Canada. Roger Ebert played a huge role in the film's success. When he and Gene Siskel reviewed it on their TV show, Ebert raved about it, said the film "thrilled me from beginning to end" and said it was both a great action film and a well-written drama. He later gave it 4 stars in a written review as well. Fans who had not been that aware of the film (which was released to limited fanfare and ad space in the doldrums of the Spring 1987 release period) went to see it after Ebert's rave and soon widely agreed with him on its quality. (Source: IMDb)
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On this day, 39 years ago, Richard Donner's "Lethal Weapon" (1987) was released in the USA & Canada. Roger Ebert played a huge role in the film's success. When he and Gene Siskel reviewed it on their TV show, Ebert raved about it, said the film "thrilled me from beginning to end" and said it was both a great action film and a well-written drama. He later gave it 4 stars in a written review as well. Fans who had not been that aware of the film (which was released to limited fanfare and ad space in the doldrums of the Spring 1987 release period) went to see it after Ebert's rave and soon widely agreed with him on its quality. (Source: IMDb)

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When Nikkatsu studio executives saw the finished cut of Seijun Suzuki's "Branded to Ki!!" (1967), they thought it was too terrible to be released, so they shelved it. Suzuki along with others in the film business, film critics, and students protested in unfairness since, by contract, Nikkatsu was supposed to release the finished film theatrically. It went to court, with a ruling in favor of the director. Nikkatsu had to pay for damages and have the film released. Suzuki's contract with Nikkatsu was terminated, and with the bad reputation, was unable to work on a feature film for the next 10 years. (Source: IMDb)
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When Nikkatsu studio executives saw the finished cut of Seijun Suzuki's "Branded to Ki!!" (1967), they thought it was too terrible to be released, so they shelved it. Suzuki along with others in the film business, film critics, and students protested in unfairness since, by contract, Nikkatsu was supposed to release the finished film theatrically. It went to court, with a ruling in favor of the director. Nikkatsu had to pay for damages and have the film released. Suzuki's contract with Nikkatsu was terminated, and with the bad reputation, was unable to work on a feature film for the next 10 years. (Source: IMDb)

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The Jacksons created their short film for "Can You Feel It" in March 1980, coinciding with the recording of the song. The rarely seen film, titled "The Triumph," was noted for its advanced special effects and was released alongside the single on March 5, 1981. #MichaelJackson conceptualized the video, which features a blend of visual artistry and performance, and it later gained acclaim as one of the best music videos of its time. Here is the (nearly) 10m Short Film!!!
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The Jacksons created their short film for "Can You Feel It" in March 1980, coinciding with the recording of the song. The rarely seen film, titled "The Triumph," was noted for its advanced special effects and was released alongside the single on March 5, 1981. #MichaelJackson conceptualized the video, which features a blend of visual artistry and performance, and it later gained acclaim as one of the best music videos of its time. Here is the (nearly) 10m Short Film!!!

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“Cruel Summer” was released in 1983 as a standalone single by Bananarama and was later included on the American edition of the group’s 1984 self-titled album. Inspired by a rare heatwave in London, the song captured the frustration and restlessness of a sweltering city summer, while its video was filmed in New York during another bout of intense heat. The single reached #8 in the UK, but it was its inclusion in The Karate Kid (1984) that gave it major exposure in the United States, where it reached #9 on Billboard Hot 100 and became Bananarama’s first American Top 10 hit.
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“Cruel Summer” was released in 1983 as a standalone single by Bananarama and was later included on the American edition of the group’s 1984 self-titled album. Inspired by a rare heatwave in London, the song captured the frustration and restlessness of a sweltering city summer, while its video was filmed in New York during another bout of intense heat. The single reached #8 in the UK, but it was its inclusion in The Karate Kid (1984) that gave it major exposure in the United States, where it reached #9 on Billboard Hot 100 and became Bananarama’s first American Top 10 hit.

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The Warriors (1979) Based on Sol Yurick’s 1965 novel (itself inspired by the ancient Greek Anabasis), the film was originally envisioned as a western before being adapted into a gritty urban odyssey. It was shot on location across New York City during a period of real-life urban decay, which provided an authentic, "nightmarish" backdrop for its fictional gangs. Despite being produced on a modest budget of roughly $4 million, it grossed over $22.5 million worldwide. It opened strong with a $3.5 million weekend, proving highly popular with young, working-class audiences. Success was marred by reports of real-life gang violence and vandalism at screenings. This led Paramount Pictures to temporarily halt advertising and release theater owners from their contracts to show the film. The film’s longevity was solidified by its 1980 VHS release, which allowed it to find a massive audience through word-of-mouth and midnight screenings. It has since seen numerous re-releases, including the 2005 "Ultimate Director's Cut" (which added comic book-style transitions) and high-definition versions on Blu-ray and 4K. It is celebrated for its vivid visual language—specifically the theatrical, themed gang costumes like the Baseball Furies—and iconic dialogue such as "Warriors, come out to play-i-ay!"
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The Warriors (1979) Based on Sol Yurick’s 1965 novel (itself inspired by the ancient Greek Anabasis), the film was originally envisioned as a western before being adapted into a gritty urban odyssey. It was shot on location across New York City during a period of real-life urban decay, which provided an authentic, "nightmarish" backdrop for its fictional gangs. Despite being produced on a modest budget of roughly $4 million, it grossed over $22.5 million worldwide. It opened strong with a $3.5 million weekend, proving highly popular with young, working-class audiences. Success was marred by reports of real-life gang violence and vandalism at screenings. This led Paramount Pictures to temporarily halt advertising and release theater owners from their contracts to show the film. The film’s longevity was solidified by its 1980 VHS release, which allowed it to find a massive audience through word-of-mouth and midnight screenings. It has since seen numerous re-releases, including the 2005 "Ultimate Director's Cut" (which added comic book-style transitions) and high-definition versions on Blu-ray and 4K. It is celebrated for its vivid visual language—specifically the theatrical, themed gang costumes like the Baseball Furies—and iconic dialogue such as "Warriors, come out to play-i-ay!"

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Leslie Stevens' "Private Property" (1960) was filmed in 10 days with a budget just under $60,000. Since they couldn't find a significant distributor in the US at the time of its release, it made most of its money overseas, primarily in art house theaters in Europe. The movie was thought to have been lost for more than 30 years, it has been preserved and restored by the UCLA Film and Television Archive. (Source: IMDb) P.S: On this day, 66 years ago, "Private Property" (1960) was released in the USA.
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Leslie Stevens' "Private Property" (1960) was filmed in 10 days with a budget just under $60,000. Since they couldn't find a significant distributor in the US at the time of its release, it made most of its money overseas, primarily in art house theaters in Europe. The movie was thought to have been lost for more than 30 years, it has been preserved and restored by the UCLA Film and Television Archive. (Source: IMDb) P.S: On this day, 66 years ago, "Private Property" (1960) was released in the USA.

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Xanadu is the main theme of the 1980 film of the same name, starring Olivia Newton-John and Gene Kelly. The song was written by Jeff Lynne of the Electric Light Orchestra and recorded in partnership with the band, mixing pop, disco and orchestral arrangements in a fantastic and danceable atmosphere. Released as a single, it reached #8 on the Billboard Hot 100 and was a major worldwide success, although the film was a box office failure at the time (today it is considered a cult classic).
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Xanadu is the main theme of the 1980 film of the same name, starring Olivia Newton-John and Gene Kelly. The song was written by Jeff Lynne of the Electric Light Orchestra and recorded in partnership with the band, mixing pop, disco and orchestral arrangements in a fantastic and danceable atmosphere. Released as a single, it reached #8 on the Billboard Hot 100 and was a major worldwide success, although the film was a box office failure at the time (today it is considered a cult classic).

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Valentine (2001) 💘 Released on February 2, 2001, Valentine is a slasher film directed by Jamie Blanks and is loosely based on the 1996 novel by Tom Savage. Both follow a man who was cruelly humiliated by a group of women in the past and returns years later to seek revenge. In both versions, the victims receive threatening Valentine's Day cards before being targeted. Despite the film's financial success, it was critically panned for being a formulaic throwback to 1980s slashers during the post-Scream era. In the decades since its release, Valentine has gained a cult following among horror enthusiasts. Fans often praise its cherub-masked killer, "glossy" early-2000s aesthetic, and its shift toward a more serious, non-meta slasher style. This resurgence led to a prestigious Scream Factory Collector's Edition Blu-ray release in 2019.
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Valentine (2001) 💘 Released on February 2, 2001, Valentine is a slasher film directed by Jamie Blanks and is loosely based on the 1996 novel by Tom Savage. Both follow a man who was cruelly humiliated by a group of women in the past and returns years later to seek revenge. In both versions, the victims receive threatening Valentine's Day cards before being targeted. Despite the film's financial success, it was critically panned for being a formulaic throwback to 1980s slashers during the post-Scream era. In the decades since its release, Valentine has gained a cult following among horror enthusiasts. Fans often praise its cherub-masked killer, "glossy" early-2000s aesthetic, and its shift toward a more serious, non-meta slasher style. This resurgence led to a prestigious Scream Factory Collector's Edition Blu-ray release in 2019.

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The making of #MichaelJackson's "Thriller"; released on December 2, 1983, on Showtime, MTV, and eventually on home video, the making of the feature helped pay for the short film after Epic refused to give Michael any more money to promote the album since it was already almost a year old. With the biggest budget in hand to date for a music video, MJ tapped John Landis to direct... here is that making of!
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The making of #MichaelJackson's "Thriller"; released on December 2, 1983, on Showtime, MTV, and eventually on home video, the making of the feature helped pay for the short film after Epic refused to give Michael any more money to promote the album since it was already almost a year old. With the biggest budget in hand to date for a music video, MJ tapped John Landis to direct... here is that making of!

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Class of 1984 (1982) Class of 1984 was a commercial success relative to its modest $3.2–$4.3 million budget, earning over $6–$7 million at the box office. It achieved broader financial success through the home video and cable markets, estimated at $15–$20 million in total. The film is celebrated as a definitive cult classic of the early 1980s. Its "video nasty" reputation stemmed from extreme violence, including a graphic table saw death and a brutal rape scene, which nearly earned it an X rating. Modern audiences value it as a bleak, nihilistic time capsule of the early '80s punk aesthetic and urban decay. It is famous for featuring a young, pre-Family Ties Michael J. Fox in a supporting role. Its status is solidified by high-end boutique releases, such as the Shout! Factory Collector’s Edition. The film was directly influenced by A Clockwork Orange (1971) and Blackboard Jungle (1955). In turn, it influenced several "school violence" and vigilante films: It spawned two sci-fi-themed sequels: Class of 1999 (1990) and Class of 1999 II: The Substitute (1994). Films like The Principal (1987), The Substitute (1996), and Class of Nuke 'Em High (1986) are often cited as spiritual successors or parodies. Timothy Van Patten, who played the menacing gang leader Peter Stegman, is now better known as an Emmy-winning director of prestigious series like The Sopranos and Boardwalk Empire. Van Patten personally wrote and performed the piano concerto his character plays in the film, a scene often cited as a highlight that revealed Stegman's complex, "yuppie" background. While director Mark Lester expected Van Patten to become a major acting star following his "riveting" performance, Van Patten eventually found his greatest success behind the camera. His portrayal remains iconic for its use of low-angle shots to maximize his threatening presence despite his clean-cut appearance.
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Class of 1984 (1982) Class of 1984 was a commercial success relative to its modest $3.2–$4.3 million budget, earning over $6–$7 million at the box office. It achieved broader financial success through the home video and cable markets, estimated at $15–$20 million in total. The film is celebrated as a definitive cult classic of the early 1980s. Its "video nasty" reputation stemmed from extreme violence, including a graphic table saw death and a brutal rape scene, which nearly earned it an X rating. Modern audiences value it as a bleak, nihilistic time capsule of the early '80s punk aesthetic and urban decay. It is famous for featuring a young, pre-Family Ties Michael J. Fox in a supporting role. Its status is solidified by high-end boutique releases, such as the Shout! Factory Collector’s Edition. The film was directly influenced by A Clockwork Orange (1971) and Blackboard Jungle (1955). In turn, it influenced several "school violence" and vigilante films: It spawned two sci-fi-themed sequels: Class of 1999 (1990) and Class of 1999 II: The Substitute (1994). Films like The Principal (1987), The Substitute (1996), and Class of Nuke 'Em High (1986) are often cited as spiritual successors or parodies. Timothy Van Patten, who played the menacing gang leader Peter Stegman, is now better known as an Emmy-winning director of prestigious series like The Sopranos and Boardwalk Empire. Van Patten personally wrote and performed the piano concerto his character plays in the film, a scene often cited as a highlight that revealed Stegman's complex, "yuppie" background. While director Mark Lester expected Van Patten to become a major acting star following his "riveting" performance, Van Patten eventually found his greatest success behind the camera. His portrayal remains iconic for its use of low-angle shots to maximize his threatening presence despite his clean-cut appearance.

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In the 1970s, Tippi Hedren and Noel Marshall, moved by the beauty of big cats during a trip to Africa, set out to raise awareness through a film called *Roar*. They chose to use real, untrained lions, tigers, leopards, and cheetahs instead of special effects, believing it would give a genuine view of these animals. Their home in California became a makeshift sanctuary where over 70 big cats lived, creating a chaotic and unpredictable environment. This led to numerous incidents, like a tiger leaping through a window, frequent injuries, and destruction of property. Despite these dangers, Tippi and Noel saw it as a way to show the public the majesty and the need for conservation of these animals. Unfortunately, the film's production was fraught with problems. Many cast and crew members, including the family, were injured by the animals. The movie *Roar* was eventually completed and released in 1981, but it became a financial failure. It is remembered more for the chaotic and hazardous conditions during its making rather than for its intended message about wildlife conservation.
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In the 1970s, Tippi Hedren and Noel Marshall, moved by the beauty of big cats during a trip to Africa, set out to raise awareness through a film called *Roar*. They chose to use real, untrained lions, tigers, leopards, and cheetahs instead of special effects, believing it would give a genuine view of these animals. Their home in California became a makeshift sanctuary where over 70 big cats lived, creating a chaotic and unpredictable environment. This led to numerous incidents, like a tiger leaping through a window, frequent injuries, and destruction of property. Despite these dangers, Tippi and Noel saw it as a way to show the public the majesty and the need for conservation of these animals. Unfortunately, the film's production was fraught with problems. Many cast and crew members, including the family, were injured by the animals. The movie *Roar* was eventually completed and released in 1981, but it became a financial failure. It is remembered more for the chaotic and hazardous conditions during its making rather than for its intended message about wildlife conservation.

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Scream 4 (2011) Scream 4 stands as a pivotal entry in the iconic slasher franchise. Though it initially struggled at the box office, the film has since garnered a significant cult following, largely due to its surprisingly prescient themes. The movie marked the return of original director Wes Craven and writer Kevin Williamson, who envisioned Scream 4 as the launchpad for a new trilogy. Before production began, Kevin Williamson "sketched out" concepts for Scream 5 and 6. In Williamson’s original concept, Jill Roberts was supposed to survive the events of Scream 4 and "get away with it all". The planned sequel, Scream 5, would have followed Jill as a "hero" at college, only to be stalked by a new Ghostface who knew the truth about her crimes. These plans were abandoned due to the film's lower-than-expected domestic box office performance and the passing of Wes Craven in 2015. The production of Scream 4 was notoriously difficult. Extensive script rewrites by Ehren Kruger (who penned Scream 3) occurred throughout filming. Early 2011 test screenings further necessitated four days of reshoots for two key sequences involving Aimee Teegarden and Alison Brie. Craven utilized computer-generated effects for the first time, adding knife blades in post-production to facilitate safer and more aggressive stabbing scenes. Unlike the California setting of the original, Scream 4 was filmed entirely in and around Ann Arbor, Michigan, chosen by the production team for its close resemblance to the fictional "Woodsboro." Despite its ambition, Scream 4's theatrical performance was underwhelming. It remains the only film in the series not to surpass the $100 million mark. Analysts attributed this lukewarm reception to an 11-year gap since Scream 3, an aging fan base, and stiff competition from Insidious, which dominated the horror market at the time. Despite its disappointing theatrical run, Scream 4 found greater success on home media. It debuted at #2 on the U.S. rental charts and remained in the top 20 for seven consecutive weeks, generating approximately $10.3 million in domestic DVD and Blu-ray sales. The Blu-ray release further catered to fans with 17 deleted/extended scenes, a gag reel, and an alternate opening/ending, offering a glimpse into the troubled production's original vision. Over time, modern audiences have reappraised Scream 4. Its commentary on social media fame and "remake" culture, which was considered confusing or cynical in 2011, is now seen as remarkably prescient. Hayden Panettiere’s character, Kirby, instantly became a fan favorite, ultimately leading to her highly anticipated return in Scream VI. While Scream 4 temporarily "killed" the franchise until the 2022 reboot, many fans now rank it among the best sequels for its bold "Jill Roberts" reveal and sharp meta-commentary, recognizing its ahead-of-its-time themes and enduring impact.
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Scream 4 (2011) Scream 4 stands as a pivotal entry in the iconic slasher franchise. Though it initially struggled at the box office, the film has since garnered a significant cult following, largely due to its surprisingly prescient themes. The movie marked the return of original director Wes Craven and writer Kevin Williamson, who envisioned Scream 4 as the launchpad for a new trilogy. Before production began, Kevin Williamson "sketched out" concepts for Scream 5 and 6. In Williamson’s original concept, Jill Roberts was supposed to survive the events of Scream 4 and "get away with it all". The planned sequel, Scream 5, would have followed Jill as a "hero" at college, only to be stalked by a new Ghostface who knew the truth about her crimes. These plans were abandoned due to the film's lower-than-expected domestic box office performance and the passing of Wes Craven in 2015. The production of Scream 4 was notoriously difficult. Extensive script rewrites by Ehren Kruger (who penned Scream 3) occurred throughout filming. Early 2011 test screenings further necessitated four days of reshoots for two key sequences involving Aimee Teegarden and Alison Brie. Craven utilized computer-generated effects for the first time, adding knife blades in post-production to facilitate safer and more aggressive stabbing scenes. Unlike the California setting of the original, Scream 4 was filmed entirely in and around Ann Arbor, Michigan, chosen by the production team for its close resemblance to the fictional "Woodsboro." Despite its ambition, Scream 4's theatrical performance was underwhelming. It remains the only film in the series not to surpass the $100 million mark. Analysts attributed this lukewarm reception to an 11-year gap since Scream 3, an aging fan base, and stiff competition from Insidious, which dominated the horror market at the time. Despite its disappointing theatrical run, Scream 4 found greater success on home media. It debuted at #2 on the U.S. rental charts and remained in the top 20 for seven consecutive weeks, generating approximately $10.3 million in domestic DVD and Blu-ray sales. The Blu-ray release further catered to fans with 17 deleted/extended scenes, a gag reel, and an alternate opening/ending, offering a glimpse into the troubled production's original vision. Over time, modern audiences have reappraised Scream 4. Its commentary on social media fame and "remake" culture, which was considered confusing or cynical in 2011, is now seen as remarkably prescient. Hayden Panettiere’s character, Kirby, instantly became a fan favorite, ultimately leading to her highly anticipated return in Scream VI. While Scream 4 temporarily "killed" the franchise until the 2022 reboot, many fans now rank it among the best sequels for its bold "Jill Roberts" reveal and sharp meta-commentary, recognizing its ahead-of-its-time themes and enduring impact.

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“Just Like Honey” is a song by The Jesus and Mary Chain, released on September 30, 1985, as part of their debut album Psychocandy. It became well-known for its blend of noise pop and shoegaze and gained popularity after being featured in the 2003 film Lost in Translation. Over the years, it has been included in numerous compilations and live albums. In 2024, they released a new album called Glasgow Eyes, which was well-received and marked a strong return to their classic sound.
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“Just Like Honey” is a song by The Jesus and Mary Chain, released on September 30, 1985, as part of their debut album Psychocandy. It became well-known for its blend of noise pop and shoegaze and gained popularity after being featured in the 2003 film Lost in Translation. Over the years, it has been included in numerous compilations and live albums. In 2024, they released a new album called Glasgow Eyes, which was well-received and marked a strong return to their classic sound.

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On this day, 76 years ago, Roberto Rossellini's "Stromboli" (1950) starring Ingrid Bergman was released in the USA. In the promotional material for the movie, Howard Hughes played up the parallels between the character played by Ingrid Bergman and her recent indiscreet behavior. He re-cut the film behind Roberto Rossellini's back and refused to screen it for the press. [Rossellini disowned this version.] The film got talked about before it was seen. It was banned outright in Memphis, and the Roman Catholic church urged its priests not to see it. As a result of the public tempest, the movie opened to phenomenal business, earning nearly $1 million on its first day. (Source: IMDb)
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On this day, 76 years ago, Roberto Rossellini's "Stromboli" (1950) starring Ingrid Bergman was released in the USA. In the promotional material for the movie, Howard Hughes played up the parallels between the character played by Ingrid Bergman and her recent indiscreet behavior. He re-cut the film behind Roberto Rossellini's back and refused to screen it for the press. [Rossellini disowned this version.] The film got talked about before it was seen. It was banned outright in Memphis, and the Roman Catholic church urged its priests not to see it. As a result of the public tempest, the movie opened to phenomenal business, earning nearly $1 million on its first day. (Source: IMDb)

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On this day in 1984, the theatrical film companion to Prince’s groundbreaking album Purple Rain was released in theaters. The film won an Academy Award for Best Original Song Score, a Grammy Award for Best Album Written for a Motion Picture, an NAACP Image Award, and was even added to the National Film Resgistry by the Library of Congress, which recognizes “aesthetically, culturally, or historically significant films.” If you’re hosting a Purple Rain watch party today, tag us and Paisley Park and we’ll reshare our favorites!
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On this day in 1984, the theatrical film companion to Prince’s groundbreaking album Purple Rain was released in theaters. The film won an Academy Award for Best Original Song Score, a Grammy Award for Best Album Written for a Motion Picture, an NAACP Image Award, and was even added to the National Film Resgistry by the Library of Congress, which recognizes “aesthetically, culturally, or historically significant films.” If you’re hosting a Purple Rain watch party today, tag us and Paisley Park and we’ll reshare our favorites!

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Lipstick (1976) A controversial rape-and-revenge thriller directed by Lamont Johnson. Despite being panned by critics upon its release, the film has since developed a significant cult following. Margaux Hemingway, in her film debut, the 1970s supermodel played Chris McCormick, a high-fashion model who seeks justice after being assaulted. While her beauty was praised, critics widely criticized her acting as stiff and unconvincing. Margaux’s 14-year-old sister also made her debut, playing Chris's younger sister Kathy. In a reversal of expectations, Mariel received critical acclaim and a Golden Globe nomination, which reportedly caused professional tension between the sisters. The film featured established stars including Anne Bancroft as a determined district attorney and Chris Sarandon as the brutal music teacher. The film was largely a failure at the time of its release for several reasons. Critics like Roger Ebert and those at Variety condemned the film as "cynical exploitation," arguing it used a serious subject to pander to voyeuristic interests through graphic nudity and violence. Reviewers found the narrative uneven, moving from a glossy fashion-world drama to a brutal courtroom procedural, and finally to a "Rambo-like" vigilante ending that many felt lacked credibility. (Personally, this is exactly what I like about it). Its depiction of a victim taking the law into her own hands after a legal failure was highly polarizing in 1976. Despite its initial failure, Lipstick gained cult status over the following decades. Modern viewers often view the film as an early, if flawed, attempt to address the "real horror story" of the judicial system's failure to protect women. The film is remembered for its slick 1970s Los Angeles aesthetic and its avant-garde synthesizer soundtrack by French musician Michel Polnareff, which became a disco hit in its own right. Filmmakers such as Quentin Tarantino and Edgar Wright have cited the film as a notable example of the genre, further solidifying its place in cult cinema history.
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Lipstick (1976) A controversial rape-and-revenge thriller directed by Lamont Johnson. Despite being panned by critics upon its release, the film has since developed a significant cult following. Margaux Hemingway, in her film debut, the 1970s supermodel played Chris McCormick, a high-fashion model who seeks justice after being assaulted. While her beauty was praised, critics widely criticized her acting as stiff and unconvincing. Margaux’s 14-year-old sister also made her debut, playing Chris's younger sister Kathy. In a reversal of expectations, Mariel received critical acclaim and a Golden Globe nomination, which reportedly caused professional tension between the sisters. The film featured established stars including Anne Bancroft as a determined district attorney and Chris Sarandon as the brutal music teacher. The film was largely a failure at the time of its release for several reasons. Critics like Roger Ebert and those at Variety condemned the film as "cynical exploitation," arguing it used a serious subject to pander to voyeuristic interests through graphic nudity and violence. Reviewers found the narrative uneven, moving from a glossy fashion-world drama to a brutal courtroom procedural, and finally to a "Rambo-like" vigilante ending that many felt lacked credibility. (Personally, this is exactly what I like about it). Its depiction of a victim taking the law into her own hands after a legal failure was highly polarizing in 1976. Despite its initial failure, Lipstick gained cult status over the following decades. Modern viewers often view the film as an early, if flawed, attempt to address the "real horror story" of the judicial system's failure to protect women. The film is remembered for its slick 1970s Los Angeles aesthetic and its avant-garde synthesizer soundtrack by French musician Michel Polnareff, which became a disco hit in its own right. Filmmakers such as Quentin Tarantino and Edgar Wright have cited the film as a notable example of the genre, further solidifying its place in cult cinema history.

Tom😈Loves❤️Horror😱

100,285 Aufrufe • vor 5 Monaten

* NEW FROM THE CHIRLA FILES * CHIRLA, the taxpayer-funded nonprofit that has been fomenting opposition to immigration enforcement in Los Angeles, owns a film production company that has produced a full-length feature. CHIRLA’s “beleaguered” Executive Director, Angelica Salas, is credited as the Executive Producer of the movie. Seems strange for a nonprofit, right? Pouring over its publicly available financial records, there appear to be a number of irregularities—though I do not have the expertise to form a definitive opinion about whether there was actual malfeasance. Here are the details. As background to CHIRLA’s film-making enterprise: In 2018, the organization produced a 20-minute short called “America, I Too,” which was shown at some film festivals. According to its website, this was “the second film in the series following the first short, ‘Know Your Rights’ created in 2007.” The video by that name that I found online is ten minutes long and has poor production values. CHIRLA incorporated its film company, called CHIRLA Liberty Film, LLC, in January 2019. It is entirely owned by the nonprofit, and its finances are consolidated in CHIRLA’s financial audits. The audit for the year ending June 30, 2019, lists film production costs in the amount of $242,413 and $28,764 from 2018, noting that they relate to the “various costs associated with the production of a film.” The audit, however, does not mention the existence of the film company. Strangely, CHIRLA’s Form 990 (the tax form filed by nonprofits with the IRS) for 2019 also does not reference either the company or the costs of film production. Every year beginning in 2019, CHIRLA’s audits state: “Upon completion of the film, the Organization will review its total revenue estimates from the film, which may result in a change in the rate of amortization and/or a write-down of the film production costs to fair value.” But confusingly, there are never any revenue estimates provided in any audit. The cost of the film production is simply listed as an asset each year. CHIRLA’s 2020 audit is the first to acknowledge the existence of the film company: “CHIRLA has teamed up with CHIRLA Liberty Films LLC to bring to life a dramatized film series about undocumented immigrants called Know Your Rights.” It’s a strange statement, given that the “Know Your Rights” video was produced in 2007. The 2020 audit lists $124,483 as an additional investment in the production of the unnamed film, and the Form 990 for that year lists a cumulative investment in film production of $366,896. Its financials for 2021 are essentially consistent, showing an additional $419,052 spent on the film, totaling $785,948. CHIRLA’s 2022 audit adds $151,658 in production costs, and the 2023 audit adds another $109,437, for a grand total of $1,047,043. Both audits state that the film still had not been completed as of June 30 of their respective years. But contradictorily, CHIRLA’s feature-length film—titled “America’s Family”—is listed on IMDb with a release date in 2022, and there are websites advertising showings in Los Angeles and Boston in June 2022—prior to June 30. Though CHIRLA’s Form 990s for 2020 and 2021 list a dollar value under “Investment in Liberty Film,” the Form 990s for 2022 and 2023 include no record of the investment in film production or acknowledgment of the wholly owned film company. After the initial showing of “America’s Family” in June 2022, the film had a number of additional showings in late 2023. In late 2024, CHIRLA presented the film for free or low cost at several local community centers in Mexico. It is now available for streaming on Amazon Prime. I know little about the film industry, but my suspicion is that the company may have spent more on these screenings than it earned in revenue. This brings me back to the auditor’s recurring statement: “Upon completion of the film, the Organization will review its total revenue estimates from the film, which may result in a change in the rate of amortization and/or a write-down of the film production costs to fair value.” Again, the audit does not include revenue estimates, so it is difficult to guess what this refers to. The $1 million spent on film production was considered an asset on financials. On what planet would this film break even? And what is the movie like? Judging from the trailer, it’s clichéd propaganda. It presents an idyllic life of a Spanish-speaking “American” family, suddenly torn apart by brutal ICE agents. You can judge its artistic merit for yourself. More important will be the judgment about the legality of CHIRLA’s financial filings.
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* NEW FROM THE CHIRLA FILES * CHIRLA, the taxpayer-funded nonprofit that has been fomenting opposition to immigration enforcement in Los Angeles, owns a film production company that has produced a full-length feature. CHIRLA’s “beleaguered” Executive Director, Angelica Salas, is credited as the Executive Producer of the movie. Seems strange for a nonprofit, right? Pouring over its publicly available financial records, there appear to be a number of irregularities—though I do not have the expertise to form a definitive opinion about whether there was actual malfeasance. Here are the details. As background to CHIRLA’s film-making enterprise: In 2018, the organization produced a 20-minute short called “America, I Too,” which was shown at some film festivals. According to its website, this was “the second film in the series following the first short, ‘Know Your Rights’ created in 2007.” The video by that name that I found online is ten minutes long and has poor production values. CHIRLA incorporated its film company, called CHIRLA Liberty Film, LLC, in January 2019. It is entirely owned by the nonprofit, and its finances are consolidated in CHIRLA’s financial audits. The audit for the year ending June 30, 2019, lists film production costs in the amount of $242,413 and $28,764 from 2018, noting that they relate to the “various costs associated with the production of a film.” The audit, however, does not mention the existence of the film company. Strangely, CHIRLA’s Form 990 (the tax form filed by nonprofits with the IRS) for 2019 also does not reference either the company or the costs of film production. Every year beginning in 2019, CHIRLA’s audits state: “Upon completion of the film, the Organization will review its total revenue estimates from the film, which may result in a change in the rate of amortization and/or a write-down of the film production costs to fair value.” But confusingly, there are never any revenue estimates provided in any audit. The cost of the film production is simply listed as an asset each year. CHIRLA’s 2020 audit is the first to acknowledge the existence of the film company: “CHIRLA has teamed up with CHIRLA Liberty Films LLC to bring to life a dramatized film series about undocumented immigrants called Know Your Rights.” It’s a strange statement, given that the “Know Your Rights” video was produced in 2007. The 2020 audit lists $124,483 as an additional investment in the production of the unnamed film, and the Form 990 for that year lists a cumulative investment in film production of $366,896. Its financials for 2021 are essentially consistent, showing an additional $419,052 spent on the film, totaling $785,948. CHIRLA’s 2022 audit adds $151,658 in production costs, and the 2023 audit adds another $109,437, for a grand total of $1,047,043. Both audits state that the film still had not been completed as of June 30 of their respective years. But contradictorily, CHIRLA’s feature-length film—titled “America’s Family”—is listed on IMDb with a release date in 2022, and there are websites advertising showings in Los Angeles and Boston in June 2022—prior to June 30. Though CHIRLA’s Form 990s for 2020 and 2021 list a dollar value under “Investment in Liberty Film,” the Form 990s for 2022 and 2023 include no record of the investment in film production or acknowledgment of the wholly owned film company. After the initial showing of “America’s Family” in June 2022, the film had a number of additional showings in late 2023. In late 2024, CHIRLA presented the film for free or low cost at several local community centers in Mexico. It is now available for streaming on Amazon Prime. I know little about the film industry, but my suspicion is that the company may have spent more on these screenings than it earned in revenue. This brings me back to the auditor’s recurring statement: “Upon completion of the film, the Organization will review its total revenue estimates from the film, which may result in a change in the rate of amortization and/or a write-down of the film production costs to fair value.” Again, the audit does not include revenue estimates, so it is difficult to guess what this refers to. The $1 million spent on film production was considered an asset on financials. On what planet would this film break even? And what is the movie like? Judging from the trailer, it’s clichéd propaganda. It presents an idyllic life of a Spanish-speaking “American” family, suddenly torn apart by brutal ICE agents. You can judge its artistic merit for yourself. More important will be the judgment about the legality of CHIRLA’s financial filings.

Laura Powell

23,203 Aufrufe • vor 1 Jahr

Richard Gere and Julia Roberts had obvious chemistry upon their first meeting; however, Gere was not planning on taking the role. He was on the phone ready to turn down the part when Roberts slid him a Post-it note with the words "please say yes" written on it. He accepted the role right then. The opera Richard Gere takes Julia Roberts to is "La Traviata," about a prostitute who falls in love with a wealthy man. The film was initially written by J.F. Lawton as a gritty drama titled $3,000, referring to the price Edward pays Vivian for her services. In this early version, Vivian was a drug addict, and the story concluded with Edward throwing her out of his car and her taking a bus to Disneyland with the money she earned. The tone shifted dramatically once Disney's Touchstone Pictures acquired the script and reimagined it as a modern fairy tale. The film grossed US$463.4 million worldwide and at the time of its release, was the fifth-highest-grossing film of all time worldwide. It remained the highest-grossing R-rated film released by Walt Disney Studios, holding the record for 34 years until Marvel Studios' Deadpool & Wolverine surpassed it in 2024. Film: Pretty Woman
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Richard Gere and Julia Roberts had obvious chemistry upon their first meeting; however, Gere was not planning on taking the role. He was on the phone ready to turn down the part when Roberts slid him a Post-it note with the words "please say yes" written on it. He accepted the role right then. The opera Richard Gere takes Julia Roberts to is "La Traviata," about a prostitute who falls in love with a wealthy man. The film was initially written by J.F. Lawton as a gritty drama titled $3,000, referring to the price Edward pays Vivian for her services. In this early version, Vivian was a drug addict, and the story concluded with Edward throwing her out of his car and her taking a bus to Disneyland with the money she earned. The tone shifted dramatically once Disney's Touchstone Pictures acquired the script and reimagined it as a modern fairy tale. The film grossed US$463.4 million worldwide and at the time of its release, was the fifth-highest-grossing film of all time worldwide. It remained the highest-grossing R-rated film released by Walt Disney Studios, holding the record for 34 years until Marvel Studios' Deadpool & Wolverine surpassed it in 2024. Film: Pretty Woman

Love Classical Music and Movies 🎺🎻💖🎥🎬

442,154 Aufrufe • vor 5 Monaten

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.
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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 Aufrufe • vor 5 Monaten