Or, pour moi, la chute d'une histoire est seulement la façon dont l'histoire conclut, la toute dernière phase finale. Je ne vois pas l'obligation du volte-face, de. About Étant donnés. can communicate the intensity of the unique visual experience of seeing Marcel Duchamp’s Étant donnés: 1. La chute d’eau, 2.
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Au 28ème siècle, Valerian (Dane DeHaan) et Laureline (Cara Delevingne) est une équipe d'employés spéciaux accusés du maintien de l'ordre partout dans les territoires humains. Sous le devoir du Ministre de la Défense, les deux entreprennent une mission de la ville étonnante d'Alpha - un se développant jamais. , Dirigé par : Avec : Plusieurs années après la mort tragique de leur petite fille, un dollmaker et sa femme saluent une religieuse et plusieurs filles d'un orphelinat shuttered dans leur maison, en devenant bientôt la cible de la création possédée du dollmaker, Annabelle. Dirigé par : & l'étranger Adolescent Adam commence sur une épopée et une quête audacieuse à dévoiler le mystère derrière son papa longtemps perdu, seulement apprendre qu'il n'est personne d'autre que Bigfoot légendaire ! Il s'est caché profondément dans la forêt pour les années pour protéger lui-même et sa famille de HairCo. , une société géante désireuse à. Download or stream Secrets of State by Matthew Palmer. 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• Masters of Horror, season 1. • the United States. • ON 2005 / 2006. • Producer (s): Lisa Richardson, Tom Rowe. • Creation: Mick Garris La Survivante (Incident One and Off has Road Mountain) Realisation: Don Coscarelli Scénario: Don Coscarelli, Stephen Romano D' après: news Incident One and Off has Road Mountain of: Joe highway Lansdale Image: Jon Joffin Montage: PATRICK MCMAHON MUSIQUE: Christopher L. Stone Interprétation: Bree Turner (Ellen), Angus Scrimm (Buddy), JOHN DESANTIS (MOONFACE), Ethan Embry (Bruce), Heather Feeney (the young woman) Length: 51min The Nightmare of the sorceress (Dreams in the Witch-House) Realisation: Stuart Gordon Scénario: Dennis Paoli, Stuart Gordon D' après: news The Home of the sorceress of: Howard P. Lovecraft Image: Jon Joffin Montage: Marshal Harvey Musique: Richard Band Interprétation: Ezra Godden (Walter Gilman), Campbell Lane (Masurewicz), Jay Brazeau (Mr Dombrowski the manager), Chelah Horsdal (Frances Elwood), David and Nicholas Racz (baby Danny), Yevgen Voronin (Brown Jenkin), Susanna Uchatius (Keziah Mason). Length: 55min The Dance of the dead (Dance of the Dead) Realisation: Tobe Hooper Scénario: Richard Christian Matheson D' après: new Dance of the Dead of: Richard Matheson Image: Jon Joffin Montage: Andrew Cohen Musique: Billy Corgan Interprétation: Emily Ann Graham (Peggy child), Genevieve Buechner (Anna), Margot Berner (Mary), Marilyn Norry (Kate), Sharon Heath (Gerri), Jessica Lowndes (Peggy), Robert Englund (the ceremony master). Length: 59min Jenifer Réalisation: Dario Argento Scénario: Steven Weber D' après: new Jenifer of: Bruce Jones Image: Attila Szalay Montage: Marshal Harvey Musique: Claudio Simonetti Interprétation: Steven Weber (Frank Spivey), Laurie Brunetti (Spacey), Carrie Ann Fleming (Jenifer). Length: 58 min Chocolat (Chocolate-flavoured) Realisation: Mick Garris Scénario: Mick Garris Image: Attila Szalay Montage: Andrew Cohen Musique: Nicholas Pike Interprétation: Henry Thomas (Jamie), Matt Frewer (Wally), Stacy Grant (Vanessa), Jake D. Smith (Booth). Vote or bursts (Homecoming) Realization: Joe Dante Scénario: Sam Hamm D' après: new Death and Suffrage of: Dale Bailey Image: Attila Szalay Montage: Marshal Harvey Musique: Hummie Mann Interprétation: Thea Gill (Jane Cleaver), Jon Tenney (David Murch), Terry David Mulligan (Marty Clark), Beverley Breuer (Janet Hofstadter), Robert Picardo (Kurt Rand). The Nice and the Animal (Deer Woman) Realization: John Landis Scénario: Max Landis, John Landis Image: Jon Joffin Montage: Mark L. Levine Musique: Peter Bernstein Interprétation: Brian Benben (Insp. Dwight Faraday), Anthony Griffith (officer Jacob Reed), Cinthia Moura (the woman - hart). Length: 57min The absolute Purpose of the world (Cigarette Burns) Realisation: John Carpenter Scénario: DREW MCWEENY, Scott Swan Image: Attila Szalay Montage: PATRICK MCMAHON MUSIQUE: Cody Carpenter Interprétation: Norman Reedus (Kirby Sweetman), Hake Foo (Fung), Udo Kier (Bellinger). Length: 59min The Cellar (The Fair-Haired Child) Realisation: William Malone Scénario: Matt Greenberg Image: Brian Pearson Montage: PATRICK MCMAHON MUSIQUE: Nicholas Pike Interprétation: Lory Petty (Judith), William Samples (Anton), Lindsay Pulsipher (Tara), Ian A. SWCH > Miss Kate Marshall. Miss Kate Marshall. Tabs. Main. Contact Category: Professional and Technical. Discipline: Paediatrics. School: Centre for Primary Health &Eq. The Book of You celebrates your teen or adult. bestselling husband-wife team David and Kate Marshall—authors of The Book. and space for treasured photos. Picture of Me offers an engaging way to answer life’. Don’t miss these. By Kate Marshall and David Marshall. What I Love About You; Picture of Me; The Book of Us; The Book of. Husband-wife team Kate and David Marshall are tickled pink that over 940,000 of their journals. Wallace (the teacher of maths). Brutal link (Sick Girl) Realisation: LUCKY MCKEE SCÉNARIO: Sean Hood, LUCKY MCKEE IMAGE: Attila Szalay Montage: Andrew Cohen Musique: Well Boyer, David Lopez, Poperratic Interprétation: Angela Bettis (Ida Teeter), Erin Brown (Misty Falls), Jesse Hlubik (Max Grubb), Marcia Bennett (Lana Beasley), MIKE MCKEE (Pr Malcolm Wolf), Chandra Berg (Betty the woman - insect). Length: 1 h Serial hitchhiker (Pick Me Up) Realisation: Larry Cohen Scénario: David J. Schow Image: Brian Pearson Montage: Marshal Harvey Musique: Jay Chattaway Interprétation: Fairuza Balk (Stacia), Michael Moriarty (Jim Wheeler), Warren Kole (Walker), Laurene Landon (Birdy). Length: 58min The Lovers beyond the grave (Haeckel' s Bruises) Realisation: JOHN MCNAUGHTON SCÉNARIO: Mick Garris D' après: new Haeckel' s Bruises of: Clive Barker Image: Attila Szalay Montage: Andrew Cohen Musique: Nicholas Pike Interprétation: Steve Bacic (John Ralston), Micki Maunsell (Miz Carnation), Gerard Plunkett (Dr Hauser), Derek Cecil (Ernst Haeckel), Pablo Coffey (Chester), Jon Polito (Montesquino). The Home of abuses (Imprint) Realization: Takashi Miike Scénario: Daisuke Tengan D' après: the novel Bokkê, Kyôtê of: Shimako Iwai Image: Toyomichi Kurita Montage: Yasushi Shimamura Musique: Kôji Endô Interprétation: Billy Drago (Christopher). Length: 1 h 03. accomplished by, (. Kate and David Marshall are husband-wife authors of bestselling guided journals for people with life stories, love and wisdom to share. Their goal is to make it easy. The creation of Masters of Horror, in the vein of series always more popular, is a mini-event because its concept does not lean on a postulate scénaristique extensible in the infinity but, rare thing, puts forward the film directors of every episode, making of the production alone true commercial argument. She weaves a bridge so between the baby and big screen where film form must fit to television format. Like The Fourth Dimension, every episode narrates us a history without links between them, if it is not the type in which they register horror). To offer in the ancient glory of type, as in (relatively) newcomers to have a go at the medium length with as only compelling length and budget allows to wait for the best, but also sometimes to fear the worst. The series of Mick Garris justifies these two perspectives. 01 The Surviving, by Don Coscarelli. The failure of this episode which subject however did not lack pricking, holds mainly in the stupidly demonstrative treatment of its scenario. Little contrary to the film of Landis, they try to justify the use of film plate. Here, the small cousin of Rambo confronts the big cousin of Leatherface, but rather than to display this confrontation entirely, the film gets lost in countless explicative flashbacks which will lead to inexorable and rude fall. Filmed without much conviction by Don Coscarelli (the maturity of realisation of which in was however appealing), the film is worth only for some appearances of the character of Moonface, terrified but sub-exploited. 02 The Nightmare of the sorceress, by Stuart Gordon. The return on the screens of Stuart Gordon, prince of adaptation lovecraftienne cradingue (Re-Animator or deranged From Beyond) and big name of the gore of 1980s, had to to be made under the aegis of the author mad with Providence. « Dreams in the Witchhouse »news of is the most classical of the author, steeped in of strange parallel dimensions and hidden ancestral worship and murderers. Newly arrived in a poor pension, a young student of the university of Miskatonic sees himself attacked with terrible nightmares of which he is persuaded that they will lead him to sacrifice the baby of his neighbour to a hundred-year-old sorceress. Feeling of news, close friend of the sorceress, " man rat», is funnier than terrifying, just like this episode which persuades hardly. It has that to Gordon only its talent to put the gore in stage, in outrageously bloody stages which however do not raise the level of this too wise adaptation, which underlines once again the difficulty which puts down the film adaptation of H. Lovecraft. 03 The Dance of the dead, by Tobe Hooper. Colossal downward line which will have followed Tobe Hooper since his absolute work leader, did not end up questioning the cinema enthusiasts. Far from being a deafening return, its contribution in MOH however does not miss interest. First because although stuffed with unbearable effects of assemblage, realisation tries to impose a true cinema vision by opting for an unstable framing and an aggressive light to restore the disillusioned and violent world which represents the film. Then because by way of purpose, the film tries hard to display a true feeling of faintness, and, by dint of insistence, reaches it (we are in full necrophilia) without falling in an easy voyeurism. And finally because Robert Englund is surprising in his role of morbid mister Loyal. Efforts of Hooper to make exist its film in spite of the awkwardness of scenario, not being able to persuade, end up touching. Following the example of the subject of this episode, he perhaps artistically died, but he still dances. 04 Jenifer, by Dario Argento. The officer Frank, police lieutenant, prevents in extremis the wild assassination of a young woman by a maniac, whom he is forced to slaughter. The young victim proves to be be dumb, and completely disfigured. Learning that she was committed in a sordid psychiatric hospital, Frank decides to let her live at home, against the opinion of his wife and of his son. Dario Argento, grand master of the gallio (type to which a superb plan of weapon with a blade refers in the introduction of episode), displays an impressive film workmanship in this episode, one of the best of series. Of Jenifer, the monstrous cannibalistic girl, he makes a formidable loathing. They do not know about her if it really includes what is said to her, and she is unable to issue something else than a vague almost innocent sigh. The only communication which settles between the girl and the policeman will be therefore of sexual order: she indeed has a body of a big sensuality. Unhealthy as it is possible to be, Jenifer stages therefore agonies of a man conquered by desire, and who links his destiny to that of this terrible horror with almost human form. The production of Argento, which will show only little the terrible facies of the unhappy, plays with subtlety on the latent horror alloyed with an immoral and monstrous erotism. It was a risky bet that to push so the feeling of faintness for an audience which cannot help being bewitched by the girl, exactly as the character of the policeman, and all talent of the film director of is needed to reach it with so much success. 05 Chocolate, by Mick Garris. Jamie discovers that one lives by feelings, visions in it, experiments of another person, even though this one saw them. While he discovers that this other person is a superb woman, he decides, mad lover, to go to find her, while herself becomes «under the eyes» culprit of the murder of her boyfriend. Vaguely softy, episode accomplished by Mick Garris fishes especially by the amazing lack of interest of its scenario. To be more clear: there happens nothing. Why does the man share the vision of the woman? Why throws it t-il lover? What will drive him to its last gesture? Nothing is clarified, or even justified. Episode looks therefore with a polished trouble, in spite of many "hot" sequences undoubtedly intended to support interest. 06 Vote or dies, by Joe Dante. American soldiers killed in a war in the Middle East, come back to life to vote in the next presidential elections. The Republican party in power receives news first warily, picturing itself be able to take advantage from it, but fast becomes disenchanted when it realises that the dead vote unanimously against him, risking making it lose power. Such postulate, openly anti-Bush, can seem unpleasant so much it tightens towards the rude satire (type march Attacks!) or the demonstrative scathing article. But Joe Dante (the brilliant and unfairly forgotten film director of Gremlins) is a film-maker cinema enthusiast: he knows that the force of its political speech can pass in its film only by emotion, rather than in the big explicative machine (type). He also knows that a film as The Dictator works because in reverse angle of the (bright) portrait of the monster, there is the portrait of his victims. So in Homecoming there is an absolutely splendid stage, where a wandering zombie trails along haggard and lost in the rain, when he is gathered by a couple who invites him to warm himself up in their restaurant. These last explain to the "non-being" that their son also left to war, and that they live every day for fear of seeing him again never again living. The zombie raises hopeless eyes then (and moving) towards the couple, looking at them as the parents to whom he was removed, while they notice him as the son whom they could not have any more. The film takes all its sense in this simple exchange: the zombie is not the frightening monster, but the consequence of horror of war and of political cynicism. Homecoming was criticised by saying that he did not frighten. He makes much more: he terrifies by his observations and leaves one appalling injustice feeling. This pertinence of the purpose in the correctness of the production, it is distressing today to find her on wired television rather than on cinema. 07 The Nice and the Animal, by John Landis. If there is a film director from whom they expected (no more) for anything, and particularly within the "masters" of horror, it is well John Landis whose filmography interspersed with some nice films has become obsolete for 1990s. Disgrace was peremptory when he made abjectness to give a soft continuation in his biggest film, Blueses Brothers (1980), in purely commercial interest. He washes affront however here by accomplishing one of the best episodes of series with Deer Woman. He leaves the simple official report that his place among other film directors of series is usurped, that there is a misunderstanding because both films which are worth to it to be there (Loup-Garou of London and pop video of Michael Jackson Thriller) were not properly speaking horror films, but respects cinéphiliques in this type a spectator than a miracle-worker of which he is more readily. And it is in this continuity that it registers Deer Woman, naming openly its film of werewolf, and putting down a look entertained on a succession of film plates which are confronted with the reality of the hero (very engaging Brian Benben). It is in this respect for an already made cinema, and that he wants to exhaust under no circumstances, that he finds some favour: plate is not diverted but taken at the word, they do not try to explain it, they believe in him, because it was before seen in the cinema. 08 The absolute Purpose of the world, by John Carpenter. Kirby Sweetman, erudite person specialist in inquiries concerning objects lost by the world cinema, is contacted by a rich patron of the arts to find the only surviving copy of the film «The absolute Purpose of the world». Problem is that, after its only projection in the festival of Sitges, the audience devoted himself to terrible acts of violence, and that the film is reputed to have disappeared in the fire which was in order. To take back up the trace of the accursed film will allow to Sweetman to confront his own demons, and notably his wife recently missing. John Carpenter, as it was possible to expect it, they knock very extremely with a scenario thousand times more lovecraftien than that of Stuart Gordon, and applies him a treatment close to his leader - of work. Worrying, labyrinthine, intriguing and gore, The absolute Purpose of the world allows to find in big form the film director. The original title of the episode, Cigarette Burns, refers to the circles of light intended to mark passage between the film spools during a projection. His hero is haunted by these marks, which haunt its vision, giving him flashes of lightning of understanding of the terrible world which the film it searches opened doors, and Carpenter accomplishes, thanks to this symbol, a horror film on the horror cinema with a mischief and a rare pertinence. If the treatment of the character in relation to that of his dead wife sins a bit and provokes the only reservations, Carpenter achieves feat to give rise to curiosity and to horror as for the so much searched film, and to manage to reveal him in a credible and terrible way on the screen. The End remains therefore a success minor, but real, for Carpenter who seemed to have no more hardly the faith in the fantastic. 09 The Cellar, by William Malone. A couple kidnaps and assassinates teenagers to supplement a ritual, thrown after the accidental death of their son to make it relive. Well-off of an agreed scenario, of an assemblage weighed down by uninterrupted flashbacks, and almost amateur making-up, The Cellar is especially worth for the Lory Petty performance, which was at time formidable one Tank Chorus girl, in mother sataniste raving mad, and for a mildly mocking conclusion. Except it, nothing is to withdraw from this product of common consumption. 10 brutal Link, by LUCKY MCKEE. Ida, laboratory assistant in entomology, despairs of being a companion, all those who come being terrified by his flat filled with insects. For its biggest happiness, the arrival in his life of Misty, which supports them perfectly, coincides with the dispatch by a mysterious unknown man of a huge and very aggressive insect. The presentation of brutal Link announces the film as a crossing enters and the romantic comedy. With a tremendous number of talent and an approach of subject to Shaun of the Dead, this episode should have been able to be interesting. Alas, it is possible that he is the worst of series. Not only he collects banality canvassers on the lesbians, but in more the actresses is abominably bad, with a very particular mention for Angela Bettis in Ida's role, the single vote of which provokes imperious one desire to put his reader out immediately DVD. Finally, visual special effects and scenario are of a consummate tackiness, barely worthy of 1980s. Canvasser, irritating, idiot, Sick Girl will even scare off the keen of series Z by his mediocrity. 11 Serial hitchhiker, by Larry Cohen. Pick Me Up is one of some authentic good surprises of series. If it was one of the episodes which were least waited (simply because Larry Cohen did not make much of interest since about fifteen years), he is indeed one of the most delightful. Script has a good time comparing two classical faces of serial killers: the hitchhiker and the lorry driver, the very two in hunt of the same prey. Without overstepping this postulate of departure, Cohen signs an efficient film, which finds its dynamics in the confrontation of both film plates with an adequate balance between suspense and disturbing stages. A symmetrical structure which allows the film to follow a median without flood (neither too much nor enough). Heavy fall is nevertheless regretted. 12 The Lovers beyond the grave, by JOHN MCNAUGHTON. The opus accomplished by JOHN MCNAUGHTON falls in the most obvious traps which an exercise as MOH could give: running in the dégueulasserie and heavy-going fall. Here, fifty minutes without true film investment to succeed on a stage where a nymphomaniac is taken in gang-sonic boom by a horde of zombies in a graveyard. Not of real visual idea, no film purpose but a form of porno horrific badly taken. There will be amateurs perhaps …. 13 The Home of abuses, by Takashi Miike. Faithful to himself, Miike, sulphurous Japanese film-maker, continues exploring the borders of visual provocation with in the programme: refined torture were filmed in full shot, collecting of brain, tabassage of woman, incest etc But in front of all this shop window of immondice, they guess well that it is not so much his graphic violence which made of this episode the only one of series to be proscription of broadcasting in the United States, that his subject which turns around the abortion. A rather explicit stage reveals us process in question, as it was played in an underground way in Japan of the end of the XIXth century, résumable in two stages: fist fucking and extraction of a yank (Poc!) what had to delight the American censors. But beyond the aspect a bit canvasser of the film, they find a way to film very distant, purified enough and put down, which contrasts greatly with the contents of the frame. There are even some touching poetic ideas, as these small mills which plants the abortionist for every foetus which she threw into the river. What is really detestable, finally, at the place of Miike, it is that he wastes his talent. To give to the tenors of big screen the possibility of expressing itself in the small skylight, without the pressures of a traditional film, it is first of all to allow them to express itself about subjects that they would have undoubtedly neglected as part of the cinema, with finally for the only stake that to tarnish or to gild their name a little more in the heart of fantasticophiles. All could not be extraordinary in this first season, but it is indisputable that successes (Vote or burst Jenifer and at the head) exceed by their total interest failures, more anecdotal. They only regret that some masters such Carpenter or Gordon are not of benefit there to make a comeback in fanfare. But, patience: these, Dario Argento, Joe Dante, Mick Garris, and John Landis re-enlist for the second season. |