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scenesandscreens · 1 year

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Tremors (1990)

Director - Ron Underwood, Cinematography - Alexander Gruszynski

"Broke into the wrong goddamn rec room, didn't ya you bastard!"

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olivierdemangeon · 2 years

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BLACK DAWN (2005) ★★✭☆☆

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#Alexander Gruszynski #Andrew Stevens #Conal Duffy #John Pyper-Ferguson #Julian Stone #Nicholas Davidoff #Roman Varshavsky #Steven Seagal #Tamara Davies #Timothy Carhart

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junior-stargazer-goke91 · 5 months

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The Craft (1996)

Director: Andrew Fleming

Cinematographer: Alexander Gruszynski

#90sedit #the craft #andrew fleming #fairuza balk #nancy downs #90s movies #neve campbell #rachel true #robin tunney #90s aesthetic #90s films

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byneddiedingo · 8 months

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The Craft (Andrew Fleming, 1996)

Cast: Robin Tunney, Fairuza Balk, Neve Campbell, Rachel True, Skeet Ulrich, Cliff DeYoung, Christine Taylor, Breckin Meyer, Nathaniel Marston, Helen Shaver, Assumpta Serna. Screenplay: Peter Filardi, Andrew Fleming. Cinematography: Alexander Gruszynski. Production design: Marek Dobrowolski. Film editing: Jeff Freeman. Music: Graeme Revell.

If the makers of The Craft had had the courage and the skill to parody or transcend the teen-movie clichés and characters -- the mean girl, the horny jock, the embarrassing or absent parents, and so on -- it might have been a genre classic like Carrie (Brian De Palma, 1976) or Heathers (Michael Lehmann, 1989). That the filmmakers even come close enough to elicit the comparison owes much to the performances of the four young actresses who play the film's mischief-working coven. Robin Tunney is Sarah, the new girl in town with untested magic powers; Fairuza Balk is Nancy, the punk-gothic misfit; Neve Campbell is Bonnie, who bears disfiguring burn scars; and Rachel True is Rochelle, the biracial girl in an apparently all-white Catholic high school. Balk got most of the attention for her amusingly over-the-top performance, but Tunney deserves credit for underplaying her role, creating an outwardly normal but deeply troubled teenage girl. Sarah once tried to kill herself -- "the right way," says Nancy approvingly, noting that the scars on Sarah's wrists are vertical, along the vein, rather than horizontal. Falling in with the other three, Sarah not only discovers her own latent powers but also helps the other girls develop their own. Bonnie erases her scars, Rochelle gets even with the racist blonde (Christine Taylor) who referred to her as "Negroid," and Sarah causes the scornful jock (Skeet Ulrich) to fall in love with her. Nancy, however, goes to the dark side, and mayhem ensues. Unfortunately, the plot gets predictable at this turn, and the ending is anticlimactic.

#The Craft #Andrew Fleming #Robin Tunney #Fairuza Balk #Neve Campbell #Rachel True

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geekynerfherder · 2 years

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'Tremors' 4K Bluray Steelbook.

Features includes:

4K restoration from the original negative by Arrow Films, approved by director Ron Underwood and director of photography Alexander Gruszynski

4K (2160p) UHD Blu-ray presentation in Dolby Vision (HDR10 compatible) and High Definition (1080p) Blu-ray presentation

Limited Edition SteelBook packaging with newly commissioned artwork by Gary Pullin

Illustrated collector’s booklet featuring writing on the film by Kim Newman and Jonathan Melville

Restored DTS-HD MA original theatrical 2.0 stereo, 4.0 surround, and remixed 5.1 surround audio options

Optional English subtitles for the deaf and hard of hearing

Audio commentary by director Ron Underwood and writers/producers Brent Maddock & SS Wilson

Audio commentary by Jonathan Melville, author of Seeking Perfection: The Unofficial Guide to Tremors

Making Perfection, a documentary by Universal Pictures interviewing key cast and crew from the franchise (including Kevin Bacon, Michael Gross, Ariana Richards, Ron Underwood, Brent Maddock & SS Wilson, among many others) and revisiting the original locations

The Truth About Tremors, an interview with coproducer Nancy Roberts on the film’s rocky road to the screen

Bad Vibrations, an interview with director of photography Alexander Gruszynski

Aftershocks and Other Rumblings, on-set stories from associate producer Ellen Collett

Digging in the Dirt, a featurette interviewing the crews behind the film’s extensive visual effects

Music for Graboids, a featurette on the film’s music with composers Ernest Troost and Robert Folk

Pardon My French!, a compilation of overdubs from the edited-for-television version

The Making of Tremors, an archive documentary from 1995 by Laurent Bouzereau, interviewing the filmmakers and special effects teams

Creature Featurette, an archive compilation of on-set camcorder footage showing the making of the Graboids

Electronic press kit featurette and interviews with Kevin Bacon, Michael Gross and Reba McEntire

Deleted scenes, including the original opening scene

Theatrical trailers, TV and radio spots for the original film as well as trailers for the entire Tremors franchise

Comprehensive image galleries, including rare behind-the-scenes stills, storyboards and two different drafts of the screenplay

On sale now for £29.99 through Zavvi.

#Tremors #4K #Bluray #Steelbook #Zavvi #Gary Pullin #Arrow Films

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saturdaynightmatinee · 2 years

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CALIFICACIÓN PERSONAL: 7 / 10

Título Original: Cast a Deadly Spell

Año: 1991

Duración: 96 min

País: Estados Unidos

Director: Martin Campbell

Guion: Joseph Dougherty

Música: Curt Sobel

Fotografía: Alexander Gruszynski

Reparto: Fred Ward, Julianne Moore, David Warner, Clancy Brown, Alexandra Powers, Lee Tergesen, Charles Hallahan, Peter Allas, Raymond O'Connor, Lana Underwood

Productora: Pacific Western, HBO

Género: Comedy, Fantasy, Horror

https://www.imdb.com/title/tt0101550/

TRAILER:

youtube

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criterinot · 3 years

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This week on The Criterinot Podcast: The Craft (1996) - Andrew Fleming

I’m joined by Grammy-nominated music video and short film director David Wilson (Lady Gaga, Arcade Fire, Arctic Monkeys, M83, Tame Impala, Metronomy) to talk with me about Andrew Fleming's teen witch drama The Craft. The movie was released in 1996 and stars Robin Tunney, Fairuza Balk, Neve Campbell, Rachel True, Skeet Ulrich, and Christine Taylor.

Listen here: LINK

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tv-moments · 3 years

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Emily in Paris

Season 1, “Cancel Couture”

Director: Peter Lauer

DoP: Alexander Gruszynski

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stillsmybeatingheart · 3 years

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#hamlet 2 #margarita #Brie Marschz #catherine keener #andrew fleming #Alexander Gruszynski

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filmframesforlife · 6 years

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54 (1998)

#54 #Ryan Phillippe #salma hayek #breckin meyer #mark christopher #cinematography #Alexander Gruszynski #beautiful cinematography #cool cinematography #movie stills #film frames #1998 movies #LGBT movie #lgbt film #gay movie

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memoriastoica · 6 years

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Maximum Risk (1996)

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imagenestopia · 6 years

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Tremors, Ron Underwood, 1990

#tremors #temblores #ron underwood #kevin bacon #film stills #stills film #movies #alexander gruszynski

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immotion · 6 years

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'Now is the time. This is the hour. Ours is the magic. Ours is the power' The Craft | 1996 | dir: Andrew Fleming | dop: Alexander Gruszynski

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genevieveetguy · 6 years

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- You have the hots for me, I have the hots for him, and sooner or later he's gonna have the hots for you. - Sounds pretty hot to me.

Threesome, Andrew Fleming (1994)

#Andrew Fleming #Lara Flynn Boyle #Stephen Baldwin #Josh Charles #Alexis Arquette #Martha Gehman #Mark Arnold #Michele Matheson #Joanne Baron #Alexander Gruszynski #Thomas Newman #William C. Carruth #1994

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dweemeister · 7 years

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Tremors (1990)

The Hollywood monster movie exploded onto the scene in the 1950s. And no, this is not referring to the likes of Universal Studios’ Frankenstein’s monster or the Wolf Man. Those 1950s creature features, often taking themselves far too seriously or hobbled by paltry budgets, included giant insects, monstrosities from the deep, or deadly lifeforms from outer space. Ron Underwood’s giant worm movie Tremors (itself a Universal production) attempts to balance that monster movie suspense with an unexpected dose of comedy – largely succeeding in the process compared to its contemporaries and predecessors. The 1980s, perhaps influenced by the newfound popularity of slasher horror (in particular the Friday the 13th and Halloween franchises), had emphasized boundary-pushing gore and body horror over everything else in remakes like The Blob (1988) and The Fly (1986). Tremors knows better than to fall into that trap.

In the remote fictional town of Perfection, Nevada, Valentine “Val” McKee (Kevin Bacon) and Earl Basset (Fred Ward) are two bored repairmen looking to relieve themselves of their podunk hometown. The population is just over a dozen, a single general store is the source of nightly excitement, and there is only one road leading out of the arid valley where Perfection lies. As Val and Earl drive themselves towards the mouth of the valley, they encounter the aftermath of two unexplained incidents: the dehydrated corpse of a Perfection resident stuck up an electrical tower and the bloodied scene of sheep and a severed shepherd’s head nearby. Val and Earl believe a serial killer is on the loose, returning to Perfection to warn the residents of what they have seen. But of course, the deaths aren’t the result of humans, but a gargantuan, fast-digging worm – briefly called a “Graboid” in this film (this term would be more widely used in the sequels).

Also appearing in the ensemble cast are Finn Carter, Michael Gross, Reba McEntire, Bobby Jacoby, Charlotte Stewart, Tony Genaro, Ariana Richards, Richard Marcus, and Victor Wong.

Carter, as a seismologist graduate student from the Midwest named Rhonda LeBeck, is Val’s romantic interest. There are no subtleties about the future direction of Val and Rhonda’s relationship, but at least Tremors avoids making Carter’s character an uninteresting, naive scientist figure often stumbling into massive trouble. Val and Earl are just as prone to finding themselves in sticky situations as Rhonda is, and they all come to each other’s rescue more than once over the course of the film. Nevertheless, the whole Val-Rhonda romantic wink-and-nudge-fest is unnecessary, and adds nothing to the already-considerable life-and-death stakes of Tremors. Elsewhere, Gross and McEntire – the latter best known for her country music career and her 2000s television sitcom – are probably the most surprising, but their scenes should be watched (especially the moment when their arsenal is revealed, perhaps satirizing Americans’ fascination for firearms), not described.

Brent Maddock and S.S. Wilson are co-producers and screenwriters for Tremors, and the dialogue these two have crafted is too ridiculous to take without cracking a clever smile. Any suspense within Tremors comes from the filmmaking, not the screenplay. But when paired with Kevin Bacon’s laughable accent paired alongside that unkempt mullet and Fred Ward as a sort of straight-shooting foil, the writing – often mindless, and too closely following a format of character inspections, blood and gore often paired with futile screaming, and jokes (until the final half-hour, the comic relief after-scenes are usually not close to where the violence was) to soften what has just happened – somehow worked for me. Whether it was Gross and McEntire’s characters talking about their elephant gun in the middle of combat or Victor Wong’s character maintaining a capitalist’s composure as he uses one part of the Graboid as an opportunity for a posing for photographs scheme, a near-perfect balance of gravity and wackiness is apparent even in the opening minutes.

A good amount of half-swears is indicative of some self-awareness within the film. Tremors, misunderstood by some moviegoers and critics taking too seriously a film that never takes itself seriously, reminds me of Starship Troopers (1997) – a distant cousin also about exterminating deep-dwelling monsters with survivalist instincts. Then-contemporary audiences and critics failed to understand the comedic placement in both movies, that any of the cheesiness found in both films were intentional. Tremors and Starship Troopers are neither show-us-the-monster/s-already or let’s-show-everything-right-away films. Both time their first significant monster reveals quite well. The former, to ratchet the tension early on, depends on low-angled, hand-held camera movements mimicking the Graboid’s progress towards its target. This approach, direct from Steven Spielberg’s tactics for Jaws (1975), was adopted thanks to the barebones budget for the film, passé as these techniques are now.

When the Graboid rears its head for the first time, the viewer can instantly tell that it is not the work of computerized animation, nor are the Graboids from the school of stop-motion animation innovated by Ray Harryhausen. But the Graboids found in Tremors are related to Harryhausen’s work, as all of them are enormous puppets. The filmmakers might have battled with a constraining budget, but the special effects here are believable, and outdo numerous other monster movies in the 1980s and 90s.

Special effects artists Alec Gillis and Tom Woodruff Jr., in their concept art, used elements of crocodiles, dinosaurs, elephants, rhinos, and other animals into their sketches – to have simply looked at worms would have been limiting in attempting to create a unique design. Hand puppets were used for the Graboid’s tentacle-like lingual appendages. With multi-pronged tongues resembling snakes, these giant, phallic worms, resemble somewhat the sandworms in David Lynch’s 1984 film adaptation of Frank Herbert’s Dune. The making of the Graboids for the original Tremors – there have been four sequels (all of which have been direct-to-video), with Tremors 6 (2018) currently filming – can be seen here. Some stills about the only full-size Graboid model (if we are talking cross-fictional-universe dimensions, a Graboid is larger than a Sarlacc’s head, but smaller than a Arrakis sandworm) can be seen here.

Though the fictional town of Perfection is in Nevada, Tremors was shot in Lone Pine and Olancha, California – two eastern Californian cities in Inyo County that convincingly double for Nevada (Inyo County borders Nevada; the filmmakers can thank California for being such a geologically diverse state). With so few interior shots in Tremors, the high desert frontier captured by the cameras has been rarely seen in American filmmaking. That on-location shooting allowed Perfection to feel as isolated as Val and Earl bemoan it for, offering to viewers a glimpse at the edge of the old Western frontier. Ron Underwood and cinematographer Alexander Gruszynski might not be John Ford and Winton C. Hoch (that director/cinematographer team’s credits include 1948′s 3 Godfathers, 1949′s She Wore a Yellow Ribbon, and 1956′s The Searchers), but the two make satisfactory use of the natural surroundings.

Tremors may not have found success in cinemas, but the majority of its sizeable viewership in home video releases and reruns on cable television assured it of future success. It is a monster film rough around its edges, something one might expect from a B-movie. But the humans, when not confronted with the absurdity of a burrowing worm, are believable terrorizing their town, are as believable as they can in such a situation; when that believability can’t be reconciled with events on-screen, Tremors tosses some comedy about for variety. No matter its unoriginality, there is a spirit to Tremors not easily replicated – a spirit that has a wicked sense of fun.

My rating: 7/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found here.

#Tremors #Ron Undrwood #Kevin Bacon #Fred Ward #Finn Carter #Michael Gross #Reba McEntire #Bobby Jacoby #Charlotte Stwart #Tony Genaro #Ariana Richards #Richard Marcus #Victor Wong #Brent Maddock #S.S. Wilson #Alec Gillis #Tom Woodruff Jr.#Alexander Gruszynski #My Movie Odyssey

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facesofcinema · 4 years

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Tremors (1990)

#1990s #actor kevin bacon #dir ron underwood #dp alexander gruszynski #cat comedy #cat horror #cat sci fi #cat western #american #brown #collar #blue eyes #hat #cowboy hat #neck scarf #dirt #tremors #tremors 1990

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