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https://archive.org/details/FXRH041974Jodyanimator
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drapingleather · 18 days
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JASON AND THE ARGONAUTS (1963) Visual Effects by Ray Harryhausen Dir. Don Chaffey
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justforbooks · 1 year
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Raquel Welch, who has died aged 82, had only three lines as Loana in the 1966 film fantasy One Million Years BC but attained sex-symbol status from the role, in which she was dressed in a fur-lined bikini. The image made its imprint in popular culture and the publicity poster sold millions. The feminist critic Camille Paglia described the American actor’s depiction as “a lioness – fierce, passionate and dangerously physical”.
The tale of cavepeople coexisting with dinosaurs was Welch’s breakthrough film – and the beginning of a largely unsuccessful battle she waged to be taken seriously as an actor. When she arrived on set, she told the director, Don Chaffey, she had been thinking about her scene. She recalled his response as: “Thinking? What do you mean you’ve been thinking? Just run from this rock to that rock – that’s all we need from you.”
Ursula Andress, who had emerged from the sea in another famous bikini for the 1962 James Bond film Dr No, had turned down the role of Loana. It went to Welch, on contract to 20th Century Fox, when the American studio agreed to hire her out to the British company Hammer Films.
Welch had to contend with critics who believed her looks to count for more than any acting ability she possessed. It was true that the film was pure kitsch and noteworthy only for Ray Harryhausen’s remarkable special effects with stop-motion animation creatures – and for making Welch a star.
Nevertheless, Welch later showed her aptitude for comedy when she played Constance, the French queen’s married seamstress in love with Michael York’s D’Artagnan, in the 1973 swashbuckler The Three Musketeers, directed by Richard Lester. The performance won her a Golden Globe best actress award and she reprised the part in The Four Musketeers: Milady’s Revenge (1974).
She increasingly took roles on television and worked up an act as a nightclub singer that she took across the US. She showed her performing mettle when she made her Broadway stage debut, taking over from Lauren Bacall in the musical Woman of the Year at the Palace theatre (1981-83). In an updating of the Katharine Hepburn-Spencer Tracy 1942 movie of the same title, she gave a show-stopping performance as the TV news personality Tess Harding.
“When she makes her first appearance in a low-cut gold lamé gown, her attributes can be seen all the way to the mezzanine,” wrote the New York Times critic Mel Gussow, unable to ignore what Welch brought to the stage visually. “It would be inaccurate to say that Miss Welch is a better actress than Miss Bacall, but certainly at this stage of her career she is a more animated musical personality.”
Around that time, Welch said: “I have exploited being a sex symbol and I have been exploited as one. I wasn’t unhappy with the sex goddess label. I was unhappy with the way some people tried to diminish, demean and trivialise anything I did professionally. But I didn’t feel that from the public.”
She was born Jo-Raquel Tejada in Chicago, Illinois, the first of three children, to Josephine (nee Hall) and Armando Tejada. Her father, an aeronautical engineer, was Bolivian. When Raquel was two, the family moved to San Diego, California, and, five years later, she joined the city’s junior theatre, attached to the city’s Old Globe, as well as starting ballet classes.
She said her father was volatile and terrifying, and she never saw any tenderness between her parents. One escape from this unsettled childhood came through putting on plays in the garage for friends and neighbours, using bedspreads for curtains.
On leaving La Jolla high school, San Diego, in 1958, she won a scholarship to study theatre arts at San Diego state college, but dropped out after a year to marry James Welch and became a weather presenter on KFMB, a San Diego television station.
After giving birth to two children, Damon and Tahnee, she left her husband, intending to follow her acting ambitions in New York. In the event, she worked as a model and cocktail waiter in Dallas, Texas, before moving to Los Angeles.
She was screen-tested by the producer Cubby Broccoli, who had seen her in a Life magazine photo-spread, for a part in the 1965 Bond film Thunderball, and signed up by 20th Century Fox. But a technicality involving start dates and contract options ruled out the Bond film and she was cast in Fantastic Voyage (1966), a big-budget sci-fi submarine saga, clad in a wetsuit.
After One Million Years BC, Welch – again in a bikini – played Lilian Lust, one of the Seven Deadly Sins, alongside Peter Cook and Dudley Moore in Bedazzled (1967), a comedy irreverently resetting the Faust legend in 1960s swinging London.
Burt Reynolds and Jim Brown were the stars when she brandished a shotgun in the 1969 western 100 Rifles – another action role. But Welch made clear to the director, Tom Gries, that she would not be following his instruction to run naked through the desert with the weapon. She also disregarded attempts to get her to shower under a water tower minus her shirt.
She returned to comedy for the satire The Magic Christian (1969) to play Priestess of the Whip alongside Peter Sellers’s millionaire who adopts the homeless Ringo Starr. She took top billing in Myra Breckinridge (1970), as a transgender movie critic, in a misjudged adaptation of Gore Vidal’s landmark novel.
Welch had the chance to shine in The Wild Party (1975), a period drama about the demise of silent pictures from the producer-director partnership of Ismail Merchant and James Ivory, in which she was cast as Queenie, the lover of a fading screen comedian. But she fell out with Ivory over a number of issues, for example refusing to do a bedroom scene nude. “From nearly the first day, we were at loggerheads,” he recalled, “and no professional relationship, no working relationship, was ever established.”
Switching to television brought Welch cameos in everything from the sitcoms Mork & Mindy (in 1979, as a villain from outer space) and Evening Shade (1993) to Lois & Clark: The New Adventures of Superman (in 1995) and CSI: Miami (in 2012). She also comically played a temperamental version of herself attacking Cosmo Kramer (Michael Richards) and Elaine Benes (Julia Louis-Dreyfus) in a 1997 episode of Seinfeld.
She had a regular role in the comedy-drama series Date My Dad (2017) as Rosa, former mother-in-law of Ricky (Barry Watson), trying with his three children to find him love again following the death of his wife.
In 1997, there was another stint on Broadway, in the musical Victor/Victoria. She replaced Julie Andrews, who was undergoing throat surgery, for the final seven weeks of its run at the Marquis theatre. Variety described Welch as “at best a pleasantly passable singer”, suiting “the costumes better than she does the vocal and acting requirements”.
She returned to the cinema with a cameo role in the romcom Legally Blonde (2001), starring Reese Witherspoon. Her last film was How to Be a Latin Lover (2017).
Welch was married and divorced four times. She is survived by Damon and Tahnee, and by her brother, Jimmy.
Raquel Welch (Jo-Raquel Tejada), actor, born 5 September 1940; died 15 February 2023
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gotankgo · 1 year
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Clash of the Titans (1981)
Director of Photography: Ted Moore
Visual Effects: Ray Harryhausen
Director: Desmond Davis
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vintage1981 · 8 months
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The Primevals (2023) Official Trailer | Full Moon Features
A Civilization lost in time invaded one million years ago.
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Deep in the Himalayas, a group of Sherpas subdue and kill a towering humanoid creature. Its remains — including a brain that appears to have undergone some kind of surgery — wind up under the supervision of Dr. Claire Collier (Juliet Mills), who believes it to be one of the legendary Yeti. Joined by her former student Matt Connor (Richard Joseph Paul), a longtime believer in the creatures’ existence, big-game hunter Rondo Montana (Leon Russom), and others, Dr. Collier leads an expedition into the mountains to track down more of the abominable snowmen. Their trek results in an encounter with a tribe of primitive hominids — which in turn leads to the far more frightening discovery of beings they never could have expected or imagined.
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Fantasia’s world premiere of THE PRIMEVALS represents the culmination of a longtime dream harboured by visual effects wizard David Allen, whose career stretched from 1970’s EQUINOX through Oscar-nominated work on YOUNG SHERLOCK HOLMES and beyond. Allen first conceived THE PRIMEVALS as a vehicle for his stop-motion talents in the 1970s. He finally began directing the movie, which he scripted with fellow effects artist Randy Cook (THE GATE), in the 1990s under producer Charles Band, for whom he’d brought all manner of beasties to life in LASERBLAST, PUPPET MASTER and many others. Sadly, the film’s completion was scuttled by Allen’s death from cancer in 1999 at just 54 years old. Now, at last, Band and longtime Allen associate Chris Endicott have seen the film to completion, and it emerges as a glorious tribute to the classic films of Ray Harryhausen, with a true sense of adventure and eye-popping, remarkably fluid dimensional animation. No monster or special-effects fan will want to miss it! – Michael Gingold
The film next plays at the Sitges Film Festival.
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jedivoodoochile · 6 months
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Happy birthday to visual effects legend Phil Tippett - inaugural entrant to the 'Harryhausen Hall of Fame' in The Ray Harryhausen Awards in 2022. Here are some kind words from the man himself- Ray's legacy lives on throughout the decades!
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fearsmagazine · 4 months
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GODZILLA MINUS ONE - Review
DISTRIBUTOR: Toho International
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SYNOPSIS: Set in a devastated post-war Japan, the country is still recovering from the scars of the past as a new threat appears. Koichi Shikishima and colleagues are dealing with devastated homes and issues over the lost war. Filmmaker Takashi Yamazaki asks the question of what happens when a disarmed and defenseless Japan encounters Godzilla.
REVIEW: I am a child of the Toho Monsters. When I was a kid, old enough to go to the local cinema on my own, the Saturday matinees were either classic universal monster movies or Toho giant monster movies. I never saw the 1954 film in a theater, only later as a teen on television. I built and painted an Aurora Godzilla Model kit, of course the one with the glow in the dark pieces, as well as a few of the other giant monster kits. Those films hold a fond place in my memories alongside the classic Universal monster films and the films of the legendary Ray Harryhausen. The best way I can describe my experience of viewing GODZILLA MINUS ONE is I had a reawakening of the awe and wonder of experiencing those films of my youth.
I loved what Yamazaki does with the narrative. At its core the film is about consequences and taking responsibility for one’s actions. Set against the backdrop of post WWII Japan, Koichi Shikishima is a kamikaze pilot who returns home to find his village destroyed and his parents dead. He is plagued by survivor's guilt and tries to subdue his demons by caring for a woman and orphan. The plot focuses on his relationships, the work he finds and when the United States' Operation Crossroads nuclear tests mutates the creature, the lengths he will go to protect the ones he loves and put his ghosts to rest. The film is rich with the social and political themes of the period, and Yamazaki does an excellent job of making them germain without being preachy. He does a marvelous job of finding the emotional sweet spot to engage the audience and transcend cultural differences. Many of the secondary characters feel drawn from the vast mythology of the Godzilla mythology, but feel fresh and sincere. Likewise there are several scenes that pay homage to the 1954 film and the mythology that will invigorate the fans.
The cinematography and visual effects are mind blowing. Yamazaki strikes a balance between logic and the history of the films in the franchise, and still manages to find some fresh and innovative concepts. I loved the way he presents moving in the ocean, how he walks on land once mutated, and the cool new sequence when he unleashes his nuclear blast. Even though it is fantastical I felt they put a lot of thought into the logic of the film. As much as they put into Godzilla, the vision and care that went into the design of the period designs, ships, aircraft, and machinery was flawless. Life action woven with the sound design and visual effects added gravitas to the scenes. I felt that Godzilla was chewing up and hurling life sized boats and trains, and rampaging buildings. The first scene where we encounter Godzilla feels like a homage to Harryhausen’s creatures in the creature's body posture and how it attacks the soldiers.Moreover, there is an aspect to the military hardware that ever so slightly has an aspect to their movement that feels like the hardware of the live action films. It’s like a modern dance number that has some classic choreography movements reimagined.
I loved, loved, loved Naoki Satō’s score. It creates a specific atmosphere to this story and cast of characters and at key moments he seamlessly transitions into the classic Godzilla themes by Akira Ifukube. I had totally forgotten about those pieces as I was so engrossed in the film so that when they hit I had goosebumps. If you are fans of the music you’ll want to sit through the credits as it is a feast for the ears.
GODZILLA MINUS ONE has a magnificent,ensemble cast. They balance comedy and tragedy with superb execution. I was emotionally engaged, I laughed numerous times and was mesmerized by their awe and shock. The young actress who plays the ward of Kōichi and Noriko is just so damn cute. The supporting cast creates these characters that are reminiscent of other characters from the Godzilla universe without feeling cliched. They feel grounded and genuine. They do an amazing job of taking the viewer on this epic journey.
First, GODZILLA MINUS ONE is the only film I’ve seen in 2023 that I would pay to see in a theater again. Second, it is so well balanced that The Criterion Collection should start working on their special edition now. It clearly is a rare Japanese masterpiece alongside the films of Akira Kurosawa, Yasujiro Ozu, and, of course, Ishiro Honda, to name just a few.
I like the Warner Bros. and Legendary Entertainment giant monster films. However, those films are all about the special effects and the blockbuster/visual effects element taking precedent. They’re unbalanced as I’ve never felt emotionally engaged by the characters, or felt their peril or jeopardy. GODZILLA MINUS ONE is a well rounded film that immerses the viewer in the experience and is emotionally engaging.
Thank you to the Japan Society in New York City for the advance press screening.
Until Toho capitalizes on the success of this film, and Takashi Yamazaki has expressed an interest in doing one more film, you’ll be able to get America’s “Big Mac & Fries” equivalent of a giant monster film with “Godzilla x Kong: The New Empire” slated for March 2024 and the Apple+ TV series “Monarch: Legacy of Monsters” is currently streaming.
CAST: Ryunosuke Kamiki, Minami Hamabe, Yuki Yamada, Munetaka Aoki, Hidetaka Yoshioka, Sakura Ando, and Kuranosuke Sasaki. CREW: Director/Screenplay/Visual Effects - Takashi Yamazaki; Based on Godzilla by Ishirō Honda; Producers - Minami Ichikawa, Kazuaki Kishida, Keiichiro Moriya & Kenji Yamada; Cinematographer - Kôzô Shibasaki; Score - Naoki Satô; Godzilla Theme - Akira Ifukube; Editor - Ryûji Miyajima; Visual Effects - Kiyoko Shibuya OFFICIAL: godzilla-movie2023.toho.co.jp INSTAGRAM: www.instagram.com/godzilla231103 TWITTER: twitter.com/godzilla231103 TRAILER: https://youtu.be/r7DqccP1Q_4?si=q7eMpsyeOvoGjkx1 RELEASE DATE: In theaters December 1st, 2023
**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)
Reviewed by Joseph B Mauceri
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icedrago1 · 9 months
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Now, on this date in 1981 this movie came out, a very good movie for the time, story, and visual effects. Believe it or not this was a Disney owned film and the guy who played Emperor Palpatine in Star Wars is dragon fire 🔥 lol ohh ya I forgot about this as a Disney movie it had a nude girl scene wow 😳 plus one of Ray Harryhausen best stop motion techniques. And the Amazing Dragon Vermithrax Pejorative (but really a Wyvern)
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umityusufogras · 2 months
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Magic on the Silver Screen: The Ever-Evolving World of Cinematic Special Effects
Cinema, often called the seventh art, has always been a medium of boundless creativity and innovation. The mesmerizing world of special effects is central to its allure, a realm where reality blurs and imagination takes flight. From the earliest days of filmmaking to today's cutting-edge technology, the journey of special effects in cinema is an extraordinary tale of transformation and artistic expression.
The Genesis of Cinematic Illusion
In the late 19th century, when motion pictures were still in their infancy, visionary filmmakers like Georges Méliès used practical effects to enchant audiences. Méliès' landmark film, "A Trip to the Moon" (1902), transported viewers to a fantastical lunar world through handcrafted sets, miniatures, and pioneering stop-motion animation.
As the silent film era dawned, filmmakers like F.W. Murnau pushed the boundaries of practical effects, using makeup and elaborate set designs to create moments of cinematic magic, as seen in "Nosferatu" (1922).
The Glorious Era of Practical Effects
The golden age of practical effects coincided with the rise of Hollywood's studio system. Films like "King Kong" (1933) and "Gone with the Wind" (1939) showcased the craftsmanship of special effects artists who relied on miniatures, matte paintings, and intricate set designs to captivate audiences.
Ray Harryhausen, a maestro of stop-motion animation, breathed life into mythical creatures in classics like "Jason and the Argonauts" (1963). His dedication to the art of practical effects left an indelible mark on the industry.
The Digital Revolution Unleashed
A seismic shift occurred in cinema with the arrival of computer-generated imagery (CGI). Though early experiments with CGI were seen in "Tron" (1982), it was Steven Spielberg's "Jurassic Park" (1993) that revolutionized filmmaking. Audiences marveled at the lifelike dinosaurs born from the world of digital magic.
James Cameron's "Terminator 2: Judgment Day" (1991) and "Titanic" (1997) demonstrated the immense potential of CGI in creating stunning action sequences and realistic historical settings. The possibilities in cinema expanded as filmmakers harnessed the power of digital effects.
The Emergence of Fully Digital Realms
As technology advanced, filmmakers ventured into the creation of entire digital worlds. "The Matrix" (1999) and "The Lord of the Rings" trilogy (2001-2003) showcased CGI's ability to immerse audiences in breathtaking and fantastical landscapes. James Cameron returned to the forefront with "Avatar" (2009), a film that set box office records and raised the bar for photorealistic CGI characters and environments.
The Synergy of Practical and Digital Magic
Even as CGI dominated, practical effects remained an essential part of filmmaking. Directors recognized the value of blending beneficial and digital effects to craft unforgettable cinematic moments. Christopher Nolan's "Inception" (2010) epitomized this harmony as practical effects, miniatures, and CGI combined to create a visually stunning dreamscape.
The Future Beckons
Looking ahead, the evolution of special effects continues to unfold—advancements in CGI, motion capture technology, and virtual reality promise to redefine the cinematic experience. Virtual production techniques, showcased in "The Mandalorian" series, offer filmmakers unprecedented creative freedom and cost efficiency.
Furthermore, the rise of deep learning and AI in filmmaking could lead to AI-generated actors and characters, pushing the boundaries of storytelling and visual effects even further.
The evolution of special effects in cinema is a testament to human imagination and the relentless pursuit of excellence. From the practical effects of the early pioneers to the awe-inspiring world of CGI, special effects have continually elevated the art of storytelling on screen.
Cinema remains a realm where dreams are brought to life and reality is transcended. Whether through practical craftsmanship or digital innovation, special effects will always be at the heart of the magic that captivates audiences worldwide. As we step into the future of filmmaking, one thing is sure: the enchantment of cinema will continue to transport us to worlds beyond our imagination, ensuring that the allure of the silver screen endures for generations to come.
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allseoreg · 7 months
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Craft Your Perfect Night: Immerse in the Ultimate Videos
The world of cinema has undergone a remarkable transformation over the decades, driven by advancements in technology that have revolutionized the way stories are told on the silver screen. From the silent era to the digital age, this article takes a captivating journey through the evolution of cinematic technology, exploring how each innovation has shaped the art of filmmaking and paved the way for the spectacular CGI marvels of today.The Silent Era: Pioneering the Art of Visual StorytellingThe birth of cinema in the late 19th century marked the dawn of a new era in visual storytelling. This section delves into the innovations that brought silent films to life, from the Lumiere Brothers' early motion pictures to the groundbreaking techniques of Georges Melies. The era of hand-cranked projectors and flickering black-and-white images laid the foundation for the cinematic language we know today.The Talkies: The Revolution of Sound and DialogueThe introduction of synchronized sound in the late 1920s transformed cinema once again, ushering in the era of "talkies." This section explores how sound technology, including the Vitaphone system, enabled filmmakers to integrate dialogue, music, and sound effects into their narratives. The transition from silent films to movies with sound not only enhanced realism but also expanded storytelling possibilities.Color and Cinematography: Painting with Light and PigmentsThe evolution of cinematic technology extended beyond sound to include the advent of color film. We delve into the development of color processes, from early two-color systems to the vivid hues of Technicolor. This section also examines the contributions of pioneers like cinematographer Gregg Toland, whose innovative use of lighting and camera techniques enriched the visual language of cinema.Special Effects and Practical Magic: Innovations on the SetIn the pre-CGI era, filmmakers relied on practical effects and ingenuity to create on-screen magic. This section uncovers the creative techniques used to achieve awe-inspiring visuals, from miniatures and matte paintings to stop-motion animation. The work of legendary figures like Ray Harryhausen and Willis O'Brien left an indelible mark on the art of visual storytelling.The Digital Revolution: CGI and the Rise of Visual SpectaclesThe advent of computer-generated imagery (CGI) in the late 20th century marked a paradigm shift in cinematic technology. This section traces the rise of CGI, from its early use in films like "Tron" to its transformative impact on blockbusters such as "Jurassic Park." We explore how CGI opened the door to unprecedented visual spectacles and paved the way for entirely new genres of filmmaking.Immersive Technologies: From 3D to Virtual RealityThe 21st century brought a new wave of immersive technologies that further expanded the cinematic experience. We examine the resurgence of 3D filmmaking and the incorporation of virtual reality (VR) in storytelling. By analyzing films like "Avatar" and the use of VR in projects like "VR cinema," we gain insight into how these technologies continue to reshape the way we engage with films.Conclusion:The evolution of cinematic technology is a testament to human innovation and creativity. From the early days of silent films to the CGI marvels of today, each technological leap has left an indelible mark on the art of filmmaking. As technology continues to advance, filmmakers are presented with new tools to craft captivating narratives, transport audiences to distant worlds, and push the boundaries of visual storytelling. The journey from silent films to CGI marvels is a reflection of the limitless possibilities that cinema holds, inspiring generations of filmmakers to continue pushing the envelope of what is possible on the silver screen. For more information follow the link www xnxx com hot
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Harryhausen issue
https://archive.org/details/Rue_Morgue_090_June_2009
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JURASSIC JULY DAY 2: The Valley of Gwangi
It's a rare case when a film mixes two specific genres and manages to make a fun film out of it. The Valley of Gwangi does a great job at that, mixing the adventurous western with the fantastical dinosaur genre.
While the overall plot is nothing unique, and is basically a remake of King Kong in many ways, it still has enough of its own material to give it its own identity and not come across as a cheap ripoff (which it isn't btw). The characters are surprisingly likeable and there are a lot of fun moments with them, such as the love dynamic between Tuck and T.J. Most movies that have the typical "love-hate" dynamic between the love interest and the main character I find rather annoying, but here its done in a more fun and comedic way, more reminiscent to Indiana Jones and Marion Ravenwood. Another thing that interesting thing was how much of a relief the child character, Lope, was handled. In most movies like this, the child sidekick came across as annoying and unnecessary, but here his characterization was pretty straightforward.
This is a good recommendation for those looking for a popcorn flick which combines many visual effects. While many definitely show their age (Ray Harryhausen himself was displeased with certain aspects), the film does really well with incorporating a mix of stunts, stop motion, practical effects, camera tricks, models, and action. I'd certainly like to see more films where a dinosaur hunts the main characters in a church cathedral like its become a haunted house.
When it comes to dinosaur films, this is definitely one of the better ones. It's fun, unique, action-packed, funny, and does pretty well in showing the dangers of humanity's hubris in destroying what they discover.
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scumgristle · 10 months
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DECADES IN THE MAKING, THE PRIMEVALS WILL SOON LIVE
Fantasia’s world premiere of THE PRIMEVALS represents the culmination of a longtime dream harboured by visual effects wizard David Allen, whose career stretched from 1970’s EQUINOX through Oscar-nominated work on YOUNG SHERLOCK HOLMES, WILLOW and beyond. Allen first conceived THE PRIMEVALS as a vehicle for his stop-motion talents in the 1970s and finally began directing the film in the 1990s under producer and Full Moon Features Founder Charles Band, for whom he’d brought all manner of beasties to life. Sadly, the film’s completion was scuttled by Allen’s death from cancer in 1999 at just 54 years old. For the last many years, Band and longtime Allen associate Chris Endicott (THE AVENGERS: INFINITY WAR) have worked to see the film to completion, and it emerges at Fantasia as a glorious tribute to the classic films of Ray Harryhausen, with a true sense of adventure and eye-popping stop-motion animation. Special-effects fans will not want to miss this. World Premiere. 
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docrotten · 1 year
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THE 7TH VOYAGE OF SINBAD (1958) – Episode 144 – Decades Of Horror: The Classic Era
“If you are indeed a magician, why do you not use your great power to slay the one-eyed monster?” Of course, the princess is speaking of the Cyclops. Join this episode’s Grue-Crew – Chad Hunt, Whitney Collazo, Daphne Monary-Ernsdorff, and Jeff Mohr, along with guest host Ralph Miller – as they once again marvel at the wonders of Ray Harryhausen’s skill and artistry in The 7th Voyage of Sinbad (1958).
Decades of Horror: The Classic Era Episode 144 – The 7th Voyage of Sinbad (1958)
Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine
ANNOUNCEMENT Decades of Horror The Classic Era is partnering with THE CLASSIC SCI-FI MOVIE CHANNEL, THE CLASSIC HORROR MOVIE CHANNEL, and WICKED HORROR TV CHANNEL Which all now include video episodes of The Classic Era! Available on Roku, AppleTV, Amazon FireTV, AndroidTV, Online Website. Across All OTT platforms, as well as mobile, tablet, and desktop. https://classicscifichannel.com/; https://classichorrorchannel.com/; https://wickedhorrortv.com/
When a princess is shrunken by an evil wizard, Sinbad must undertake a quest to an island of monsters to cure her and prevent a war.
Director: Nathan Juran
Writer: Ken Kolb (as Kenneth Kolb); Ray Harryhausen (story)
Producer: Charles H. Schneer
Composer: Bernard Herrmann
Cinematographer: Wilkie Cooper
Editors: Edwin H. Bryant (as Edwin Bryant), Jerome Thoms
Visual Effects: Ray Harryhausen (special visual effects creator)
Assistant Directors: Eugenio Martín; Pedro de Juan
Selected Cast:
Kerwin Mathews as Sinbad
Kathryn Grant as Princess Parisa
Richard Eyer as Barani, the Genie
Torin Thatcher as Sokurah
Alec Mango as the Caliph of Baghdad
Harold Kasket as the Sultan, Parisa’s father
Alfred Brown as Harufa, Sinbad’s loyal right-hand man
Nana DeHerrera as Sadi (as Nana de Herrera)
Nino Falanga as Gaunt Sailor
Luis Guedes as Crewman
Virgilio Teixeira as Ali, one of Sinbad’s crewmen
Danny Green as Karim, the leader of the mutineers
Juan Olaguivel as Golar
The Classic Era Grue-Crew, with the help of Ralph Miller III, tackles the Ray Harryhausen stop-motion masterpiece, The 7th Voyage of Sinbad. Kerwin Matthews is Sinbad. Kathryn Grant is Princess Parisa. Richard Eyer is Barani, the Genie. And, Torin Thatcher is Sokurah. The film is filled with beautifully crafted monsters: giant Rocs, a horned Cyclops, a dragon, and a skeleton warrior – and more. All this and “Dynamation!” as well. Yes sir, a Monster Kid’s dream. All this and they forgot to mention second unit director Eugenio Martino, the director of Horror Express (1972).
At the time of this writing, The 7th Voyage of Sinbad is available to stream with ads from Tubi and Crackle, as well as multiple PPV suppliers. It is also available on physical media in a Blu-ray format from various companies as an individual film or as part of a collection.
Gruesome Magazine’s Decades of Horror: The Classic Era records a new episode every two weeks. Up next in their very flexible schedule, chosen by Chad, will be Faust (1926), directed by F.W. Murnau and starring Emil Jannings. This will be the eighth silent horror movie covered by the Classic Era Grue-Crew. Bring on the intertitles!
Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans: leave them a message or leave a comment on the Gruesome Magazine YouTube channel, the site, or email the Decades of Horror: The Classic Era podcast hosts at [email protected]
To each of you from each of them, “Thank you so much for watching and listening!”
Check out this episode!
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lostgoonie1980 · 4 years
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209. Jasão e o Velo de Ouro (Jason and the Argonauts, 1963), dir. Don Chaffey
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jedivoodoochile · 1 year
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Today marks the birthday of Willis O' Brien (March 2, 1886 – November 8, 1962), creator of King Kong, as well as a mentor and lifelong inspiration to Ray Harryhausen. Here he is with the well deserved Academy Award he won for Best Visual Effects for Mighty Joe Young in 1950, alongside a couple of other images from his illustrious career.
It is now 90 years since the release of King Kong. Let's take a moment to remember this pioneer of stop-motion animation!
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