Day The Earth Stood Still | the m0vie blog

Batman: Danny Elfman Film Music at the National Concert Hall (Review)

Posted on February 27, 2012 by Darren

This event was held as part of the Jameson Dublin International Film Festival 2012.

One of the best aspects of the Jameson Dublin International Film Festival is the way that it extends beyond the cinema, into a wider appreciation of film and cinema all around Dublin. From the Jameson Cult Film Club screening of Reservoir Dogs through to the Dublin Film Critics’ Circle awards and even the Untitled screenwriting competition, the eleven-day celebration of cinema seems to encompass all the city and all walks of life. The wonderful folks at the RTÉ Concert Orchestra and the National Concert Hall have a long history of getting into the spirit of the festival, offering high-profile tributes to cinema. Last year, for example, they held a screening of The Four Horsemen of the Apocalypse with a live orchestral accompaniment. This year, they took the penultimate evening of the festival to host a tribute to Danny Elfman, undoubtedly one of the most iconic and influential composers working today. And it was an absolutely brilliant evening.

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Filed under: Movies | Tagged: Bernard Herrmann, danny elfman, Day The Earth Stood Still, dublin, Elfman, Hollywood Reporter, Hours, Hunger Games, jameson dublin international film festival, National Concert Hall, Nightmare Before Christmas, philip glass, RTÉ Concert Orchestra, sam raimi, Theremin, tim burton | 2 Comments »

Non-Review Review: The Night of Living Dead (1968)

Posted on October 25, 2010 by Darren

Welcome to the m0vie blog’s zombie week! It’s a week of zombie-related movie discussions and reviews as we come up to Halloween, to celebrate the launch of Frank Darbont’s The Walking Dead on AMC on Halloween night. So be sure to check back all week, as we’ll be running posts on the living dead.

They’re coming to get you, Barbara!

– Barbara’s brother tempts fate

The kids in the audience were stunned. There was almost complete silence. The movie had stopped being delightfully scary about halfway through, and had become unexpectedly terrifying. There was a little girl across the aisle from me, maybe nine years old, who was sitting very still in her seat and crying… It’s hard to remember what sort of effect this movie might have had on you when you were six or seven. But try to remember. At that age, kids take the events on the screen seriously, and they identify fiercely with the hero. When the hero is killed, that’s not an unhappy ending but a tragic one: Nobody got out alive. It’s just over, that’s all.

– Roger Ebert discusses the impact of the film on his first viewing

It’s interesting to look back on a film and see that it created a whole new genre from scratch. The Night of the Living Dead is a humble, small and effective little black-and-white effort that doesn’t even seem aware of the impact that it would have. As shrewdly as it creates the monster which defined the latter half of the twentieth century (and the first few years of the twenty-first), there’s nothing pretentious about George A. Romero’s production. In fact, it consciously harks back to all manner of influential and paranoid fifties horrors (with a dash of science fiction). Still, there’s a reason the film has endured for so long. Although it never pretends to be anything more than a gloriously trashy B-movie, The Night of the Living Dead is committed to being the best gloriously trashy B-movie it can be. The only thing more fascinating than its pop culture impact is how well (mostly) it still hold up today.