Oct. 31: Sleepy Hollow

 



Sleepy Hollow (Tim Burton, 1999)
Wed. Oct 31 9 :10 PM; City Cinema
Johnny Depp, Christina Ricci, Christopher Walken

Ichabod Crane is sent to Sleepy Hollow to investigate the decapitations of 3 people with the culprit being the legendary apparition, the Headless Horseman.

” An ornate visual fantasy of Burton’s can be expected to make its own rules, and “Sleepy Hollow” does that with macabre gusto. His idea of a beautiful day may be somebody else’s nuclear winter, but Burton eagerly brings his visions of sugarplums to the screen. (…) Using a color palette more often associated with stories of the gulag, “Sleepy Hollow” creates a landscape so daunting that even a large tree bleeds ” Janet Maslin – The New York Times.

Oct. 30: Phantom of the Paradise


Phantom of the Paradise (Brian De Palma, 1974)
Tue. Oct 30. 9 :10 PM; City Cinema
Paul Williams, William Finley, Jessica Harper

On the theme of Faust and combining rock & roll, horror, and the classic tale of Phantom of the Opera, the films centers on an aspiring rocker who sells his soul to evil music producer and ends up horribly disfigured and living in the bowels of a brand new night club, The Paradise.

”There’s no way a movie like this would get funded today. It’s too weird, too wild, too full of its director’s vision and artistic quirks. It doesn’t have the same appeal as The Rocky Horror Picture Show. It couldn’t possibly be categorized; it’s a rock opera with a tragic character at its center surrounded by so many colorful characters and so much cinematic chutzpah. There is so much to dive into in terms of world-building and themes here. The music industry and showbiz are satirized and glorified. Nearly every sequence feels like a dream and a nightmare at the same time. It’s both a fun party film and a devastating monster flick. ”  Nicolas David Meise

Oct. 29: Young Frankenstein

 



Young Frankenstein (Mel Brooks, 1972)
Mon. Oct 29 9 :10; City Cinema
Gene Wilder, Peter Boyle, Marty Feldman, Madeline Kahn

Grandson of an infamous American scientist, struggles to prove that his grandfather is not as insane as people believe. He’s invited to Transylvania, where he discovers the process that reanimates a dead body. It changes everything.

 When you hear about spoof movies, they’re almost always the kind that lean too heavily on making fun of their subjects and are made to be a running 90 minute series of jokes. Young Frankenstein on the other hand strikes this amazing balance of comedy and authentically great storytelling. The film doubles as a fantastic monster film and a hilarious comedy. The jokes come at the right pace and then we’re right back to the Frankensteins emotionally involving story. ” Serge Soucy- Soucy Art

Oct. 28: Rosemary’s Baby


Rosemary’s Baby (Roman Polansky, 1968)
Sun. Oct 28 9 :10; City Cinema
Mia Farrow, John Cassavetes, Ruth Gordon

A young couple moves in to an apartment only to be surrounded by peculiar neighbors and occurrences. When the wife becomes mysteriously pregnant, paranoia over the safety of her unborn child begins to control her life.

 A look at contemporary witchcraft and devil worship, the film is also a true feminist tale in that it clearly illustrates the way a woman can be used by men and even other women as a vessel, as well as demonstrating how society can perceive a pregnant woman as paranoid and unstable. A wholly engrossing experience, Rosemary’s Baby is the best kind of paranoid entertainment, the kind wherein everything that has come in earlier scenes gains new meaning as the plot reveals itself. ” Dave Stewart – Bloody Terror

Oct. 27: The Haunting

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The Haunting (Robert Wise, 1963)
Sat. Oct 27 9 :10
Julie Harris, Claire Bloom, Richard Johnson, Russ Tamblyn

A scientist doing research on the paranormal invites two women to a haunted mansion. One of the participants soon starts losing her mind.

” Sound effects, disorienting camera work, expert editing, and Humphrey Searle’s discomfiting score all suggest, without showing, a horrible presence waiting in the wings. Though parts of The Haunting are talky, even that works in the film’s favor, as Tamblyn’s glib dismissals and Johnson’s calm professorial tone are unable to clear up the mystery at its core. After all, the specters that can’t be seen, classified, or otherwise contained are the scariest of all. ”  Keith Phipps – The A.V. Club


Oct. 26: The Brood


The Brood (David Cronenberg, 1979)
Friday, Oct 26 9 :10; City Cinema
Oliver Reed, Samantha Eggar, Art Hindle

A man tries to uncover an unconventional psychologist’s therapy techniques on his institutionalized wife, amidst a series of brutal murders.

 A significant jump for Cronenberg in maturity as a filmmaker while still retaining his early grotty body horror. In other words, a perfect balance of Cronenberg’s arthouse and grindhouse sensibilities. As a filmmaker, Cronenberg has always been at the forefront of doing what horror does best – making metaphors – and The Brood is a prime example with its vengeful rage-made-flesh children pummelling members of a divorcing household to a bloody pulp. ” Dave Stewart – Bloody Terror

 

Oct. 24: The Shinning

From October 24 to October 31. L’Ipéen & The Charlottetown Film Society will host a series of Halloween/horror films

A reminder of our special : $10 for the first movie you come to see in a week and $5 for the others (it only apply to the movies in the Charlottetown Film Society/L’Ipéen film series and on the movies that are shown in the same week (Monday to Sunday), it doesn’t include movies in the regular City Cinema programming.) – Tickets will be available at the door or on eventbrite.ca

Here’s the 1st film that we selected to show in this series:


The Shining (Stanley Kubrick, 1980)
Wed. Oct 24, 9 :15
Jack Nicholson, Shelley Duvall, Danny Lloyd

A family heads to an isolated hotel for the winter where an evil spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.

”Kubrick understands how he has to manipulate his audiences in this genre. He doesn’t mess about with obvious exposition, he gives the audience more questions than we’ll ever have answers for. For a long time he doesn’t try to answer whether Jack is crazy or whether the hotel is truly haunted. It only chooses what is what when the horror travels from the psychological to the physical in the final act.

This is, simply put, one of the best horror films ever made, being a perfect representative of both the genre and the medium. ” Masters Of Cinema


Oct 5 & 6: Mary and the Witch’s Flower

 

mary

Mary and the Witch’s Flower
Hiromasa Yonebayashi , 2017
Friday and Saturday Oct. 5 and 6 at 9 :05PM
In Japanese version with English Subtitles.

City Cinema
Young Mary follows a mysterious cat into the nearby forest and discovers an old broomstick and a strange flower.

“Hiromasa Yonebayashi, director of Ghibli’s later efforts The Secret World of Arriety and When Marnie Was There, takes the reigns for the first Studio Ponoc effort – and has maintained everything that makes Ghibli animations so special in the first place. He doesn’t try to forge a singular identity for the new studio that makes it stand separate from the animation goliath that predates it.  Instead, he shows how closely he’s studied the masterpieces of Miyazaki and Isao Takahata to create a magical fairytale that’s incredibly worthy of standing alongside the masterworks of either of those legendary animators.”  Alistair Ryder – Film Inquiry


$10 ($5 for children under 14, must be accompanied by an adult)
– If you come more than once in the same week, you pay $ 10 the first time but only $ 5 the other time –
Tickets at the door or on Eventbrite.ca

Oct 4: Alien – The Director’s Cut

Alien: The Director’s Cut
Ridley Scott, 1979
with Sigourney Weaver, Tom Skerritt, John Hurt
Thursday, October. 4 at 9:10 PM

City Cinema; Admission $10
Since the keen interest in this film seemed particularly acute, we decided to screen it a second time. Last Saturday we presented the original version of 1979 film “Alien” and to change it up a little, this time we will present the version that Ridley Scott himself revised in 2003 in which he added additional scenes and streamlined some of the sequences.

“Upon viewing the proposed expanded version of the film, I felt that the cut was simply too long and the pacing completely thrown off. After all, I cut those scenes out for a reason back in 1979. However, in the interest of giving the fans a new experience with Alien, I figured there had to be an appropriate middle ground. I chose to go in and recut that proposed long version into a more streamlined and polished alternate version of the film. For marketing purposes, this version is being called “The Director’s Cut” (…)
“The traditional definition of the term “director’s cut” suggests the restoration of a director’s original vision, free of any creative limitations. It suggests that the filmmaker has finally overcome the interference of heavy-handed studio executives, and that the film has been restored to its original, untampered form. Such is not the case with Alien: The Director’s Cut. It’s a completely different beast.”
―Ridley Scott