electricsheep

futuristic cities

Cinematic Visions of Metropolises to Come

issue forty-three To celebrate the release of Fritz Lang’s restored silent classic Metropolis, we look at cities of the future with an article on Escape from New York and a Reel Sounds column on Things to Come while Ed Hollis tells us why he would be Wall-E if he were a film character.

In the cinema releases, we review The Last Exorcism, Herzog’s brilliant farce My Son, My Son, What Have Ye Done?, the harsh and beautiful hillbilly tale Winter’s Bone and Gaspar Noe’s latest provocation, Enter the Void.

New DVDs include Richard Fleischer’s take on the Leopold and Loeb murder case Compulsion, starring Orson Welles, and animé series Full-Metal Alchemist, and we have a comic strip review of Pet Shop of Horrors, courtesy of the Queen Mum.

We interview Frédéric Temps, founder and director of the wonderful L’Etrange Festival and Frank Cole is the subject of this month’s Colonial Report from the Dominion of Canada. In Short Cuts, we take a look at the intriguing short film Aston Gorilla.

In the blog, we have an opinion piece on the much talked about A Serbian Film, as well as reports on the Film4 FrightFest and Shinsedai festivals.

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ADVERTISMENT

The End: An Electric Sheep Anthology

We are very proud to announce the forthcoming publication of the first Electric Sheep anthology of film essays in November 2010 by Strange Attractor Press. The theme is ‘The End’ and topics range from low-end sounds in David Lynch’s films to Nollywood movie End of the Wicked.

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Futuristic Cities: We have articles on Fritz Lang’s restored silent classic Metropolis, Escape from New York, a Reel Sounds column on Things to Come, an Alter Ego column where Ed Hollis tells us why he would be Wall-E if he were a film character and an interview with Michael Winterbottom on Code 46.

Filming the Last Exorcism: During Film4 FrightFest, Alex Fitch interviewed producer Eli Roth and director Daniel Stamm about their new ‘mockumentary’ horror film The Last Exorcism. Daniel Stamm talks about how using a documentary style to make supernatural movies helps break the fourth wall for the audience to help draw them into events, while Eli Roth talks about how his experience of producing his own movies Cabin Fever and Hostel differs from his more advisory role on this film.

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