#Bill Burke photography

[pamelaaminou]

Monday Photography Inspiration - Bill Burke

William M. Burke is an American photographer and educator known for his 20 years of documentary photography in Vietnam and neighbouring countries, detailing the effects of war. Bill Burke was born in Milford, Connecticut in 1943. In 1966, he received a B.A. in Art History from Middlebury College and a B.F.A. and M.F.A. in Photography from Rhode Island School Of Design.  For over twenty years,…

[agelessphotography]

“Kiss.” Young Lady in Amusement Arcade, Williamson, West Virginia, Bill Burke, 1979

[of-fear-and-love]

Deep Cover (1992)

Directed by Bill Duke Director of photography Bojan Bazelli Production design by Pamela B. Warner Art direction by Daniel Bickel Costume design by Arline Burks Gant

[filmnoirfoundation]

#NoirCity21 opens this Friday, Jan 19, 7:30 PM at Oakland's Grand Lake Theatre with our newest restoration project NEVER OPEN THAT DOOR. Eddie Muller will be signing his books up in the mezzanine, 6pm-7pm. Tix: http://NoirCity.com

Restoration performed by UCLA Film & Television Archive.

Program notes follow.

FRIDAY, JANUARY 19:

7:30

World Premiere FNF Restoration!

NEVER OPEN THAT DOOR | NO ABRAS NUNCA ESA PUERTA

Argentina, 1952. Estudios San Miguel. 85 minutes

Screenplay by Alejandro Casona, from two short stories by Cornell Woolrich (William Irish)

Produced and directed by Carlos Hugo Christensen

More noir films have been based on the stories of Cornell Woolrich than any other writer, and NOIR CITY is proud to present this brand-new restoration of one of the best of those adaptations. In “Someone’s on the Phone,” Ángel Magaña plays a man bent on avenging the death of his sister, driven to suicide by gambling debts. In “The Hummingbird Comes Home,” Roberto Escalada portrays a racketeer who brings the gang to his boyhood home to lay low after a robbery. His blind madre doesn’t approve. Originally a three-part anthology of Woolrich tales, Never Open That Door was released separately from the 73-minute If I Should Die Before I Wake, also adapted by Casona and Christensen. Benefitting from the incredible cinematography of Pablo Tabernero, this is one of the most evocative realizations of Woolrich ever produced, featuring masterful sequences of sustained suspense. Said Buenos Aires film critic Horacio Bernades, “Rarely has an Argentine film been more purely cinematic than this.”

CAST: Someone on the Phone: Ángel Magaña (Raúl), Renée Dumas (Luisa), Diana de Córdoba (Nelly), Nicolás Fregues (money lender), Pedro Fiorito, Orestes Soriani, Percival Murray, Rosa Martín , Arnoldo Chamot. The Hummingbird Comes Home: Roberto Escalada (Daniel), Ilde Pirovano (the mother), Norma Giménez (María), Luis Otero (Juan)

9:30

STREET OF CHANCE

United States, 1942. Paramount [Universal]. 74 minutes

Screenplay by Garrett Fort, based on the novel The Black Curtain by Cornell Woolrich

Produced by Burt Kelly. Directed by Jack Hively

The first case of amnesia in the film noir era comes with a typically intriguing Woolrichian twist. Frank Thompson survives a near fatal accident only to have the shock partially restore his memory! He realizes he’s lived the past several years as someone other than his true self. With the help of his incredulous girlfriend Ruth, Frank embarks on a nocturnal quest to determine his true identity. This modest offering from the B-unit at Paramount benefits from some A-list contributors, principally stars Burgess Meredith and Claire Trevor, and director of photography Theodor Sparkuhl, whose contributions to the look of early ’40s noir have gone largely unheralded. A wonderful gallery of supporting characters skitter and sneak through Frank’s waking nightmare, well rendered by journeyman director Jack Hively who had previously helmed many entries in RKO’s mystery series The Saint.

CAST: Burgess Meredith (Frank Thompson), Claire Trevor (Ruth Dillon), Louise Platt (Virginia Thompson), Sheldon Leonard (Joe Marucci), Frieda Inescort (Alma Diedrich), Jerome Cowan (Bill Diedrich), Adeline deWalt Reynolds (Grandma Diedrich), Arthur Loft (Sheriff Stebbins), Clancy Cooper (Burke), Ann Doran (Miss Peabody), Paul Phillips

[blowflyfag]

WORLD WRESTLING ENTERTAINMENT/FEDERATION MAGAZINE: May 2008

ECW INTERVIEW 

O.M.G.!

ECW’s resident mouthpiece, Joey Styles, weighs in on “new” versus “original.” the making of Stone Cold Steve Austin and gross-out classic matches he just can’t bring himself to rewatch.

BY MATT CHRISTENSEN PHOTOGRAPHY BY BOB CROSLIN

“I'M NOT GOOD WITH GORE. I DIDN’T EVEN WATCH SEE NOT EVIL!”

[“The room service here is dreadful.”]

“New ECW.” “Original ECW.” When are people just gonna say “ECW�� and leave it at that?

Absolutely never. Diehard “Original” ECW fans still exist all over. Whenever I'm noticed in the Northeast, it’s rarely due to my involvement with the new ECW.

Would the ECW stars of today be able to thrive, or even survive in the original ECW?

There are plenty of Superstars now who would’ve fit in perfectly in the old ECW. Guys like CM Punk, Chavo Guerrero, Shelton Benjamin and Elijah Burke would have thrived. They would’ve just been doing more hardcore things, maybe two times a week, instead of having spectacular athletic matches five times a week.

Is the revamped ECW the reason we don’t get as many “OH MY GOD!?!”’s?

No, I save it for special moments. At WrestleMania 23, when the ECW Originals defeated The New Breed, that was special. It was career validation for those four guys. Only RVD had competed at WrestleMania before, and his teammates, Sabu, Sandman and Tommy Dreamer, probably never, ever expected to do so. It was a very special night, so I leaned into Tazz and said, “There’s only one thing left to say…’OH MY GOD!’

What ECW matches made even you gag?

There are two classic matches that I never, ever need to watch again–one at Born To Be Wired, which featured Sabu vs. Terry Funk in a ring with barbwire instead of ring ropes. And Beulah McGillicutty vs. Bill Alphonso in 1997; I’ve never seen that much blood in my life. Fonzie actually had to be rushed to the hospital to get more blood put in him. And with Sabu and Funk, Terry almost lost an eye. I’m not good with gore. I didn’t even watch See No Evil! 

Which Superstar are you most proud to say that ECW “discovered”?

Guys like Rey Mysterio, Tazz and Chris Jericho really broke out and made an impact on the wrestling world in ECW. But I'm specifically proud that ECW is where “Stunning” Steve Austin became “Stone Cold” Steve Austin. It’s where he began picking up the microphone and being himself. Mick Foley was also held back in WCW because he didn’t fit its image of a champion, but he could spellbind an entire viewing audience. ECW let him do just that. 

Are there any underutilized Superstars in ECW today?

Up until very recently, people had given up on Tommy Dreamer and Stevie Richards. Maybe because they were perceived as being too old, or maybe because people were trying to forget about the old ECW. But those two have so much to offer, and they’re finally getting the credit they deserve. 

As a commentator, who are your role models? And please don’t say Mongo McMichael…

I’ve learned a lot from Michael Cole since joining WWE, actually. But I grew up listening to two people–Vince McMahon doing WWE commentary and Jim Ross working with NWA. I always aspired to be a combination of the two by fusing Vince McMahon's enthusiasm with Jim Ross’s credibility and knowledge. 

Best piece of advice from Good Ol’ J.R.? 

When I first started, JR sat down with me for five straight hours [HOLDS UP ALL FIVE FINGERS ON HIS HAND] and helped me understand what being a WWE announcer was about. Initially, I couldn’t grasp the style, and he didn’t hesitate to help educate me. Without Jim Ross’ help, I wouldn't have lasted more than a few weeks in WWE.

How does two-man annoying compare to the one-man show you rain in the original ECW? 

It’s been my life-long dream to be a professional wrestling announcer. I’m most proud of ECW’s first pay-per-view–Barely Legal. That was the first time I ever did live television. We had some Japanese wrestlers on the card, and I actually asked them to put me in some of their signature holds, albeit lightly, so that I'd know what to look for during the match. After the show, I was in years. I knew that night was going to make or break my career.

Is the passion still there after 15 years in the business?

When your dream becomes your job, sometimes you become numb to it. But, without question, the road to WrestleMania always makes me feel like a 13-year-old kid again. For the entire WrestleMania weekend, though I'm privileged to be calling the action, I’m there as a fan. 

SPEED ROUND

Styles rates famous sports catchphrases

“BOO-YAH!” - STUART SCOTT

It definitely distinguished him on ESPN. When it’s forced, it’s obvious, but when it’s genuine, I think it’s great.

“HE COULD…GO…ALL...THE…WAY!” - CHRIS BERMAN

I love it. Chris Berman is the voice of ESPN.

“IT’S AWESOME, BABY!” - DICK VITALE 

This one is probably a bit overused. And “Awesome, with a capital ‘A’” is definitely too much. But hey, it’s Dick Vitale, so who am I to critique him?

“DO YOU BELIEVE IN MIRACLES?” - AL MICHAELS 

This is one of those lines that will live forever. I actually stole it when Mikey Whipwreck won the ECW World Heavyweight Championship in 1995.

“BUSINESS IS ABOUT TO PICK UP!” - JIM ROSS

It’s such a distinct sentence; it lets you know that something’s about to happen. In fact, every time I say, “Things are getting more interesting by the moment,” It’s my homage to JR’s signature phrase.

[docrotten]

THE SHADOW OF THE CAT (1961) – Episode 188 – Decades of Horror: The Classic Era

“You mean to tell me that an ordinary domestic cat is terrorizing three grown-ups?” Well, yes. Is that surprising? Join this episode’s Grue-Crew – Daphne Monary-Ernsdorff, Jeff Mohr, and guests Bill Mulligan and Michael Zatz – as they follow the cat everyone worries about in BHP Production’s The Shadow of the Cat (1961). Pssst! It’s really a Hammer Film. Really.

Decades of Horror: The Classic Era Episode 188 – The Shadow of the Cat (1961)

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/

A house cat sees her mistress murdered. The cat becomes ferociously bent on revenge while the murderers try to kill her, the only witness.

Directed by: John Gilling

Writing Credits: George Baxt

Production Design by: Bernard Robinson

Music by: Mikis Theodorakis

Cinematography by: Arthur Grant (director of photography)

Selected Cast:

André Morell as Walter Venable (as Andre Morell)

Barbara Shelley as Beth Venable

William Lucas as Jacob Venable

Freda Jackson as Clara

Conrad Phillips as Michael Latimer

Richard Warner as Edgar Venable

Vanda Godsell as Louise Venable

Alan Wheatley as Inspector Rowles

Andrew Crawford as Andrew

Kynaston Reeves as The Grandfather

Catherine Lacey as Ella Venable

Henry Kendall as The Doctor (uncredited)

Even though The Shadow of the Cat (1961) is never identified on screen as a Hammer Film (B.H.P. Productions is credited), it is most definitely Hammer! All the ingredients are there: it’s filmed at Bray Studios, most of the cast and crew are Hammer regulars, and Hammer handles the money management. The one obvious exception is the presence of Hammer’s standard bright red Kensington Gore (the film is shot in black and white). The presence of the wonderful Barbara Shelley and a menacing André Morell seal the deal.

Much to our dismay, Doc and Chad are absent-with-leave. In their stead, Daphne and Jeff are joined by Bill “Cats ’r’ Us” Mulligan and Michael “The Shadow of the” Zatz. Let the feline shenanigans begin!

At the time of this writing, The Shadow of the Cat (1961) is available on physical media as a Blu-ray formatted disc in Scream Factory’s “Universal Horror Collection: Volume 6” along with The Black Castle (1952), Cult of the Cobra (1955), and The Thing Couldn’t Die (1958).

Gruesome Magazine’s Decades of Horror: The Classic Era records a new episode every two weeks. Next in their very flexible schedule – this one chosen by Daphne – is The Flesh and the Fiends (1960), directed by John Gilling and featuring Peter Cushing, Donald Pleasence, George Rose, and Billie Whitelaw. Ah, yes. Burke and Hare strike again!

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 feedback@gruesomemagazine.com

To each of you from each of them, “Thank you so much for watching and listening!”

Check out this episode!

[ulkaralakbarova]

With a serial strangler on the loose, a bookkeeper wanders around town searching for the vigilante group intent on catching the killer. Credits: TheMovieDb. Film Cast: Kleinman: Woody Allen Prostitute: Kathy Bates Student Jack: John Cusack Irmy: Mia Farrow Prostitute: Jodie Foster Hacker’s Follower: Fred Gwynne Clown: John Malkovich Alma: Julie Kavner Marie: Madonna Magician: Kenneth Mars Eve: Kate Nelligan Doctor: Donald Pleasence Prostitute: Lily Tomlin Mr. Paulsen: Philip Bosco Spiro’s Assistant: Robert Joy Simon Carr: Wallace Shawn Vogel’s Follower: Kurtwood Smith Priest: Josef Sommer Hacker: David Ogden Stiers Cop at Police Station: John C. Reilly Woman with Baby: Eszter Balint Vigilante: James Rebhorn Roustabout: Richard Riehle Cop: William H. Macy Undesirables Onlooker: Fred Melamed Killer: Michael Kirby Vigilante: Victor Argo Vigilante: Daniel von Bargen Landlady: Camille Saviola Dwarf: Tim Loomis Fat Lady: Katy Dierlam Strongman: Dennis Vestunis Prostitute: Anne Lange Student: Andy Berman Student: Paul Anthony Stewart Student: Thomas L. Bolster Police Chief: Greg Stebner Cop at Police Station: Peter Appel Cop at Police Station: Brian Smiar Cop at Police Station: Michael P. Troy Cop at Police Station: Remak Ramsay Cop at Police Station: Ron Turek Bartender: Peter McRobbie Cop with Priest: Ira Wheeler Baby: Rebecca Gibson Hacker’s Follower: Robert Silver Spiro: Charles Cragin Vigilante with Spiro: Tom Riis Farrell Vigilante with Spiro: Ron Weyand Roustabout: Max Robinson Film Crew: Additional Casting: Todd M. Thaler Casting: Juliet Taylor Writer: Woody Allen Producer: Robert Greenhut Assistant Editor: Mark Livolsi Costume Design: Jeffrey Kurland Production Coordinator: Helen Robin Executive Producer: Charles H. Joffe Executive Producer: Jack Rollins Editor: Susan E. Morse Hairstylist: Romaine Greene Assistant Art Director: W. Steven Graham Casting Associate: Laura Rosenthal Supervising Sound Editor: Robert Hein Director of Photography: Carlo Di Palma Gaffer: Ray Quinlan Sound Designer: Dan Sable Foley Artist: Brian Vancho Set Decoration: George DeTitta Jr. Assistant Costume Designer: Donna Zakowska Production Sound Mixer: James Sabat Production Design: Santo Loquasto Assistant Sound Editor: Stuart Levy Co-Producer: Joseph Hartwick Sound Re-Recording Mixer: Lee Dichter Construction Coordinator: Ron Petagna Key Scenic Artist: James Sorice Production Assistant: Robert C. Albertell Makeup Artist: Bernadette Mazur First Assistant Director: Thomas A. Reilly Art Direction: Speed Hopkins Property Master: James Mazzola Assistant Production Coordinator: Ilyse A. Reutlinger Still Photographer: Brian Hamill Standby Carpenter: Joseph A. Alfieri Jr. Scenic Artist: Cosmo Sorice Set Dresser: Dave Weinman Assistant Camera: Michael Green Sound Recordist: Frank Graziadei Camera Operator: Dick Mingalone Script Supervisor: Kay Chapin Set Decoration: Amy Marshall Boom Operator: Louis Sabat Dolly Grip: Ronald Burke Key Grip: Robert Ward Wardrobe Supervisor: Patricia Eiben Second Assistant Camera: Michael Caracciolo Camera Trainee: David E. Baron Art Department Coordinator: Glenn Lloyd Second Assistant Director: Richard Patrick Assistant Editor: William Kruzykowski Transportation Captain: Peter Tavis Transportation Captain: Harold ‘Whitey’ McEvoy Production Assistant: Justin Moritt Wardrobe Supervisor: Bill Christians Foley Artist: Elisha Birnbaum Additional Casting: Judie Fixler Key Construction Grip: Vincent Guarriello Production Assistant: Danielle Rigby Projection: Carl Turnquest Best Boy Electric: Jim Manzione Costume Assistant: Lauren Gibson Assistant Art Director: Robert Perdziola Foley Editor: Lori Kornspun Assistant Art Director: Peter Eastman Location Scout: Megan Monaghan Assistant Art Director: Richard Michael Miller Apprentice Sound Editor: Yasmine Amitai Location Manager: James A. Davis Movie Reviews:

[ardn631-serenatalasasa]

Week 10 - Photobook Concept Idea

What and who will you portray? 

With my photography I will be photographing individuals/my friends, portraying the feeling of losing yourself as you grow up and enter your twenties. 

  What might you communicate visually through the concept of portrayal? 

Their emotions and body language on growing up. 

  What is your position on your subject matter? 

As a individual myself entering my twenties, I want to be able to highlight and portray what my friends and I struggle with. 

  What is your voice? What is unique about your subject or your approach to it? 

My voice for this project is the importance and reality for some individuals such as myself and my friends who are about to enter their twenties. What is unique about my subject is that my friends and I always talk about how we mentally stopped growing up when covid hit and are still 15  

  What do you have unique access to? A group of people, a place, a situation…? 

A group of people – my closest group of friends/individuals photographing them at their homes.  

  Consider the important role the title takes in communicating your intention and how audiences might ‘read’ the book.  What is your working title?  

I’m not set on a working title as of this moment but some titles I am thinking of are ‘Mentally 15’ and ‘You’re 20?’. 

  What would you like readers to think and feel? 

I would like the readers to connect with the images I’m portraying and understand the views of some people growing up. 

  What is the role of the text within the book? How does the text relate to the story the images tell? How do they work together? 

The role of the text in my photobook will be little captions explaining the images captured, giving the reader an understanding of my images. 

  How many shoots do you require to gain adequate coverage and successfully tell the story?  

I want to do atleast 5 or 6 shoots to collate a good set of images. 

  Do you need gear and support with your shoots? What is your plan? 

With my shoots, I will be photographing my friends in a set location. I will only need a camera. 

  What software and workflow will you use to edit, process, collate and design your photobook PDF? 

When needing to edit my photos, I will use camera raw and photoshop. As for creating the photobook, I will be using InDesign, considering I am more comfortable using that software.  

  What is your research plan?  

I will be looking at photographers that focus on themes such as age, entering twenties, dark locations etc.  

  What other photobooks have you looked at?  

I have looked at a range of photobooks online, one that really interested me was ‘Alessandra Sanguinetti- The Adventures of Guille and Belinda and the Enigmatic Meaning of Their Dreams’. It was very simple and portrayed their 5 years of growing. Another photobook that interested me was ‘I want to take a picture – Bill Burke’ as the images and text contrasted well with each other and as the images portrayed him travelling around South Asia and the text were passport stamps.  

  Are there decisions that have yet to be made? How will you resolve these? 

I will need to decide on the layout of my photobook, deciding on which images should be portrayed first – deciding on a good book cover and what captions are good to use.  

[banffcentrelibraryandarchives]

Artists’ Book Display for the week of September 3rd, 2019

Artifact : notebooks from Hell, 1974-80 by Richard Hell- Madras: New York: Hanuman Books, 1990

Souvenirs of the self by Jin-Me Yoon- Banff, AB: Walter Phillips Gallery, 1991

Sand catalogue by Long Beach, BC 1971

They shall cast out demons  by Bill Burke- Atlanta: Nexus Press, 1983

Notations by John M. Cage- New York: Something Else Press, 1968

[nowayzinedine]

Pay it forward.

[agelessphotography]

Lewis, Vote, Kool, Valley View, Kentucky, Bill Burke, 1976

[calatheazebrina]

Hey my friend is doing a survey on separating the art form the artist following the #metoo movement for a school thing. It would be really helpful if you could take the time to quickly fill it out. Thank you so much!

https://docs.google.com/forms/d/e/1FAIpQLSf_yUaNgr-7LLmHrtWojt0Jq3OXaTZneoVsES3CDqmyjS5iUA/viewform

[voluptama]

how many?

© Bill Burke

[ulkaralakbarova]

Strange things begin to occurs as a tiny California coastal town prepares to commemorate its centenary. Inanimate objects spring eerily to life; Rev. Malone stumbles upon a dark secret about the town’s founding; radio announcer Stevie witnesses a mystical fire; and hitchhiker Elizabeth discovers the mutilated corpse of a fisherman. Then a mysterious iridescent fog descends upon the village, and more people start to die. Credits: TheMovieDb. Film Cast: Stevie Wayne: Adrienne Barbeau Father Malone: Hal Holbrook Kathy Williams: Janet Leigh Nick Castle: Tom Atkins Elizabeth Solley: Jamie Lee Curtis Sandy Fadel: Nancy Kyes Andy: Ty Mitchell Mr. Machen: John Houseman Dick Baxter: James Canning Dan O’Bannon: Charles Cyphers Al Williams: John F. Goff Tommy Wallace: George Buck Flower Mrs. Kobritz: Regina Waldon Dockmaster: Jim Haynie Mel: Darrow Igus Bennett: John Carpenter Dr. Phibes: Darwin Joston Ashcroft: Fred Franklyn Grocery Clerk: John Strobel Ghost: Tommy Lee Wallace Ghost: Lee Socks Ghost: Ric Moreno Blake: Rob Bottin Blake (voice): Charles Nicklin Blonde Girl on Bleachers (uncredited): Debra Hill Film Crew: First Assistant Director: Larry J. Franco Director of Photography: Dean Cundey Producer: Debra Hill Original Music Composer: John Carpenter Producer: Barry Bernardi Executive Producer: Charles B. Bloch Producer: Pegi Brotman Editor: Charles Bornstein Production Design: Tommy Lee Wallace Art Direction: Craig Stearns Costume Design: Stephen Loomis Costume Design: Bill Whitten Sound Designer: William L. Stevenson Stunt Driver: James Winburn Production Accountant: Donald P. Borchers Assistant Art Director: Randy Moore Second Assistant Director: Jim Van Wyck Camera Operator: Raymond Stella Script Supervisor: Jeanne Rosenberg Sound Re-Recording Mixer: Richard Tyler Assistant Editor: Joe Woo Jr. Boom Operator: Joseph F. Brennan Makeup Effects: Rob Bottin Supervising Sound Editor: Gregg Barbanell Sound Effects Editor: Frank Serafine Makeup Artist: Erica Ueland Hairstylist: Tina Cassady Makeup Artist: Dante Palmiere Makeup Artist: Edward Ternes Sound Re-Recording Mixer: Bob Minkler Sound Re-Recording Mixer: Ray West Supervising Sound Editor: Ron Horwitz Special Effects: Richard Albain Jr. Gaffer: Mark Walthour Unit Publicist: Ed Pine Unit Publicist: Katy Sweet Sound Mixer: Craig Felburg Grip: David Michels Title Designer: Burke Mattsson Key Grip: Ben Haller Stunts: Mags Kavanaugh Movie Reviews: John Chard: 00:00: 21st April, 1980. The Fog is directed by John Carpenter who also co-writes the screenplay with Debra Hill. It stars Adrienne Barbeau, Tom Atkins, Janet Leigh, Hal Holbrook, Jamie Lee Curtis and Nancy Loomis. Carpenter also scores the music and cinematography is by Dean Cundey. The Californian fishing town of Antonio Bay is preparing to celebrate its 100 year anniversary. As the clock ticks past midnight strange events start to occur around the town, it seems that the town has a secret and that secret is back to make a point… Not as praised as Halloween and The Thing from John Carpenter’s early horror output, The Fog sees the director tackle the ghost story premise. For many who lapped it up back when the 80s began, it still enthrals and holds in its eerie vice like grip, for others in this desensitised age of gore and cgi overkill, it proves to be a film unable to justify the love poured on it by the fans. Which is a shame. Being able to appreciate the craft of John Carpenter back in 1980 certainly helps to avert some harsh criticisms thrown its way, because Carpenter has achieved, pound for pound, a better ghost story on a fraction of the budget afforded big Hollywood genre productions that have been made since. That’s not to say it’s perfect, for it’s not, Carpenter himself has never been wholly satisfied with the final film, this even after re-shooting a third of the film after originally making a picture reliant on suggestion over presence, but with some smoke machines, a synthesiser, a game cast and a spooky revenge story on the page, he’s made a sub-genre classic. Carpenter has so...