Movies
The Spierig Brothers Directing ‘Power of the Dark Crystal’ 3D
In a joint announcement by Omnilab Media’s Christopher Mapp and The Jim Henson Company’s Lisa Henson, Australian based Omnilab Media is teaming up with The Jim Henson Company to bring the much anticipated fantasy sequel, Power of the Dark Crystal to the big screen in stereoscopic 3D. The highly anticipated sequel to Jim Henson and Frank Oz’s 1982 film will be among the most ambitious projects to ever be produced in Australia. Who’s directing? How about Peter Spierig and Michael Spierig, the duo behind Undead and Daybreakers. Read on for the skinny.
“Set hundreds of years after the events of the first movie when the world has once again fallen into darkness, “Power of the Dark Crystal” follows the adventures of a mysterious girl made of fire who, together with a Gelfling outcast, steals a shard of the legendary Crystal in an attempt to reignite the dying sun that exists at the center of the planet.“
Power of the Dark Crystal will be produced by the Australia based production arm of Omnilab Media, Ambience Entertainment. The Jim Henson Company’s executive producers are Brian Henson, Lisa Henson and Jason Lust. Omnilab Media’s executive producers are Christopher Mapp, Matthew Street and David Whealy. Cinemarket Films’ Peter D. Graves (“Terminator Salvation”) rounds out the executive producer team.
Peter Spierig and Michael Spierig, writers and directors of “Undead” and most recently, “Daybreakers,” have come aboard to direct the screenplay written by Australian Craig Pearce (“Moulin Rouge,” “Strictly Ballroom,” “Romeo + Juliet”) based on an original script by Annette Duffy and David Odell. The legendary fantasy artist Brian Froud will reprise his role as conceptual designer of the film, which will use a stunning mix of live action and traditional puppetry combined with visual and special effects produced entirely in Australia. Omnilab-affiliated Iloura (“Where the Wild Things Are,” “The Pacific,” “Don’t Be Afraid of the Dark”) has already begun work on the film’s complex CGI elements. With this team in place, next steps will be to secure worldwide distribution.
“Power of the Dark Crystal is an exciting and ambitious undertaking and, having worked on previous projects with the top-notch talent and crews that Australia offers, we know we have assembled the right team to deliver the sequel to one of the most enduringly popular titles in the Henson library. Peter Spierig and Michael Spierig are sure to create a film that will continue the legacy of the original and exceed the expectations of our loyal fans,” said Lisa Henson, CEO of The Jim Henson Company. “We are especially enthusiastic to be working with Omnilab Media, a strong and growing force in worldwide film finance and production.”
“We are very pleased to be producing this wonderful and fantastical film in Australia. The Power of The Dark Crystal will showcase the depth of talent Australia has to offer up on the international stage, including the extremely gifted directing team of Peter Spierig and Michael Spierig. The Jim Henson Company has consistently delivered an amazing range of entertainment over generations and is an iconic creative studio that we are proud to have partner with us,” added Christopher Mapp from Omnilab Media.
Michael Spierig said, “We feel a tremendous amount of responsibility in telling this story with the same meticulous care that Jim Henson and Frank Oz gave the 1982 original.” Added Peter Spierig, “This is a chance to take the world of puppetry into the modern age by using modern techniques (like motion capture CGI) and the tried and true methods (like puppetry and animatronics) to create a one hundred percent real world that is unique to ‘The Dark Crystal’.”
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At the Abigail premiere, Dan Stevens listed Norway among his four favorite vampire movies. “I just saw a great movie recently that I’d never heard of,” he told Letterboxd. “A Greek film called Norway, about a vampire who basically exists in the underground disco scene in ’80s Athens, and he can’t stop dancing ’cause he’s worried his heart will stop. And it’s lovely. It’s great.”
You won’t find a better endorsement than that, but allow me to elaborate. Imagine Only Lovers Left Alive meets What We Do in the Shadows by way of Yorgos Lanthimos. The quirky 2014 effort follows a vampire vagabond (Vangelis Mourikis) navigating Greek’s sordid nightlife circa 1984 as he dances to stay alive. Not as campy as it sounds, its idiosyncrasies land more in the art-house realm. Stylized visuals, colorful bloodshed, pulsating dance music, and an absurd third-act reveal help the existentialism go down in a mere 74 minutes.
With the recent solar eclipse renewing public interest in the astrological event, Bloody Birthday is ripe for rediscovery. Three children born during an eclipse – Curtis Taylor (Billy Jayne, Parker Lewis Can’t Lose), Debbie Brody (Elizabeth Hoy), and Steven Seton (Andrew Freeman) – begin committing murders on their 10th birthday. Brother and sister duo Joyce (Lori Lethin, Return to Horror High) and Timmy Russell (K.C. Martel, The Amityville Horror) are the only ones privy to their heinous acts.
Bloody Birthday opened in 1981 mere weeks before the release of another attempt to claim the birthday slot on the slasher calendar, Happy Birthday to Me. Director Ed Hunt (The Brain) combines creepy kid tropes that date back to The Bad Seed with slasher conventions recently established by Halloween and Friday the 13th – with a little bit of the former’s suspense and plenty of the latter’s gratuity. The unconventional set up helps it to stand out among a subgenre plagued by banality.
Starting in the late ’70s and throughout the ’80s, Italy built an enterprise out of shameless rip-offs of hit American movies. While not a blatant mockbuster like Cruel Jaws or Beyond the Door, 1989’s Alien from the Abyss (also known as Alien from the Deep) was inspired by – as you may have guessed from its title – Alien, Aliens, and The Abyss.
After a pair of Greenpeace activists attempt to expose an evil corporation that’s dumping contaminated waste into an active volcano, the environment takes a backseat to survival when an extraterrestrial monster attacks. Character actor Charles Napier (The Silence of the Lambs) co-stars as a callous colonel overseeing the illicit activities.
Director Antonio Margheriti (Yor: The Hunter from the Future, Cannibal Apocalypse) and writer Tito Carpi (Tentacles, Last Cannibal World) take far too long to get to the alien, but once it shows up, it’s non-stop excitement. The creature is largely represented by a Gigeresque pincer claw that reaches into the frame, giving the picture a ’50s creature feature charm, but nothing can prepare you for its full reveal in the finale.
Set against the backdrop of displaced Syrian and Palestinian refugees, What Is Buried Must Remain is a timely found footage hybrid from Lebanon. It centers on a trio of young filmmakers as they make a documentary in a decrepit mansion alleged to be haunted on the outskirts of a refugee camp. Inside, they find the spirits of those who died there, both benevolent and malicious.
It plays like Blair Witch meets The Shining through a cultural lens not often seen in the genre. The first half is presented as found footage (with above-average cinematography) before abruptly weaving in more traditional film coverage. While the tropes are familiar, the film possesses a unique ethos by addressing the Middle East’s plights of the past and the present alike.
Cathy’s Curse is, to borrow a phrase from its titular creepy kid, an “extra rare piece of shit.” The Exorcist, The Omen, and Carrie spawned countless low-budget knock-offs, but none are as uniquely inept as this 1977 Canuxploitation outing. Falling squarely in the so-bad-it’s-good camp, it’s far more entertaining than The Exorcist: Believer.
To try to make sense of the plot would be futile, but in a nutshell, a young girl named Candy (Randi Allen, in her only acting role) becomes possessed by the vengeful, foul-mouthed spirit of her aunt, destroying the lives of anyone who crosses her path. What ensues is a madcap mélange of possession, telekinesis, teleportation, animal attacks, abandoned plot points, and unhinged filmmaking that must be seen to be believed.
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