The ultimate companion to John Carpenter’s "The Thing", digging deep into the proverbial iceberg to enhance your viewing experience with new insights, stories, and revelations.

马克揭露了他最喜欢的年代——20世纪50年代和60年代的电影背后的故事，这激发了他毕生对恐怖的热情。这些主要是英国电影，由传奇的汉默电影主导，他改写了恐怖的规则，以革命性的注入性和全彩的血腥——所有的镜头都在英国本土拍摄。

From his Saturday Night Live beginnings to a string of classic comedies, Chevy Chase has always had huge comedic range. He is also a complex and contradictory human being. Featuring revealing interviews with those closest to him, this documentary digs into the talent, flaws, and humanity that shaped an icon.

A documentary that explores the history of heavy metal music, horror films, and how the two genres have merged together over time.

Time: The second half of the eighteenth century
Places: Amiens, Paris, Le Havre, New Orleans
Act 1
Amiens: A large public square near the Paris Gate
Off the square is an Avenue on one side and an Inn on the other, with a balcony. It is evening, townspeople, soldiers and a crowd of male students and girls stroll through the avenue and square while others gather in groups. Some are seated at the tables outside the Inn, drinking and gambling.
Edmondo sings a song of youthful pleasure (Edmondo, chorus of students, girls and townspeople: Ave, sera gentile – Hail gentle evening). Des Grieux enters, and they greet him, but he is melancholic and does not join the others, singing cynically of love (des Grieux, Edmondo, chorus: L'amor?, L'amor? ...io non conosco! – Love?, Love?...I know nothing of that). They joke with him and provoke him to feign flirtation with the girls (des Grieux: Tra voi, belle, brune e bionde – Among you beauties, dark and fair); (Edmondo, chorus: Ma, bravo!).
A postillion horn is heard and the carriage from Arras pulls up at the Inn, as the crowd peers in to see who the passengers are (Chorus: Giunge il cocchio d'Arras! – Here comes the Arras coach!) Lescaut (Manon's brother), then an elderly treasurer-general, Geronte di Ravoir, descend from the coach, Geronte helping Manon, then the remainder of the passengers. The crowd comments (Chorus, Edmondo, Lescaut, des Grieux, Geronte: Discendono, vediam! – Look, they are getting down!) Edmondo and the students admire Manon (Chi non darebbe a quella donnina bella? – Who would not give to that beautiful young woman?). Des Grieux is also smitten (Dio, quanto è bella! – Dear God, such beauty!). The other passengers enter the Inn, while Lescaut signals Manon to wait for him. She sits, as des Grieux, who has been fixated on her, approaches her and declares his feelings for her (des Grieux, Manon,: Cortese damigella – Gentle lady), only to learn she is destined for a convent at the will of her father. He offers to help her, and when Lescaut calls her he begs her to meet him later; she reluctantly agrees. After Manon leaves, des Grieux sings of his feelings for her (des Grieux: Donna non vidi mai – Never before have I beheld a woman such as this). The students and girls, who have been observing the couple, comment mockingly on his good fortune (Edmondo, students: La tua ventura ci rassicura – Your good fortune encourages us).
Lescaut and Geronte descend and converse in the square about Manon's fate, observed by Edmondo. Geronte, who also is captivated by Manon, says she would be wasted in a convent. On hearing his fellow traveller's opinion, Lescaut begins to reconsider his task of escorting his sister to the convent. The students invite Lescaut to join in their card game. Geronte observes that Lescaut is preoccupied with the game and discloses his plan to abduct Manon and take her to Paris to the Innkeeper, offering him money for assistance and his silence. Edmondo overhears the plan and informs des Grieux (Edmondo: Cavaliere, te la fanno! – Sir, they are outwitting you!). He offers to help des Grieux, arranging for the card players to keep Lescaut occupied.
Manon slips out of the inn to meet des Grieux as promised (Manon: Vedete? Io son fedele alla parola mia – You see? I am faithful to my word). He declares his love for her and advises her of the plot to abduct her, while Edmondo arranges for the carriage Geronte has hired to take the couple to Paris. They leave together just as Geronte arrives, ready to execute his plans (Geronte: Di sedur la sorellina e il momento! – The moment to seduce the little sister has arrived). Geronte is taunted by Edmondo. Realising he has been tricked, Geronte urges Lescaut to follow the departed pair. The more pragmatic Lescaut advises him that the pair will soon run out of money, and then Manon will be his.
Act 2
A room in Geronte's house in Paris
(Puccini omits the part of the novel in which Manon and des Grieux live together for a few months, and Manon leaves des Grieux when his money has run out.)
Manon is now Geronte's mistress. Manon and her hairdresser are in the room when Lescaut enters (Manon, Lescaut: Dispettosetto questo riccio!); (Lescaut: Sei splendida e lucente!). She tells him that Geronte is too old and wicked; he bores her. Manon is sad, and her thoughts turn to des Grieux (Manon: In quelle trine morbide); (Lescaut, Manon: Poiché tu vuoi saper).
Musicians hired by Geronte enter to amuse her (Madrigal: Sulla vetta tu del monte); (Manon, Lescaut: Paga costor). Geronte brings a dancing master; they dance a minuet, then she sings a gavotte (Dancing master, Geronte, Manon, chorus: Vi prego, signorina [minuet]); (Manon, Geronte, chorus: L'ora, o Tirsi, è vaga e bella). After dancing, Geronte and the musicians leave the house.
Dismayed that his sister is unhappy living with Geronte, Lescaut goes to find des Grieux. Des Grieux appears in Geronte's house (Manon, des Grieux: Oh, sarò la più bella! – This love's own magic spell). As des Grieux and Manon renew their vows of love, Geronte returns unexpectedly. He salutes the couple, reminding Manon of his many favors to her, including some precious jewels. She replies that she cannot love him (Geronte, des Grieux, Manon: Affè, madamigella).
Bowing low, he leaves them. Manon rejoices in their freedom (Manon: Ah! Ah! Liberi!); (des Grieux: "Ah, manon, mi tradisce il tuo folle pensiero). Lescaut urges them to leave the house at once, but Manon hesitates at the thought of leaving her jewels and pretty frocks. Again, Lescaut enters in breathless haste, making signs that they must depart immediately. Manon snatches up her jewels, and they go to the door. It has been locked by Geronte's order. Soldiers appear to arrest Manon who, in trying to escape, drops the jewels at Geronte's feet. She is dragged away and des Grieux is not permitted to follow her (des Grieux, Manon, Lescaut, sergeant, Geronte: Lescaut! – Tu qui?).
(Intermezzo: The journey to Le Havre.)
His various efforts to have Manon released and even to free her by force having failed, des Grieux follows her to Le Havre.
Act 3
A square near the harbor in Le Havre
At dawn Manon is with the other imprisoned courtesans (des Grieux, Lescaut, Manon: Ansia eterna, crudel). Lescaut has bribed a guard to let des Grieux speak with Manon. Talking to her through the bars, he learns that she is to be deported to Louisiana. A lamplighter passes, singing a song as he extinguishes the lights (Lamplighter, des Grieux, Manon: E Kate ripose al re); (des Grieux, Manon: Manon, disperato è il mio prego).
They attempt a rescue, but in vain. The guard appears, escorting a group of women, who are going on the same ship as Manon. She walks among them, pale and sad. The crowd makes brutal comments during the roll call of the courtesans (Chorus, Lescaut, des Grieux, Manon: All'armi! All'armi!), but Lescaut inspires pity for Manon (Sergeant, chorus, Lescaut, Manon, des Grieux: Rosetta! – Eh, che aria!).
Des Grieux, in despair at the idea of being separated from Manon forever, goes to her side. He tries to seize her but is pushed away by the sergeant. However, the captain of the ship sees his intense grief (des Grieux: Pazzo son!) and allows him to board the ship.
Act 4
A vast plain near the outskirts of the New Orleans territory
Having fled the jealous intrigues of New Orleans, the lovers make their way across a desert to seek refuge in a British settlement. Wandering in the desert, the ailing Manon is exhausted. She falls and cannot go any farther (des Grieux, Manon: Tutta su me ti posa); (des Grieux: Vedi, son io che piango); (Manon, des Grieux: Sei tu che piangi).
Des Grieux is alarmed by Manon's appearance and goes to look for water. While he is gone, Manon recalls her past and muses about her fatal beauty and her fate (Manon: Sola, perduta, abbandonata).
Des Grieux returns, having been unable to find water. Manon bids him a heart-rending farewell, however not before complaining about how her life has not been fair and that she is no longer beautiful. Before dying in his arms Manon asks des Grieux to tell her how beautiful she used to be, and how he must forgive her wrongdoings and faults before she dies, not listening to him repeat how much he loves her and will miss her. Overcome by grief at the death of his vain and selfish lover, des Grieux collapses across her body (Manon, des Grieux: Fra le tue braccia, amore).

The Thing的全长making of，特效迷绝对不可错过
两版收藏版DVD里都收了

该剧由Damon Runyon的两则短篇故事改编，首演后大受欢迎，1200场的佳绩在当时是很罕见的。曾获托尼奖最佳音乐剧、最佳男主角、最佳编舞等五项大奖。此后几乎每十年，该剧就会在百老汇和伦敦复排一次，每一次都能吸引大量观众。该剧1955年改编为电影，由马龙·白兰度 Marlon Brando主演。名曲包括“Luck Be a Lady”、“If I Were a Bell”等。

A nostalgic journey through '80s Sc-Fi films, exploring their impact and relevance today, told by the artists who made them and by those who were inspired to turn their visions into reality.

寻找黑暗三部曲的史诗般的结局。在这史诗般的最后一章中，我们的焦点转向视频租赁商店最底层货架上的直接视频恐怖经典。富有想象力、血腥、实验性——但总是有趣——这些隐藏的宝石已经成熟，等待重新发现。

80 年代恐怖终极回顾展规模更大。 《寻找黑暗：第二章》是朗多·哈顿提名的《寻找黑暗》的续集，时长四个多小时，增加了 15 位新受访者和 40 多个回归热门，打造了有史以来规模最大、最全面的 80 年代恐怖纪录片阵容。

Alfred Hitchcock often referred to his style of film making as "pure cinema" - using camera movement, editing, music and sound to tell stories that would be impossible in any other medium. Even as early as the 1920s, while his contemporaries were simply filming stage plays, Hitchcock was creating a cinematic language that has endured and influenced every filmmaker who came after him. This in-depth documentary allows directors such as William Friedkin, Martin Scorsese and Guillermo del Toro to examine the power and mastery of Hitchcock's cinematic style, breaking down such signature sequences as the bell tower scene in Vertigo, the attic attack in The Birds and the shower scene in Psycho.

Great documentary features interviews with Martin Scorsese, Curtis Hanson, Francis Lawrence, William Friedkin, Guillermo Del Toro, John Carpenter and others as they discuss the films and style of the Master of Suspense. Various topics are discussed including how Hitchcock always had you cheer for the killer, how the good guy on conflicts, objects of desire, how sound was used and the importance of objects that might not mean anything. By the time this documentary was released in 2009 there had already been countless films that took a look at Hitchcock and his style so you might go into this thing wondering what else there is for us to know but what makes this film so special is how those involved really do look at things you might not have noticed before. This was produced by Warner so the film's covered are the ones they owned like STRANGERS ON A TRAIN, NORTH BY NORTHWEST, SUSPICION, I CONFESS, THE WRONG MAN, MR. AND MRS. SMITH and DIAL M FOR MURDER among others. These are films that most fans have seen multiple times and it's still interesting at how the filmmakers really breakdown certain scenes and make you notice things that you might not have. There's no doubt that after watching this you'll want to go back and watch all of the films again just so you can view them in a new way, which is something that happens with most Hitchcock classics. Scorsese offers up some interesting views on THE WRONG MAN and the discussion of Hitchcock's humor is spot on. Fans of the great director are really going to enjoy this 57-minute film and we even get a couple interviews with Hitchcock himself that were recorded back in the 70s.

This documentary short explores the origins of the monster movie and how Alfred Hitchcock's "The Birds" (1963) fits in the genre.

Director Robert Rodriguez interviews some of the top movie directors.

Shane Black (Lethal Weapon), John Carpenter (Halloween), Frank Darabont (The Shawshank Redemption), William Goldman (Butch Cassidy and the Sundance Kid), Paul Schrader (Taxi Driver), and dozens of other Hollywood screenwriters share penetrating insights and hilarious anecdotes in Peter Hanson's Tales from the Script, the most comprehensive documentary ever made about screenwriting. By analyzing their triumphs and recalling their failures, the participants explain how successful writers develop the skills necessary for toughing out careers in one of the world's most competitive industries. They also reveal the untold stories behind some of the greatest screenplays ever written, describing their adventures with luminaries including Harrison Ford, Morgan Freeman, Stanley Kubrick, Joel Silver, Martin Scorsese, and Steven Spielberg.

影片从1910年爱迪生的电影工作室拍摄的《弗兰肯斯坦》讲起，串起近百年的美国恐怖片发展史。为什么恐怖片能在美国取得如此巨大的成功？为什么美国观众如此热衷于血腥和暴力？影片邀请来诸位恐怖片大师，包括乔·丹特（《小魔怪》）、约翰·卡朋特（《万圣节》）、达伦·林恩·鲍斯曼（《电锯惊魂2》）等等，详述他们对于恐怖片的理解，混剪进各类经典恐怖镜头着实效果非常。

第72届戛纳国际电影节将于2019年5月14日至25日在法国南部城市戛纳举行。
电影节期间，竞赛和展映活动同时进行。电影节分为六个单元：“正式竞赛”，“导演双周”，“一种注视”，“影评人周”，“法国电影新貌”和“会外市场展” 。

为什么恐怖？这是一个标准长度的纪录片，恐怖迷塔尔齐默尔曼借由心理学，告诉我们为什么会害怕。恐惧是一种全球性的现象。数以百万计的人喜欢它，但恐怖迷经常被误解。塔尔齐默曼应该知道。他是他们中的一个。塔尔去环游世界去了解人们为什么喜欢在血液和内脏中发现的电影，书籍和视频游戏的恐怖。他会见了一流的导演，作家，演员和心理学家，发现在不同的文化中，恐怖看起来如何，为什么它如此受欢迎和它如何影响我们的思想。想知道为什么恐怖吗？