Movie Soundtrack. Here’s the official track list of the soundtrack of Miles, the latest drama movie directed by Nathan Adolf and starring Tim Boardman, Molly Shannon, Paul Reiser, Missi Pyle, Stephen Root, Yeardley Smith, and Annie Golden: Miles Original Motion Picture Soundtrack. Music by Justin Bell and Jonathan Levi Shanes.
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Plot Synopsis: Miles Walton (Tim Boardman), age 1. Chicago and study filmmaking.
![Mama Horror Film Soundtrack Mama Horror Film Soundtrack](https://i0.wp.com/media2.slashfilm.com/slashfilm/wp/wp-content/images/Goodnight-Mommy-trailer.jpg)
His father passes away unexpectedly, revealing a secret affair with a local girl, which gutted their family savings. Miles can no longer afford to go to college. Desperate to get out of his small town, Miles finds the only remaining college scholarship in Chicago is to the Men’s Volleyball team at Loyola University.
Because his high school doesn’t have a men’s team, Miles tries out for the girl’s team and head coach Leslie Wayne (Missi Pyle) accepts him on the team regardless of state regulations. Meanwhile Miles’s soft- spoken mother Pam (Molly Shannon) joins a local widow support group where she meets Lloyd O’Brien (Paul Reiser), the new school district Superintendent who fiercely opposes a boy on the girls’ volleyball team.
Miles’ plans of attending College are threatened with suspension and he must fight against to chase his dreams of a better life. The movie soundtrack of Miles will be released on June 9, 2. Moviescore Media. Here’s the movie trailer: Continue reading ».
Maniac (1. 98. 0) - IMDb. Quotes. . I heard about it, I always do. I can't go out for a minute.
It's impossible. Fancy girls, in their fancy dresses and lipstick, laughing and dancing. Should you stop them? I can't stop them. But you do, don't you? And they can't laugh and they can't dance anymore. You've got to stop, or they'll take you away from me.
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I will never, ever, let them take you away from me. You're mine now forever. And, I'm so happy.
The 2. 0 Best Hammer Horror Films. BLOODSUCKERS, MAD SCIENTISTS, MONSTERS & MURDERERS: THE 2. BEST HAMMER HORROR FILMSThis is just my own personal 2. Hammer horror movies. Some of these are genuine classics while others hold a special place for other reasons.
Mama (2013) - Po zabójstwie matki w tajemniczych okoliczno. Lata poszukiwa Film Terms Glossary : Cinematic Terms : Definition and Explanation: Example (if applicable) commentary: an objective opinion or description of characters or events.
- Haile Gerima’s rarely shown film “Bush Mama,” from 1975, which is the story of a black woman’s inner life, screens today at 4 P.M.
- Mama (2014) - Owdowia. Wspólnie próbuj
- Photo gallery, plot outline, cast list, and a message board.
- Read the latest horror movie news, learn what horror movies are on DVD or get the best horror movie posters! JoBlo's Arrow in the Head has got you covered!
- The Exorcist (1973) is the sensational, shocking horror story about devil possession and the subsequent exorcism of the demonic spirits from a young, innocent girl.
Obviously quality fluctuates between some of the titles listed, but certain films appeal to me in different ways regardless of their adequacy or deficiencies. THE CURSE OF FRANKENSTEIN (1. Hammer Films enters the horror movie arena with a vengeance delivering a dynamite character study about a truly mad scientist with misguided dreams of aiding humanity. Peter Cushing goes down in history as the ultimate portrayal of the often cruel, yet indomitable Baron Victor Frankenstein. He played the role on six occasions with some of the pictures painting a more vicious interpretation than others. Cushing is so amazing, it's hard to imagine anyone else in the role of the duplicitous and brutal Baron. CURSE also delivers in the performance of Christopher Lee as the creature.
His reveal has something of the same effect as Chaney's mask unveiling in the original PHANTOM OF THE OPERA (1. Cushing starred in six of seven Frankenstein entries. Ralph Bates headlined the other. A highly recommended horror masterpiece that should be seen by true horror fans to see just where their modern blood & guts extravaganzas sprang from. HORROR OF DRACULA (1. The first and considered by most all Hammer aficionados to be the best of the series. It nonetheless got things off with a bang and solidified the Cushing and Lee team up previously laid down in Hammer's groundbreaking THE CURSE OF FRANKENSTEIN (1.
This first outing contains an energy that would be increasingly lost as this popular vampire series continued. Lee likewise became disenchanted with the films as he was given less and less to do as the films wore on. Called simply DRACULA in the UK, Hammer's first foray into vampire lore has become one of the most recognizable and famous of the cinematic adaptations of Stoker's novel. Despite the huge success given the previous Frankenstein picture, Hammer's vampire series overshadows the experiments of the ambitious and sometimes deliciously evil Baron.
Christopher Lee donned the cape for seven Hammer Dracula films essaying the role more than any other actor. HORROR OF DRACULA is a quintessential horror movie and required viewing for any serious horror fan. Frankenstein, having survived the guillotine, finds himself another assistant in THE REVENGE OF FRANKENSTEIN (1. THE REVENGE OF FRANKENSTEIN (1. The first and most obvious sequel in Hammer's Frankenstein series has Cushing's sardonic Baron escaping the guillotine and setting up a medical practice in Carlsbruck where he uses the body parts obtained from unwitting sick and tired peasants to construct a new creature. The body is to be the reward for his hunchback assistant for volunteering his brain for transplantation.
Terrible consequences ensue involving cannibalism. One of the most subtly gruesome of the Hammer pictures, Cushing is excellent as always.
He gets a grand guinol comeuppance at the end, but once more escapes certain death in ironic fashion. The film was hurriedly put together but strong direction ensure it's a stable production providing some choice moments and good performances. One of the best scenes has the creation succumbing to cannibalistic tendencies after having been beaten half to death by a janitor. After spying the Baron's experimental monkey enjoying a piece of red meat, the creature turns to the now dead janitor and begins to salivate profusely.
THE MUMMY (1. 95. Hammer's first stab at the shuffling Egyptian shambler is a decidedly more energetic creation when compared to the Universal Mummy movies. Chris Lee undertakes the role of the creature again and plays him as a far more pitiable monster and one that moves in a more hasty fashion. The story is essentially the same as the Universal entries only with the addition of color and some brutal violence some of which was trimmed before the film was released. About the only negative I would levy at the film is that several of the action charged attack sequences take place at the same location.
Outgrossing HORROR OF DRACULA in America, the film guaranteed more similar films would follow. Sadly, the later Hammer mummy movies would suffer a decline in quality when compared to this entry.
With three back to back blockbuster pairings of Cushing and Lee, more classic films with the dynamic duo were forthcoming as history would soon dictate. Three more Hammer mummy movies followed with the last, BLOOD FROM THE MUMMY'S TOMB, not featuring a mummy at all.
THE HOUND OF THE BASKERVILLES (1. Not completely horror, but close enough.
This Sherlock Holmes entry contains enough elements of dread and terror to qualify as a horror film. Peter Cushing truly delivers a whole heartedly memorable performance rife with self assurance and witty banter. Christopher Lee is on hand in a supporting role that never comes close to stealing the film away from Cushing who owns the film. Even when he's not onscreen, the viewer anxiously awaits his next scene; Cushing's performance is that good.
Without Cushing, this movie would be far less enjoyable. A most unusual Hammer film, it would be the company's only Sherlock Holmes picture. The films opening wisely plays up the horror and revenge motif to grab the attention of those put off by the Holmes mystery connotations. There's the expected red herrings and a strong sexual subtext and did I mention how good Peter Cushing is as the ingenious and crafty Sherlock Holmes?
Directed by the ever reliable Terence Fisher. THE BRIDES OF DRACULA (1. Simply one of the finest, most sumptuously mounted horror movies ever made. Quite possibly Hammer's finest horror picture. Everything from set design to costuming to the horror action itself reeks of perfection and a meticulous eye towards detail.
The title misleads as the opening narration informs us . The villain, Baron Meinster (monster?), is also a bit more on the action side as opposed to Chris Lee's interpretation. The film contains one of the most stunning sequences in all of Hammer horror wherein Van Helsing is actually bitten by the lead vampire and prevents himself from succumbing to the undead bite by cauterizing the wound with a huge branding iron. One of the best oldeworld horror movies and highly recommended. THE CURSE OF THE WEREWOLF (1.
Frequent Hammer horror helmer, Terence Fisher directs the company's sole excursion into lycanthropy, but makes it count. Based on the novel, 'The Werewolf of Paris', the film was to be another risque British terror opus born from the aborted production of Hammer's THE INQUISITOR. Considering the main focus of the movie resulted from a rape of a mute servant girl by a half man, half animal beggar, the censors objected to the visualization of both bare flesh and fangs onscreen simultaneously. The make up by Roy Ashton is exemplary and one of the most notable in the wolfman canon. Intense actor, Oliver Reed makes a big splash as the tragic character of Leon, the werewolf of the film. As usual, Terence Fisher builds his film around the triumph and eventual tragedy of the characters as opposed to the actual horror elements of the production.
A fine film in Hammer's oeuvre, it works on several levels, both as a love story and a horror picture. Highly recommended for serious fans, those less patient may find it slow going for the most part. DRACULA, PRINCE OF DARKNESS (1. Hammer's first official follow up to their lucrative Dracula series is both an entertaining and aggravating experience.
First, Peter Cushing is conspicuous by his absence replaced by the more flagrant and blunt Father Sandor played with zeal by Andrew Keir. Second, Chris Lee utters not one word of dialog, instead playing the role as a hissing and snarling monster from the time he appears to the time he ends up buried beneath the icy tomb the finale finds him in.
For years it has been stated that Lee was so incensed by the dialog given him that he refused to speak it opting to do the role silently. Apparently, according to conflicting reports, there never was any dialog in the original script for the Count to articulate despite Lee himself stating he felt the dialog given him was ridiculous, refusing to say the lines. In recent years, Lee still maintains the latter to be true. Interestingly enough, some of the lines attributed to PRINCE OF DARKNESS had him uttering, . This first sequel has a lot going for it, though. It contains one of the most gruesome means to resuscitate the Count (a scene which was even more grotesque in the script stages), a sexually ambiguous staking sequence and the first of many various means by which to destroy the lord of the undead; means that would seriously compromise vampires as a viable threat at least in British horror pictures. It holds a special place in my memory as it was the first Hammer film I remember vividly from childhood.
FRANKENSTEIN CREATED WOMAN (1. Peter Cushing returns for the fourth go round this time taking a decidedly less sinister approach in keeping with the previous entry, THE EVIL OF FRANKENSTEIN (1. Here, the ambitious Baron experiments with figuring the length of time by which the human soul exits the body the moment death occurs.
Given an opportunity to test his theories on soul transference when a wrongly accused man is guillotined and his deformed girlfriend commits suicide, Frankenstein places the soul of the executed Hans into the body of the bent and broken Christina. Now transformed into a ravishing beauty, Christina/Hans uses her wiles to exact revenge on the cruel and wealthy braggarts that led them to their doom.
It's a fascinating storyline this time out made all the more somber by the characterizations of both the doomed lovers and the despicable bullies who deserve their bloody recompense. Cushing's character takes a slight backseat to the more interesting and detailed doomed lovers, Hans and Christina.