michael felix

When you ex-mother in law asks how you have lost so much weight is the correct response "because I'm no longer married to your daughter"?

Movie of the decade @BootsRiley @neonrated boxd.it/ezhnA3

Look, I am going to say this plainly. If you have not seen Paris, Texas...go right now find it and watch it. If not you are fucking your whole life up.

May 1982 - the neo-noir film that is finally finding its audience: CUTTER’S WAY aka Cutter and Bone - stills courtesy of the amazing 4k Blu Ray from @FilmsRadiance - get it before it’s gone!!

When will the @am_cinematheque let me and @cinefelix screen ELVES

@NinjaPleaseDJ @JohnnyDPresents Haters can shadow direct deez nuts

@JohnnyDPresents 😭

I heard #Backrooms was ghost directed by Tobe Hopper?…or was it Spielberg?…yeah, I can’t remember. Anyways, how are you?

@Ryan__Cage Our based lord

He's such a real one

Heaven. I spent most of my time examining the screenplay for Ken Russell's THE DEVILS

Oliver Reed from Ken Russell’s The Devils stuns at Cane’s Film Festival

Educative minute: Film twitter, please know that all these "amateur 35mm scans" comparison are deceptive. 1. Films are made of atoms (nitrate, acetate, polyester), and unlike digital data, they are vulnerable to entropy like everything else. 2. For the same movie, not all theatrical projection prints were made with the same process. Most were poor quality with short shelf-life (6 years according to Martin Scorsese). 3. Dye compounds are unstable, decaying at different rates over time, their colors degrading, fading & shifting. Notice how most of these "35mm scans" are bluish & faded, with contrast added in post after scanning. 4. Even if you had a perfectly manufactured, flawlessly stored & maintained, and masterfully scanned film, digitalization remains an interpretation process. A projected film is pure light, and mapping a RAW capture to the displayable dynamic range of screens is a subjective process, not a perfect science. So never interpret these 35mm scans as "how a film was supposed to look". No two surviving 35mm films look the same, and none look the way they did at release. These are just films degraded by hundreds of theatrical runs & decade of chemical decay. This organic "instagram filter" evokes a certain nostalgia, but it's an illusion. There is no pristine original to go back to. Even the original negatives stored by studios require month of digital cleaning to be considered "usable". It's all a subjective process.

OBSESSION. In theaters Friday.

American Cinematheque has a VERY LA pre-movie card. There are references to 35mm and 70mm movie formats, AC's three movie venues, Z Channel (LA's '70s/'80s pioneering movie channel with similar fare to AC), and the movie we were about to watch. Well done, @am_cinematheque

Coming in August! Brand New UHD SDR Masters – From 4K Scans of the 35mm Original Camera Negatives! This three-film collection includes three action-packed Italo-Crime classics. The Counsellor (1973) – Martin Balsam (The Taking of Pelham One Two Three) and Tomás Milián (The Big Gundown) blast the opposition in this crime saga from director Alberto De Martino (The Antichrist). When the godson (Milián) of the San Francisco syndicate boss (Balsam) asks permission to leave “the business,” Don Antonio agrees, but reluctantly. Such behavior by either man violates “the code,” and triggers a bloody mob war with underboss Garofalo (Francisco Rabal, Sorcerer). Blazing Magnum (1976) – When his sister is poisoned at a party, hardened Canadian cop Tony Saitta (Stuart Whitman, Sands of the Kalahari) embarks on a violent investigation that turns into a shocking whirlpool of revenge and betrayal. Featuring one of the decade’s greatest car chases and an arsenal of plot twists, this blend of fast-paced action film and tough police procedural from director Alberto De Martino. Weapons of Death (1977) – Leonard Mann’s (Cut and Run) hard-bitten cop goes up against Henry Silva’s (The Boss) flamboyant death-dealer in this blazing Italo-Crime gem. The action-packed thriller plunges the viewer into a Neapolitan cesspool of crime, as dogged Inspector Belli (Mann) and his task force fight against kingpin Salvatore Santoro (Silva), a stony-faced maniac who orchestrates a string of brutal robberies and insane car chases and massacres any cop, gangster or innocent bystander who gets in his way. Directed by Mario Caiano (Violent Milan) as a spin-off to Umberto Lenzi’s aptly titled Violent Naples. This special edition also includes Shadows in an Empty Room, the alternate cut of Blazing Magnum, originally released by the legendary American International Pictures studio. NOTE: All three films will also be released on standalone Blu-rays. Bonus features and other details will be announced soon.

For Immediate Release: KEN RUSSELL’S THE DEVILS. So we’re all on the same page, this is the definitive — and only — director’s cut of Ken Russell’s masterpiece.

The definitive, ultimate, and final version of THE DEVILS. Restored in pristine 4K and constructed to Russell’s exact specifications, this is it, this is the one. In theaters everywhere 10.16 courtesy of @clockwork_wb

KEN RUSSELL’S THE DEVILS. The Director’s Cut. Restored and Remastered. In Theaters October 16.

@doloresquintana @Ryan__Cage I’m glad we were all together Milne at the same time to share our Devils Fever.

@cinefelix @Ryan__Cage Nope and that of the rest of the cast too. The ensemble was firing on all cylinders. Michael Gothard was like a deranged rockstar. One of Oliver Reed's greatest performances.

OMFG, ITS ON!!! WATCH MORE KEN RUSSELL!!!

@doloresquintana @clockwork_wb

@cinefelix @clockwork_wb

KEN RUSSELL’S THE DEVILS Official Selection | Cannes Classics

@clockwork_wb ...and a partial three-sheet with one missing piece!

@clockwork_wb Some of our original lobby cards