THE PHANTOM OF THE OPERA (1989)
1989, Park Circus/MGM, 95 min, USA/UK/Hungary, Dir: Dwight H. Little

“Only love and music are forever.” NIGHTMARE ON ELM STREET star Robert Englund dons the phantom’s mask for a big-screen adaptation of the famed Gaston Leroux novel that hews closer to the horror of the original than the romance of the Andrew Lloyd Webber musical. An accident during an audition transports 1980s Juilliard student Christine Day (Jill Schoelen) back to 19th-century London, where a horribly disfigured antihero who haunts an aging opera house becomes infatuated with her. With Alex Hyde-White, Bill Nighy and Molly Shannon (in her film debut).


CULTURE SHOCK
2019, Blumhouse, 91 min, USA, Dir: Gigi Saul Guerrero

This episode of the popular Hulu original series INTO THE DARK follows a young Mexican woman (Martha Higareda) in pursuit of the American Dream, who crosses illegally into the United States only to find herself in an American nightmare. Martha Higareda, Richard Cabral, Shawn Ashmore, Barbara Crampton and Creed Bratton star in this socially relevant and painfully human story of desperation and the terrifying realities that accompany the struggle to get a fair chance at life.


THE DEAD DON’T DIE
2019, Focus Features, 103 min, USA/Sweden, Dir: Jim Jarmusch

In the sleepy small town of Centerville, something is not quite right. The moon hangs large and low in the sky, the hours of daylight are becoming unpredictable and animals are beginning to exhibit unusual behaviors. But no one foresees the strangest and most dangerous repercussion that will soon start plaguing Centerville: The Dead Don't Die - they rise from their graves and savagely attack and feast on the living, and the citizens of the town must battle for their survival. The horror comedy features the greatest zombie cast ever disassembled, including Jarmusch regulars (Bill Murray, Adam Driver, Chloë Sevigny, Tilda Swinton, Iggy Pop, Steve Buscemi, Tom Waits) and newcomers to the fold (Selena Gomez, Danny Glover, Caleb Landry Jones, Carol Kane) in a raucous, rueful and satirical glimpse at American habits and desires at the end of the world.


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