THE CITY OF LOST CHILDREN
LA CITÉ DES ENFANTS PERDUS
1995, Sony Pictures Classics, 112 min, France/Germany/Spain, Dir: Marc Caro, Jean-Pierre Jeunet

The long-planned second feature from the creative team behind DELICATESSEN is just as bizarre, sinister and wildly imaginative as its predecessor, mixing elements of Dr. Caligari, Victor Hugo and Rube Goldberg into the story of a kind-hearted circus strongman (Ron Perlman) and his coquettish 7-year old side-kick (Judith Vittet), who attempt to stop a wicked scientist (Daniel Emilfork) from stealing the dreams of little children.


CREEPSHOW
1982, Warner Bros., 120 min, USA, Dir: George Romero

There hadn’t been a lot of anthology movies when the George Romero/Stephen King collaboration CREEPSHOW, a film inspired by classic EC horror comics, debuted in 1982; in comparison to the sober, big-budget thrills of POLTERGEIST and THE THING, the Romero/King effort was a refreshing blast of B-movie fun, low on budget and ambition but with a surprisingly good cast: Hal Holbrook, E.G. Marshall, Ted Danson, Leslie Nielsen, Ed Harris, Fritz Weaver and King himself. "The Lonesome Death of Jordy Verrill," the segment with King (as an incredibly stupid farmer), is probably the most memorable even though it’s a short vignette compared with the others - it’s a deft takeoff of THE BLOB and a riff on those moronic victims in ’50s sci-fi movies who always want to be first in line to check out that strange light coming from over the next rise.


KING KONG (1976)
1976, Paramount, 134 min, Dir: John Guillermin

Oil executive Charles Grodin and paleontologist Jeff Bridges set sail for a previously unexplored island, where they discover a gigantic ape; Jessica Lange (in her feature debut) is the beauty who charms the beast. Produced by Dino De Laurentiis, this hit remake takes a lighter tone than the original, and Rick Baker and Carlo Rambaldi’s work bringing Kong to life earned the film a visual effects Oscar. “The moviemaking team has come up with a pop classic that can stand in our affections right next to the original version.” - Pauline Kael, The New Yorker.


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