Stanley Kubrick's right-hand man Leon Vitali explains how they executed the classic "elevator of blood" moment in 'The Shining' — and why the legendary director refused to be on set during the filming of the scene.
2016 was an eventful year for comic book movies, with an array of successes, disappointments, and downright disasters. ‘Deadpool’ was one 2016’s success stories. While the first film’s writers Rhett Reese and Paul Wernick were talking to Comicbook.com about their new sci-fi-horror ‘Life’, the pair commented on how ‘Deadpool 2’ would be cast imminently.
In pole position for this year’s prize is ‘La La Land’, a film arriving as much-needed respite following the many shocks, horrors and uncertainties of 2016. ‘La La Land’ is a mug of hot chocolate after getting caught in a sleet storm. It’s a sincere homage to a bygone Hollywood era, and so there are certainly similarities to be drawn with another Oscar-winner – ‘The Artist’, but none favour the 2012 Best Picture winner. What undoes Michel Hazanavicius’ well-meaning ode to silent movies is its knowing winks, and a single line of illusion-cracking dialogue. ‘La La Land’ by contrast is a wholehearted and true resurrection of a long-forgotten form which pays tribute in all the right ways, but is contemporary also, making the genre work for modern audiences but never trampling its legacy.
The return of a heavy-breathing dark lord, first contact like we’ve never seen it before, a humanitarian scrapping with a CGI bear, a 20-storey Paul Rudd – it’s safe to say that in 2016, we’ve seen it all.