The 1st Academy Awards ceremony, presented by the Academy of Motion Picture Arts and Sciences (AMPAS), honored the best films of 1927and 1928 and took place on May 16, 1929, at a private dinner held at the Hollywood Roosevelt Hotel in Los Angeles, California. AMPAS presidentDouglas Fairbanks hosted the show. Tickets cost five dollars, 270 people attended the event and the ceremony lasted fifteen minutes. Awards were created by Louis B. Mayer, founder of Louis B. Mayer Pictures Corporation (at present merged into Metro-Goldwyn-Mayer). It is the only Academy Awards ceremony not to be broadcast either on radio or television.
During the ceremony, the AMPAS presented Academy Awards (now commonly referred to as Oscars) in twelve categories. Winners were announced three months before the live event. Some nominations were announced without reference to a specific film, such as for Ralph Hammerasand Nugent Slaughter, who received nominations in the now defunct category of Engineering Effects. Unlike later ceremonies, an actor or director could be awarded for multiple works within a year. Emil Jannings, for example, was given the Best Actor award for his work in both The Way of All Flesh and The Last Command. Moreover, Charlie Chaplin and Warner Brothers each received an Honorary Award.
Winners in competition at the ceremony included Seventh Heaven and Sunrise: A Song of Two Humans, each receiving three awards, and Wings, receiving two awards. Among its honors, Sunrise won the award for “Unique and Artistic Production,” and Wings won the award for “Outstanding Picture, Production.” In every subsequent Academy Awards, these two awards categories were eliminated, replaced by a single award to honor theBest Picture of the year, usually seen as the Academy’s top prize. In the first year, with no Best Picture award, Sunrise and Wings shared this highest honor, the former for artistic strength, the latter for production quality.

In 2008, one of the films released is said to be one of the most thrilling and frightening movie ever. Day of the Dead, the third and concluding chapter in George Romero’s zombie trilogy is the most distinctly 1950s-style science fiction version of the lot. Set in Florida, as the film begins the dead have taken over the world, outnumbering humans 400,000 to one. The handful of surviving humans have taken refuge in an underground missile silo and argue and yell at each other like players in a Rod Serling Twilight Zone episode.
Romero’s script, which concerns the last stand against zombie nation by a group of scientists and soldiers holed up in an underground military base, aims for claustrophobic creepiness. Yet a good portion of the film is dulled by endless arguments between the lab rats (who, led by Richard Liberty’s Dr. “Frankenstein” Logan, are experimenting on captured zombies) and the grunts (who want to shoot their way to freedom). Romero has never been much of a visual stylist, but Tom Savini knows his way around gory effects, and the zombies moan — and maim — disgustingly well. Yet even if Day of the Dead doesn’t significantly raise one’s heartbeat, the film’s frosty pessimism about mankind’s future does eventually get under your skin. Dr. Logan’s humane efforts to train Bub (Sherman Howard), a gentle zombie, speaks to humanity’s more noble aspirations, especially considering that — unlike its predecessors, which portrayed the creatures as distinctly inhuman — the film makes clear that the zombies are fundamentally human.
Among the survivors are Sarah (Lori Cardille) — a scientist who is trying to reverse the process whereby the dead turn into flesh-eating, irrational zombies — and Dr. Logan (Richard Liberty) — an out-of-his-mind psychologist who wants to capture the zombies and turn them into domestic help. Things heat up when the military tries to take over the scientific experiments.

In 1989, six year old Martin Bristoll was kidnapped from his backyard swing in Minersville Pennsylvania. Graham Sutter, a psychotic recluse, kept Martin imprisoned on his derelict pig farm, forcing him to witness and participate in unspeakable horrors. Chosen at random, his victim’s screams were drowned out by the rural countryside. For five years, Martin’s whereabouts have remained a mystery, until 17 year old Allison Miller (Alexandra Daddario) comes to live with her Uncle, Jonathan (Michael Biehn). While exploring her new surroundings, Allison discovers things aren’t quite right at the farmhouse down the road. Her curiosity disturbs a hornet’s nest of evil and despair that once torn open, can never be closed.

Bereavement, sadly, is another bit of rock, as it’s another film that follows the exploits of—what else?—a religious wacko (Brett Rickaby, seemingly doing a Jeff Fahey impression) who mutters to himself while hooking and disemboweling well-endowed teenage girls that he’s imprisoned somewhere in the subterranean bowels of his—what else?—rundown slaughterhouse. Soon, a troubled teenage girl (Alexandra Daddario, who looks rather enticing in the obligatorily sullied white tank top) finds herself battling the killer over one of his prisoners: a small boy the madman is grooming as an heir in response to a freakish disease that renders the child impervious to physical pain.

Paleontologist Kate Lloyd (Mary Elizabeth Winstead) has traveled to the desolate region for the expedition of her lifetime. Joining a Norwegian scientific team that has stumbled across an extraterrestrial ship buried in the ice, she discovers an organism that seems to have died in the crash eons ago. But it is about to wake up. When a simple experiment frees the alien from its frozen prison, Kate must join the crew’s pilot, Carter (Joel Edgerton), to keep it from killing them off one at a time. And in this vast, intense land, a parasite that can mimic anything it touches will pit human against human as it tries to survive and flourish. The Thing serves as a prelude to John Carpenter’s classic 1982 film of the same name.
I am deeply impressed, therefore, by the ingenuity demonstrated by the Universal Pictures executives responsible for The Thing. They have found a way around the usual dilemmas. They realized that to simply remake John Carpenter’s 1982 horror classic would be blasphemy. It would make too many people angry.
However, there are no scares in it, which is a serious drawback for a movie that’s supposed to be scary. Some of the computer-generated creature effects are eye-catching, though, and there are a couple moments of sheer mayhem that allow us to get caught up in the horror of it all, albeit only fleetingly. For someone who’s never seen Carpenter’s version, this one might be passably entertaining, in a matinee-price, lower-your-expectations, I’ve-seen-everything-else-and-this-starts-in-10-minutes kind of way.

Apparently fed up with the traditional system of film distribution — and in particular with the critics who insist, out of spite or inertia, on reviewing whatever opens in theaters — Kevin Smith is taking his new movie, “Red State,” directly to its audience. The film, which was shown at the Sundance Film Festival last January, has been available for home viewing since Sept. 1, via cable television, iTunes and other platforms. For those who insist on seeing it the old-fashioned way, on a big screen from an upholstered seat with a cup holder attached to the arm, there will be screenings in select cities on Sunday night, with Mr. Smith making an appearance to do what he does best, which is rant, tell stories and shoot the breeze with his fans.
Red State unfolds in a small town dominated by a fundamentalist preacher, Abin Cooper. It tells the story of three high school boys who, on their way to an internet arranged meeting with a woman; end up crossing paths with Cooper. The encounter sets into motion a series of events that causes all hell to break loose.
What “Red State” does best, unsurprisingly, is talk. Mr. Parks, as a weirdly gentle psychopath, and Mr. Goodman, as a rumpled avatar of bureaucratic decency, are each able to weave a verbal spell out of Mr. Smith’s words. Their performances — along with Ms. Leo’s — give the film a measure of dramatic gravity. All of which may make you wish for less mayhem and less noise. Come to think of it, Mr. Smith might just wish for the same thing.

In the earliest battles against the monstrous Angels, young Eva pilots Shinji and Rei were forced to carry humanity’s hopes on their shoulders. Now, with the deadly onslaught of the Angels escalating and the apocalyptic Third Impact looming, Shinji and Rei find their burden shared by two new Eva pilots, the fiery Asuka and the mysterious Mari. Maneuvering their enormous Eva machines into combat, the four young souls fight desperately to save mankind from the heavens – but will they be able to save themselves?
It was the best of times, it was the end of times, in other words, since this nerd soap delivers plenty of orgiastically designed battle sequences, futuristic fortress-themed visuals (cool retractable buildings, Tokyo!) and a deep empathy with the confusion and alienation in its adolescent heroes, who are led by Shinji — who seeks praise from his taciturn father — and silver-haired, quiet-voiced loner hottie Rei. Trying to comprehend the jargon-rife storylines and high-minded philosophical talk is a demanding task when the pace is so unforgiving, which suggests that this new concentrated “Evangelion” might best be appreciated by those who remember the psychological nuances of the small-screen version.

There is so much to talk when we say suspense movies. One of the very good films ever done in the history of suspense films is the “Wrong Turn”. It made all the movie goers screamed to the height of their voice. It is also one of the films made which made all trippers be aware of what will happen as they would go for adventures. Let us all remember the Wrong Turn part 2 as we all read the following wordThe malformed mayhem continues as a group of reality game show contestants descend into the West Virginia wilderness in order to participate in an apocalypse-themed game show, only to be brutally killed off by a deranged clan of redneck cannibals. Dale Murphy (Henry Rollins) is a former Special Forces soldier who now hosts a reality game show in which contestants must struggle to survive in the wilderness with few resources and only their wits to guide them. After the members of the group are split up into partners, they are sent into the woods to locate supplies that have been strategically hidden by the show’s producers. Should they fail to achieve this and various other tasks, they will be sent back to civilization in shame while the others vie for substantial cash prize. But the cameras aren’t the only things watching as the competition heats up, because within these woods dwells a terrifying secret. Later, as the day goes on and the body count begins to multiply, both the contestants and the hard-nosed host must fight to avoid becoming the catch of the day for a family of hungry backwoods cannibals

When Madea, America’s favorite pistol-packing grandma, catches sixteen-year-old Jennifer and her two younger brothers looting her home, she decides to take matters into her own hands and delivers the young delinquents to the only relative they have: their aunt April. A heavy-drinking more »nightclub singer who lives off of Raymond, her married boyfriend, April wants nothing to do with the kids. But her attitude begins to change when Sandino, a handsome Mexican immigrant looking for work, moves into April’s basement room. Making amends for his troubled past, Sandino challenges April to open her heart. And April soon realizes she must make the biggest choice of her life: between her old ways with Raymond and the new possibilities of family, faith — and even true love.
I Can Do Bad All By Myself, Perry’s eighth film, relies heavily on the latter, and as a result has a crossover appeal that might lure in viewers who never quite got the bawdy Madea humor. With Benjamin Button’s Taraji P. Henson capably doing the dramatic heavy lifting, the movie successfully glides through some of the more ridiculous dramatic set-ups, and actually manages to carry an emotional punch if you’re willing to give yourself over to a world in which gospel choirs heal all wounds, and the right man will just wait for you to get over your problems and love him back.

Playing a tramp struggling to survive in a modern industrial society, Charlie Chaplin created with MODERN TIMES, one of the most elaborate cinematic critiques of the effects of mass production on 20th century life. With his usual charm and bad luck, Charlie Chaplin’s most famous character more »The Tramp, executes some of his most famous slapstick routines around massive/glorified machines, accidentally ends up in the middle of a communist rally, and falls in love with a street waif played by Chaplin’s then real-life partner Paulette Goddard.
It is one of the greatest and funniest and most kid-friendly movies of all time. There’s just on problem- getting your kid to watch it because this movie is in black and whit which is frowned upon in modern-day american kids usually. But once they start watching it, they will never stop laughing. Forget Jim Carrey and Tim Allen and all those clowns. Go for Charlie Chaplin and The Marx Brothers and all those guys. They are hilarious. Nothing offensive here at all, just a scene of thwarted prison break, and some gun shooting, oh yes and there’s this one time where Charlie accidentally and without knowing it ingests some cocaine, or nose powder. But it’s wonderful. Force your kids to watch it, if needed. It is hilarious and wonderful entertainment.