Richard Holliss

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Richard Holliss  |  Dec 29, 2014  |  0 comments

When his daughter Beth (Gia Mantegna) disappears, Paul (Jason Patric), a former New Orleans crime boss known as ‘The Prince’ sets out to find her, with the help of one of Beth’s friends Angela (Jessica Lowndes) and an old sparring partner called Sam (John Cusack). The bad news is that she has fallen into the clutches of his former rival – drug baron and gangster Omar (Bruce Willis). Both men are bitter enemies after a car bomb that Paul intended for Omar claimed the lives of his wife and child instead. Now riddled with guilt, car mechanic and devoted father Paul constantly relives the ‘accident’ in vivid flashbacks.

Richard Holliss  |  Dec 19, 2014  |  0 comments

Created in 1985 by Nintendo, it was inevitable that the success of the platform videogame Super Mario Bros. would lead to a movie tie-in. Yet, as producer Roland Joffe explains in the documentary that’s accompanies this recently released Blu-ray version of the movie, it was a film franchise that was curiously overlooked by most of the major Hollywood Studios.

Richard Holliss  |  Dec 18, 2014  |  0 comments

Not only have science fiction writers and filmmakers adopted the word ‘robot’ from Czech playwright Karel Capek’s 1920s play R.U.R, they’ve also ‘borrowed’ on numerous occasions’ science fiction writer Issac Asimov’s ingenious ‘Three Laws of Robotics’. First appearing in his 1942 story Runaround, the laws are as follows: (1) A robot may not injure a human being or, through inaction, allow a human being to come to harm; (2) A robot must obey orders given it by human beings except where such orders would conflict with the First Law, and (3), A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.

Richard Holliss  |  Dec 15, 2014  |  0 comments

Road movies have always been a popular genre in American cinema. Probably because the country is so damn big and there are plenty of desert roads that seem to stretch to infinity. Motoring for 500 miles between San Diego and Phoenix seems pretty awesome compared to the UK equivalent of driving from London to Bristol!

Richard Holliss  |  Dec 12, 2014  |  0 comments

Trawl through the list of supporting features for double-bill programmes, the staple diet for UK cinemagoers up until the early 1970s, and you’ll be surprised at what you find. While the majority of independent studios concentrated on Film Noir subjects (crime, mystery etc), there are also quite a few low-budget science fiction titles, including Devil Girl From Mars, Stranger From Venus, The Strange World of Planet X, Invasion, The Night Caller, They Came From Beyond Space, The Body Stealers and this curiosity from Anglo Amalgamated called Unearthly Stranger.

Richard Holliss  |  Nov 25, 2014  |  0 comments

Despite reports to the contrary, a survey of 2,000  ‘music lovers’ conducted by Sony Europe and music download service Qobuz, has found that album sales are performing strongly. Statistics show that where the Hi-Res Audio version of an album is available, 84 per cent of consumers will choose it rather than a compressed single.

Richard Holliss  |  Nov 16, 2014  |  0 comments

While working on the Bond movies with Cubby Broccoli, co-producer Harry Saltzman turned his attention away from the more glamorous world of Ian Fleming’s secret agent 007 to author Len Deighton’s grittier, insubordinate agent Harry Palmer. The result was movie gold with The Ipcress File in 1965 and the follow-up Funeral in Berlin in 1966.

Richard Holliss  |  Nov 13, 2014  |  0 comments

One-off dramas were a popular source of TV entertainment during the 1960s and 1970s. Arguably some were worthier than others and surprisingly there was also a large number of fantasy related subjects broadcast. Quite a few of these can be seen again as part of the British Film Institute’s Sci-Fi: Days of Fear and Wonder season. 

Richard Holliss  |  Nov 06, 2014  |  0 comments

“Our challenge was to make an edgy/trippy sci-fi movie for around 30 million dollars”, says scriptwriter Alex Garland in the introduction to his illustrated screenplay for the 2012 blockbuster movie Dredd, based on the 2000 AD comic character. “Eventually we reached a point where we felt that we needed the addition of a new creative voice, one who could define some of the key Judge/Mega-City One visuals.”

Richard Holliss  |  Oct 29, 2014  |  0 comments

After a few token appearances, mostly on television in the 1960s (The Adventures of the Terrible Ten, Wandjina Magic, The Magic Boomerang and Skippy the Bush Kangaroo), it wasn’t until the 1970s that Australian-themed drama began to make an impact with a more universal audience. Using as their premise the mystical nature of aboriginal culture and the stark landscape of the Outback, movies such as Walkabout (1971) and Picnic at Hanging Rock (1975) gave birth to a whole new Antipodean fantasy film genre.

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