Slasher Pack XI: Tarantino Vol. 2 includes four Japanese inspired exploitation tees from Inglorious Basterds, The Hateful Eight, Kill Bill: Vol. 1 and Vol. 2; available for pre-order now!
Indicator pride themselves on championing great British cinema and, as part of this ethos, 18 March 2019 will see the release of their first restorations. Scanned in 4K from the original negatives, their presentations of The Triple Echo and Immaculate Conception mark a new development in the Indicator range which will ensure that even more unjustly neglected gems will appear on Blu-ray for the first time ever. March’s selection also includes Anthony Mann’s A Dandy in Aspic, and John Dexter’s The Virgin Soldiers.
“Would you go A.W.O.L. with this man?”
Indicator ushers in 2019 with an eclectic quartet of distinctive American films directed by and starring some of the most iconic and celebrated talents of their day: Gardens of Stone (1987); R.P.M. (1970); and Breakout (1975).
However, 2018 is not over yet. Indicator are delighted to announce that Powerhouse Films will present its first ever theatrical release on 14 December – Dennis Hopper’s visionary The Last Movie (1971).
“There is a time to die and a time not to.”
This July, Indicator presents a chilling selection of classic British genre cinema, all packaged in lovingly produced Limited Editions, including Blu-ray premieres and extensive collector’s booklets. On 23 July, Indicator presents Hammer Volume Three: Blood & Terror, the next volume in its acclaimed series of limited edition Blu-ray box sets dedicated to British cinema’s most iconic film production company. Also available on 23 July, Indicator presents Arthur Lubin’s Gothic thriller Footsteps in the Fog (1955).
“Close enough to kiss…or kill!”
On 18 June, Indicator presents a collection of films by the legendary Samuel Fuller, as well as two uncompromising works directed by and starring some of American cinema’s most iconic names.
Samuel Fuller at Columbia, 1937-1961 brings together the maverick director’s hard-hitting crime dramas, along with a series of films made for Columbia Pictures which were based on stories by Fuller.
“If it’s not love, what is it?”
With the dark days of winter well and truly upon us, Indicator dares once again to venture into the vaults of the UK’s most celebrated purveyor of chills…
Available 19 February 2018, Indicator presents Hammer Volume Two: Criminal Intent, and Stanley Kramer’s Oscar-winning drama Ship of Fools.
“Explorer, Mistress, Vagrant, Loafer, Artist, Tramp… They are all at the Captain’s table!”
There are worse ways to spend an evening than in a darkened room with Cillian Murphy and Jamie Dornan, watching a movie. In this case we were watching the Premiere of the Sean Ellis WWII thriller Anthropoid in which they both star.
Ellis’s film is a labour of love – he produced, co-wrote and directed the movie and, as if wearing all those hats was not enough work, he was also his own cinematographer.
“Resistance Has a Code Name.”
The Mission (1986): Other than the all-star cast—Jeremy Irons, Robert De Niro and Liam Neeson—the score of this historical drama by Ennio Morricone alone makes it material for a best of list, and while it’s not the only great reason to watch the film, it’s definitely one of the reasons you’ll come back for more.
“If might is right, then love has no place in the world. It may be so, it may be so. But I don’t have the strength to live in a world like that…”
In 1971 JVC put together a team to develop a consumer-based VTR, but by early 1972 the video recording industry in Japan began to struggle financially. JVC was forced to restructure their video division, effectively shelving the VCR project. However, JVC engineers Yuma Shiraishi and Shizuo Takano continued to work on the project in secret. By 1973 the two engineers had produced a functional prototype.
“It feels nothing… it fears nothing… there is no escape.”
Anyone with even the slightest interest in home entertainment recognises the importance of VHS. The marketing and promotion from the independent distribution companies elevated the medium to such an extent that collectors today now happily pay significant amounts of money for a VHS tape; not for the movie itself, but for the incredible artwork/design featured on the cover.
“Prepare yourself for the darkest day of horror the world has ever known!”
“As I watched the World Trade towers collapse on September 11, I felt guilty. The scene looked similar to those that had entertained me in many Godzilla films. But it wasn’t a fantasy, the people were real, and their fear and suffering were heartbreaking.”
Over the years Godzilla has changed roles significantly from once being the ultimate threat to Japan, to now being Japan’s protector. One could believe that this change was made to make the monster appeal to a broader audience resulting in much larger profits for the studio or perhaps it is the result of the fears Japan once had post-war becoming less and less significant?
Is the fascination in Japanese culture for science fiction Kaiju films and its symbolism born from the fears of nuclear war?
How can we understand Japan’s mindset after World War II? How did they really feel after the atomic bombings and their subsequent defeat? Was any blame placed upon a particular nation, including their own, for how the war ended?
Every culture has it’s fears… Godzilla itself is a creation born from the fears of another future nuclear disaster. Modern technology of the time created nuclear weapons and from these nuclear weapons came Godzilla! Tom Miller believes however that through the film’s inherent symbolism Godzilla represents more than just the atomic bombing of Japan. In his article “Struggling With Godzilla: Unraveling the Symbolism in Toho’s Sci/Fi Films” Tom states: “In the movie they made, Godzilla represents more than the A-Bomb; Godzilla is the United States itself”, but didn’t the United States have a motive for the atomic bombings? Godzilla needed no motive… Just the animalistic desire to survive.