Folks, you know me: I don't engage in a great deal of what I'd call 'current promotion.'
So much of the World Wide Web has -- over the years - kinda/sorta de-evolved into little more than point-and-click journalism all for the sake of the mighty dollar. Of course, this isn't to suggest in any way that I'm personally opposed to anyone making a profit: my point is that so few outlets any more provided content just for content's sake, giving you something that's chiefly worth reading -- worth giving you information -- and nothing more. That kind of substance seems to have been lost; and -- in its place -- there's a great deal of commerce along with a sometimes excessive amount of editorial opinion. I do try to stay away from the biggest percentage of that stuff, trying more to just archive information and/or promote genre awareness for those watching.
Something that's been lost in the process is good old-fashioned movie promotion. Have you seen or read about how much it costs studios to simply advertise their wares these days? Good grief! Producers have to shuck out an incredible $20M, $30M, and $40M just to get coming attractions up on television and/or elsewhere, and I think that's a real shame. It shouldn't mean taking out a loan to avoid bankruptcy if you wanna let folks know that you have something which might be worth a ticket price: I've always felt that way, even for the smallest flicks. Sure, I have to charge interested parties to post their trailers on SciFiHistory.Net, but rest assured that my prices are ridiculously unconscionably lowball. I mean ... my prices are so damn low it oughta be a crime. But I, too, need to make a few bucks just to keep this space running. I'm not rolling in dough, and yet it can get pricey from year-to-year.
Sigh.
Still, the sole purpose is that I wanted to drop a bit of information regarding the present theatrical run of David Cronenberg's The Shrouds, which is current making its way through the cineplexes. No, I haven't seen it, but I honestly didn't even know that it was out there. That's what I'm talking about when I say how is it even remotely possible that a name so celebrated as Cronenberg's has so little promotion in the modern age? What have we become, folks? What have we become?
Here endeth the rant.
Press materials are posted below, which I received on behalf of the good people at Criterion.
-- EZ
So much of the World Wide Web has -- over the years - kinda/sorta de-evolved into little more than point-and-click journalism all for the sake of the mighty dollar. Of course, this isn't to suggest in any way that I'm personally opposed to anyone making a profit: my point is that so few outlets any more provided content just for content's sake, giving you something that's chiefly worth reading -- worth giving you information -- and nothing more. That kind of substance seems to have been lost; and -- in its place -- there's a great deal of commerce along with a sometimes excessive amount of editorial opinion. I do try to stay away from the biggest percentage of that stuff, trying more to just archive information and/or promote genre awareness for those watching.
Something that's been lost in the process is good old-fashioned movie promotion. Have you seen or read about how much it costs studios to simply advertise their wares these days? Good grief! Producers have to shuck out an incredible $20M, $30M, and $40M just to get coming attractions up on television and/or elsewhere, and I think that's a real shame. It shouldn't mean taking out a loan to avoid bankruptcy if you wanna let folks know that you have something which might be worth a ticket price: I've always felt that way, even for the smallest flicks. Sure, I have to charge interested parties to post their trailers on SciFiHistory.Net, but rest assured that my prices are ridiculously unconscionably lowball. I mean ... my prices are so damn low it oughta be a crime. But I, too, need to make a few bucks just to keep this space running. I'm not rolling in dough, and yet it can get pricey from year-to-year.
Sigh.
Still, the sole purpose is that I wanted to drop a bit of information regarding the present theatrical run of David Cronenberg's The Shrouds, which is current making its way through the cineplexes. No, I haven't seen it, but I honestly didn't even know that it was out there. That's what I'm talking about when I say how is it even remotely possible that a name so celebrated as Cronenberg's has so little promotion in the modern age? What have we become, folks? What have we become?
Here endeth the rant.
Press materials are posted below, which I received on behalf of the good people at Criterion.
-- EZ
press release
david cronenberg's 'The Shrouds'
now playing in new work and los angeles
opening nationwide this weekend
obsession and paranoia in the digital age
Now playing in theaters, The Shrouds stars Vincent Cassel as Karsh, the inventor of an unsettling new technology that allows the bereaved to watch the bodies of their loved ones decompose after death. When a spate of vandalized graves puts his enterprise at risk, Karsh uncovers a potentially vast conspiracy. Written following the death of the director’s own wife, the latest from body-horror visionary David Cronenberg is a profoundly personal film that critics are calling “mordantly funny” and “a brilliantly cerebral thriller.”
Plus: Don’t miss our retrospective of Cronenberg’s previous films, now playing on the Criterion Channel!
“The Shrouds serves as a reminder that, at 81 years old, Cronenberg is still one of the world’s great filmmakers: bold, uncompromising, clever, and fearless.”
—Adam Nayman, The Ringer
“Enormously rewarding.”
—David Ehrlich, IndieWire
“Cronenberg’s most complete, self-assured, and dramatically accomplished work in years.”
—Siddhant Adlakha, IGN
“Elegantly somber yet mordantly funny.”
—Justin Chang, The New Yorker
“Intellectually provocative . . . [A] characteristically perverse take on life, death, and desire.”
—Manohla Dargis, The New York Times
“David Cronenberg’s most personal movie since The Fly. To us, The Shrouds feels like a late-career blessing. To him, it’s a necessity.”
—David Fear, Rolling Stone
“★★★★ A Cronenbergian body horror of integrity and force.”
—Matt Zoller Seitz, RogerEbert.com
“Somehow unsettling and affecting, a horror yet a gift, and decidedly weird but also sad and even funny . . . another cool, cunning, disquieting work about our ceaseless fascination with what the body betrays.”
—Robert Abele, Los Angeles Times
“As darkly funny and personal as any film in Cronenberg’s filmography . . . the sort of requiem that only he could create.”
—Keith Phipps, The Reveal
OFFICIAL SELECTION – CANNES – TORONTO – NEW YORK FILM FESTIVAL ROTTERDAM – AFI FEST
Plus: Don’t miss our retrospective of Cronenberg’s previous films, now playing on the Criterion Channel!
“The Shrouds serves as a reminder that, at 81 years old, Cronenberg is still one of the world’s great filmmakers: bold, uncompromising, clever, and fearless.”
—Adam Nayman, The Ringer
“Enormously rewarding.”
—David Ehrlich, IndieWire
“Cronenberg’s most complete, self-assured, and dramatically accomplished work in years.”
—Siddhant Adlakha, IGN
“Elegantly somber yet mordantly funny.”
—Justin Chang, The New Yorker
“Intellectually provocative . . . [A] characteristically perverse take on life, death, and desire.”
—Manohla Dargis, The New York Times
“David Cronenberg’s most personal movie since The Fly. To us, The Shrouds feels like a late-career blessing. To him, it’s a necessity.”
—David Fear, Rolling Stone
“★★★★ A Cronenbergian body horror of integrity and force.”
—Matt Zoller Seitz, RogerEbert.com
“Somehow unsettling and affecting, a horror yet a gift, and decidedly weird but also sad and even funny . . . another cool, cunning, disquieting work about our ceaseless fascination with what the body betrays.”
—Robert Abele, Los Angeles Times
“As darkly funny and personal as any film in Cronenberg’s filmography . . . the sort of requiem that only he could create.”
—Keith Phipps, The Reveal
OFFICIAL SELECTION – CANNES – TORONTO – NEW YORK FILM FESTIVAL ROTTERDAM – AFI FEST
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