Amityville 3-D's Recent Activity

list Amityville 3-D's Recent Activity - Spout http://www.spout.com/ Recent community activity around Amityville 3-D on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg Amityville 3-D's Recent Activity - Spout http://www.spout.com/ 136 30 Film:Amityville 3-D http://www.spout.com/films/Amityville_3_D/1224/default.aspx

Title: Amityville 3-D
Year: 1983
Director: Richard Fleischer, William Wales
Plot: The third installment in the haunted-house saga discards any pretense of being based on actual events in order to provide the requisite cheap thrills sought by audiences during the short-lived 3-D revival of the early '80s. When a skeptical reporter (Tony Roberts) with a penchant for debunking phony psychic hoaxes moves into the Long Island house to disprove its nightmarish legend, he and his family are set upon by all manner of supernatural beasties. Many such manifestations leap wildly out at the screen to fully exploit the 3-D effect, making the cheap gags all too obvious in the "flattened" video and cable prints (often released under the title Amityville 3: The Demon). Remarkably violent for a PG-rated film (those with an intense fear of fire might want to fast-forward through Candy Clark's death scene), Amityville 3-D has a certain cheesy appeal for anyone who likes touring Halloween spook-houses. Look closely to spot a young Meg Ryan in a small doomed-teen role. This 3-D version was followed by even more sequels, including Amityville: The Evil Escapes, Amityville 1992: It's About Time, The Amityville Curse, and Amityville: A New Generation. ~ Cavett Binion, All Movie Guide
Times Tagged: 5
Number of Lists: 5
Number of blog posts: 2
SpoutRating: 2
]]>Tue, 22 Jul 2008 02:36:56 GMTAmityville 3-D1983Richard Fleischer, William WalesThe third installment in the haunted-house saga discards any pretense of being based on actual events in order to provide the requisite cheap thrills sought by audiences during the short-lived 3-D revival of the early '80s. When a skeptical reporter (<a href="/players/P____60672/default.aspx" style='text-decoration:underline'>Tony Roberts</a>) with a penchant for debunking phony psychic hoaxes moves into the Long Island house to disprove its nightmarish legend, he and his family are set upon by all manner of supernatural beasties. Many such manifestations leap wildly out at the screen to fully exploit the 3-D effect, making the cheap gags all too obvious in the "flattened" video and cable prints (often released under the title Amityville 3: The Demon). Remarkably violent for a PG-rated film (those with an intense fear of fire might want to fast-forward through <a href="/players/P____13342/default.aspx" style='text-decoration:underline'>Candy Clark</a>'s death scene), Amityville 3-D has a certain cheesy appeal for anyone who likes touring Halloween spook-houses. Look closely to spot a young <a href="/players/P____62388/default.aspx" style='text-decoration:underline'>Meg Ryan</a> in a small doomed-teen role. This 3-D version was followed by even more sequels, including Amityville: The Evil Escapes, Amityville 1992: It's About Time, <a href=/films/1225/default.aspx style='text-decoration:underline'>The Amityville Curse</a>, and Amityville: A New Generation. ~ Cavett Binion, All Movie Guide5Slightly Tagged (1-5)522http://www.spout.com/ProductImages/t54782et6b7.jpghttp://www.spout.com/films/Amityville_3_D/1224/default.aspxFilm Spout Post: Far Away, So Close http://www.spout.com/blogs/usesoap/archive/2008/3/10/26068.aspx

Post By: usesoap
Post To: usesoap Blog
Post Date: 3/10/2008 8:53:07 PM
Body: One of my first “real” concert-going experiences (no offense, Power Station!) was witnessing U2 at JFK Stadium in Philadelphia during its “Joshua Tree” tour.Even though lead singer Bono was hobbled in an arm sling, the experience led to a passionate love affair with concert-going. I had since caught the band on two more occasions, but as their popularity (and egos) exploded, so did their stage shows. Their music and its messages (and U2 is nothing if not a band interested in sharing its beliefs to the masses) were consumed in a spectacle grand enough to embarrass a Cirque du Soleil clown.So after multiple attempts in trying to recapture that initial magical evening, I walked away from subsequent U2 concerts and I still hadn’t found what I was looking for.After witnessing “U23D,” now playing at the Dover Mall, all is forgiven.The film allowed me to experience the band in ways that could not have been replicated even with backstage passes – from swooping shots of the stage, close-ups that make you feel you could reach out and strum bassist Adam Clayton’s guitar, and soaring panoramic views of capacity crowds in stadiums across South America.And co-directors Catherine Owens and Mark Pellington manage to weave just the right amount of intimacy and enormity to the fabric of their film. And what is most notable is that rarely does the 3-D aspect of the film feel like a gimmick as it does a logical extension of a band whose talent and ego cannot be held on a typical movie screen.For those who have witnessed the latest digital 3-D incarnation, such as “The Nightmare Before Christmas” or “Beowulf,” you may already be aware that the days of the clunky cardboard red-and-blue glasses are long gone, replaced by a hipper gray-tinted wayfarer frame. The result is much easier on the retinas, and leaves little “ghosting,” a term used to describe the shadows that would appear when the distorted colors of a 3-D film did not quite match up.As one who grew up during the time when 3-D made its mercifully brief “comeback,” (“Jaws 3-D,” “Friday the 13th Part 3-D,” “Amityville 3-D,” “Metalstorm: The Destruction of Jared-Syd,” “Spacehunter: Adventures in the Forbidden Zone”), I can say this is the first 3-D film that did not feel as though it was constantly flaunting its gimmick. Sure, there are times when Bono oh-so-passionately reaches out to caress the camera during one of his songs, but I get the feeling he does the same think when looking into his bathroom mirror.Through most of the movie’s 14-song set list, we view from countless vantage points, sometimes not even realizing that 3-D is in effect (it took about three crowd shots for me to realize those flailing arms impeding my stage view were actually concert goers and not the guys in the front row of the theater).And when the stadium lights dim, the crowd becomes illuminated by the flickering LED of tens of thousands of cellphones, bobbing and waving like the lighters of yore.Of course, all of the added dimension to the film would be for naught if it were not for such relevant showmen. Bono, Clayton, guitarist The Edge and drummer Larry Mullen still glide through their decades of hits (“Where the Streets Have No Name,” “One,” “Pride,” “Vertigo”), but tweak it ever-so-slightly to fit current world injustices the band feels it needs to shine a spotlight on (“Sunday, Bloody Sunday,” originally about Irish civil rights slaying, now blankets global political inequality).Perhaps the best thing about the concert film, though, is that after we have sung along, raised our fists and stamped our feet, we can patiently wait until the very end instead of fretting about leaving just early enough to beat getting stuck in traffic for a good two hours at the end.
]]>Tue, 11 Mar 2008 00:53:07 GMTusesoapusesoap Blog3/10/2008 8:53:07 PMOne of my first “real” concert-going experiences (no offense, Power Station!) was witnessing U2 at JFK Stadium in Philadelphia during its “Joshua Tree” tour.Even though lead singer Bono was hobbled in an arm sling, the experience led to a passionate love affair with concert-going. I had since caught the band on two more occasions, but as their popularity (and egos) exploded, so did their stage shows. Their music and its messages (and U2 is nothing if not a band interested in sharing its beliefs to the masses) were consumed in a spectacle grand enough to embarrass a Cirque du Soleil clown.So after multiple attempts in trying to recapture that initial magical evening, I walked away from subsequent U2 concerts and I still hadn’t found what I was looking for.After witnessing “U23D,” now playing at the Dover Mall, all is forgiven.The film allowed me to experience the band in ways that could not have been replicated even with backstage passes – from swooping shots of the stage, close-ups that make you feel you could reach out and strum bassist Adam Clayton’s guitar, and soaring panoramic views of capacity crowds in stadiums across South America.And co-directors Catherine Owens and Mark Pellington manage to weave just the right amount of intimacy and enormity to the fabric of their film. And what is most notable is that rarely does the 3-D aspect of the film feel like a gimmick as it does a logical extension of a band whose talent and ego cannot be held on a typical movie screen.For those who have witnessed the latest digital 3-D incarnation, such as “The Nightmare Before Christmas” or “Beowulf,” you may already be aware that the days of the clunky cardboard red-and-blue glasses are long gone, replaced by a hipper gray-tinted wayfarer frame. The result is much easier on the retinas, and leaves little “ghosting,” a term used to describe the shadows that would appear when the distorted colors of a 3-D film did not quite match up.As one who grew up during the time when 3-D made its mercifully brief “comeback,” (“Jaws 3-D,” “Friday the 13th Part 3-D,” “Amityville 3-D,” “Metalstorm: The Destruction of Jared-Syd,” “Spacehunter: Adventures in the Forbidden Zone”), I can say this is the first 3-D film that did not feel as though it was constantly flaunting its gimmick. Sure, there are times when Bono oh-so-passionately reaches out to caress the camera during one of his songs, but I get the feeling he does the same think when looking into his bathroom mirror.Through most of the movie’s 14-song set list, we view from countless vantage points, sometimes not even realizing that 3-D is in effect (it took about three crowd shots for me to realize those flailing arms impeding my stage view were actually concert goers and not the guys in the front row of the theater).And when the stadium lights dim, the crowd becomes illuminated by the flickering LED of tens of thousands of cellphones, bobbing and waving like the lighters of yore.Of course, all of the added dimension to the film would be for naught if it were not for such relevant showmen. Bono, Clayton, guitarist The Edge and drummer Larry Mullen still glide through their decades of hits (“Where the Streets Have No Name,” “One,” “Pride,” “Vertigo”), but tweak it ever-so-slightly to fit current world injustices the band feels it needs to shine a spotlight on (“Sunday, Bloody Sunday,” originally about Irish civil rights slaying, now blankets global political inequality).Perhaps the best thing about the concert film, though, is that after we have sung along, raised our fists and stamped our feet, we can patiently wait until the very end instead of fretting about leaving just early enough to beat getting stuck in traffic for a good two hours at the end. Spout Post: Hollywood Steps Up to the 3D Threequel http://www.spout.com/blogs/spoutblog/archive/2008/2/27/25652.aspx

Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 2/27/2008 5:00:38 PM
Body: When I was a kid, I assumed all third installments in a horror series had to capitalize on the ability to turn the “3″ in the title into “3-D.” Now, looking back, I only really remember (and can only find proof of) Jaws 3-D, Friday the 13th 3-D and Amityville 3-D. But that isn’t stopping me from assuming Hollywood will once again abuse the gimmick. And judging by today’s news from Disney that the third installment of Step Up will be in 3D (and is tentatively titled simply, appropriately and marketably Step Up 3-D), the integrity of digital 3D — as the hope for the future of exhibition rather than as another passing fad — is on its way down. Of course, we’re in a big 3D trend right now, whether it continues as something more than that or not, and it at least makes sense for Hollywood to make decisions like this, and obviously it’s more logical as far as the title is concerned. I know that Toy Story 3 will be appropriately in 3D, too. Others will likely follow, and it’s better than the confusing mis-step that has been occurring lately with non-threequel sequels (and non-sequels). Upcoming sequels Shrek 4 and Final Destination 4 will also be released in digital 3D, but titularly that’s confusing (especially because of DreamWorks’ direct-to-video release Shrek 4-D, aka Shrek 3-D). Fortunately for the former, it currently has a less-confusing title of Shrek Goes Fourth. As for Final Destination, New Line had once intended for the third installment to be appropriately a 3D film and be titled Final Destination 3-D. So it is fair that the studio had previously had the idea. But what will it be called? (more…) Originally posted on:SpoutBlog
]]>Wed, 27 Feb 2008 22:00:38 GMTSpoutBlogSpoutBlog on spout.com2/27/2008 5:00:38 PM When I was a kid, I assumed all third installments in a horror series had to capitalize on the ability to turn the “3″ in the title into “3-D.” Now, looking back, I only really remember (and can only find proof of) Jaws 3-D, Friday the 13th 3-D and Amityville 3-D. But that isn’t stopping me from assuming Hollywood will once again abuse the gimmick. And judging by today’s news from Disney that the third installment of Step Up will be in 3D (and is tentatively titled simply, appropriately and marketably Step Up 3-D), the integrity of digital 3D — as the hope for the future of exhibition rather than as another passing fad — is on its way down. Of course, we’re in a big 3D trend right now, whether it continues as something more than that or not, and it at least makes sense for Hollywood to make decisions like this, and obviously it’s more logical as far as the title is concerned. I know that Toy Story 3 will be appropriately in 3D, too. Others will likely follow, and it’s better than the confusing mis-step that has been occurring lately with non-threequel sequels (and non-sequels). Upcoming sequels Shrek 4 and Final Destination 4 will also be released in digital 3D, but titularly that’s confusing (especially because of DreamWorks’ direct-to-video release Shrek 4-D, aka Shrek 3-D). Fortunately for the former, it currently has a less-confusing title of Shrek Goes Fourth. As for Final Destination, New Line had once intended for the third installment to be appropriately a 3D film and be titled Final Destination 3-D. So it is fair that the studio had previously had the idea. But what will it be called? (more…) Originally posted on:SpoutBlog Spout Tag:family http://www.spout.com/members/0/tags/family/MemberTagFilms.aspxfamily
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]]>Thu, 03 Dec 2009 20:09:21 GMT62882261138Tag Spout Tag:disturbing http://www.spout.com/members/0/tags/disturbing/MemberTagFilms.aspxdisturbing
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