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American Horror Story. ![]() American Horror Story: Roanoke TV Show: News, Videos, Full Episodes and More. Jun 1. 5, 2. 01. 7 1: 0. PM EDTUniversal Studios Hollywood is bringing American Horror Story's most groundbreaking season to life with a terrifying new maze inspired by American Horror Story: Roanoke. As part of Halloween Horror Nights, the Roanoke maze will bring guests to the ba. Asylum, Season 2 on i. Tunes. Description. Set in 1. 96. 4, American Horror Story: Asylum takes us into a Church- run haven for the criminally insane, ruled with an iron fist by Sister Jude (Jessica Lange), a nun with a troubled past. Inside this locked down facility, danger lurks around every corner. From Nazis and serial killers, to mutants and aliens, no one is safe inside these walls. Starring Jessica Lange as “Sister Jude”, Sarah Paulson as “Lana Winters”, James Cromwell as “Dr. Arthur Arden,” Evan Peters as “Kit Walker,” Lily Rabe as “Sister Mary Eunice,” Lizzie Brocher. Oliver Thredson,” and Joseph Fiennes as “Monsignor Timothy Howard.” Guest stars for the miniseries will include Frances Conroy, Chlo. I am a huge fan of horror, and I love anything dealing with asylums. This is no exception! I love it's discussion of madness and how historically accurate it is on the barbarism of psychiatric medicine in the mid 2. Plus add a serial killer, nazis, monsters, possession, and aliens, this is the best show to discuss madness. It makes us viewers question what really is insanity and who is truly sane! Watch American Horror Story Full Episodes Online. Instantly find any American Horror Story full episode available from all 6 seasons with videos, reviews, news and more! Download FXNOW to watch full episodes of your favorite FX and FXX. American Horror Story (TV Series) TV. Episode List;. American Horror Story: Season 2 Episode 3 - Nor'easter - A violent storm allows a group of patients to plan a daring escape; Sister Jude is haunted by her past. ![]() Really intense storyline! Looking forward to the rest of the season, I believe it will be better than season one. Wonderful cast especially Jessica Lange, she is why I will be tuning in each week. American Horror Story is an anthology horror drama series created and produced by Ryan Murphy and Brad Falchuk. ![]() ![]() The 3. 0 Best Horror Movies Of All Time. Almost as long as there has been cinema there have been horror movies. While the genre is often branded with the stigma of being low- brow, cheap, and only for hardcore fans of jump scares and gore, it is also responsible for some of the greatest films of all- time, and certainly many of our favorites fall somewhere along the horror spectrum. Just as there are trashy, forgettable, throwaway horror films every year, there are also those that that play upon our greatest fears to create tension, an ominous atmosphere, and to terrify us to our very core. Minnesota Mom of Two Diagnosed with Cancer Hours After Husband Dies From ALS: 'I'm Not Ready to Give Into It'. This is a list of Academy Award records. This list is current as of the 89th Academy Awards ceremony held on February 27, 2017. Engine downsizing and turbocharging is the way things are going. And they seem to solve both issues of efficiency and power output. Foolproof, right? Examples IMDb's Top 250; TV Guide's 50 Greatest TV Shows of All Time; The 50 Best Books for Kids from Timeout.com; Movies Directed by Steven Spielberg. Greatest Childrens/Family Movies: The New York Times Essential Library: A Critic's Guide to the Best Films Available on Video and DVD selected 100. ![]() ![]() The history genre is full of monsters, both human and otherwise, horrific events, and chilling scenarios that thrill us, scare us, keep us on the proverbial edge of our seats, and stick around to haunt our nightmares long after we leave the theater. The list that follows is Cinema Blend’s definitive, once- and- for- all comment on the greatest horror movies ever made, though we can’t help but wish there was room for 5. Will you agree with all of our choices? Probably not, but we’re willing to bet that some of your favorites made the cut. Friday The 1. 3th. A franchise most known for it’s hulking, un- killable, hockey- mask- wearing, machete- wielding villain Jason Voorhees, it’s easy to forget that this iconic antagonist isn’t really a part of Sean Cunninghams’s 1. Along with the likes of Halloween and Texas Chainsaw Massacre, Friday the 1. Full of tension and shocks and a very young Kevin Bacon getting speared through the neck, Friday the 1. Shaun Of The Dead. Shaun of the Dead is the one movie on this list that works as a comedy first and as a horror second, but it does both so exceedingly well that there was no way this slice of fried gold could be ignored. From the minds of star Simon Pegg and director Edgar Wright, 2. Shaun of the Dead gave the zombie genre the . Wondering What are the best mystery movies ever made? Here is a List of 100 Most Popular Mystery Movies Ranging from Suspense thriller movies to twist mystery films.I’m usually loath to do anything that takes lustre away from Sight & Sound’s ten-year poll of the Greatest Films of All Time but a new poll seemed to me the most. With homages galore and weapons ranging from rifles to cricket bats to the Batman soundtrack on vinyl (but not Purple Rain), the movie wisely balances the narrative spotlight between imaginative zombie kills and the pub- loving Shaun fighting to keep his life from spiraling away. As quotable as it is blood- soaked and hilarious, Shaun of the Dead is boosted by a stellar supporting cast of talented Brits, including Bill Nighy, Dylan Moran, Kate Ashfield and Lucy Davis (among many others). Fuck- a- doodle- do, this movie is fantastic. Suspiria. With the giallo subgenre, Italian filmmakers put their own unique, memorable stamp on horror. Limite (1931) is ranked number 1 on the Brazilian Film Critics Association's list of the top 100 Brazilian films, voted by its 100 members in 2015. None of them left quite the mark that Dario Argento did, and none of his impressive body of work stands quite as tall as 1. Suspiria. When an American ballet student enrolls in prestigious German dance academy, she finds much more than she bargained for, as sinister supernatural forces leave a trail of violent, grisly murders. Glossy and blood- spattered, Suspiria is visually stunning—a virtual nightmare captured on film—violent, shocking, and with a score by the legendary prog rock band Goblin, the finished product is a hallucinatory sensory overload. And I mean that as the highest compliment. Repulsion. With movies like Knife in the Water and Rosemary’s Baby, Roman Polanski has shown that you don’t necessarily need monsters and jump scares to make a truly terrifying film. Case in point: his first English- language feature, 1. Repulsion. Starring Catherine Deneuve, the story follows her character, Carol, a woman repulsed by all things sexual, who, when her sister leaves her alone for a holiday, comes unwound, sinks into a depression, and is tormented by horrific visions and hallucinations, all of which culminate in shocking real- world violence. Repulsion is widely regarded as one of the all- time greats in the realm of psychological horror, and that acclaim has rightly remained for more than half a century. Don’t Look Now. When a married couple (Donald Sutherland and Julie Christie), attempting to come to terms with the death of their young daughter, travel to Venice, they’re haunted by a series of mysterious occurrences and reminders of death after an encounter with two elderly sisters comes with warnings from beyond. Clearly wearing Hitchcockian influences on his sleeve, Nicolas Roeg’s 1. Don’t Look Now employs occult sensibilities, explores the impact of grief on a relationship, and delivers a chilling, menacing story, tinged with melodrama and the supernatural, that sticks with you long after watching. Psychologically and thematically dense, it’s an examination of the human psyche as filtered through the lens of a tense, tight horror thriller. The Thing. Like many great horror movies, the ones that endure over the years, John Carpenter’s 1. The Thing From Another World, The Thing, was initially dismissed by most critics as being nothing more than an excessive gross- out schlock film. However, in the decades since its release, it has been reappraised and become recognized as one of the great offerings of the genre. A jagged sci- fi thriller that continually creates a tense, taut atmosphere of paranoia and doubt, The Thing follows the rugged crew at an isolated Antarctic research facility as they’re besieged by an alien presence that can assume the form of anything it touches. Playing to gut- level fears and using grotesquely memorable practical creature effects, this is Carpenter, one of the masters of horror, working at the very top of his game. And the ambiguous ending is still the subject of great conversation and debate. Days Later. No one can argue that George A. Romero is the godfather of zombie movies, but with 2. Days Later, director Danny Boyle became the cool uncle of zombie movies that would show up with a case of beer and a couple of sledgehammers. Headed by Cillian Murphy at his most hypnotic, and from a script penned by future Ex Machina filmmaker Alex Garland, 2. Days Later technically replaced the undead kind of zombies with fast- moving abominations fueled by a rage virus, but it still fits into (and sits near the top) of the subgenre. What starts as a stunning and contemplative look at a London mostly devoid of people turns into a rapidly worsening slide into terror as Murphy’s Jim and his fellow survivors come face to face with the somewhat predictable but still hideous outcome of such a population- depleted planet. Winning performances from Naomie Harris, Brendan Gleeson and Christopher Eccleston only add to its superiority. Scream. In the current landscape, it’s practically impossible to have a horror movie that doesn’t have meta, self- referential elements. You can thank horror master Wes Craven and his 1. Scream for that. As annoying as this trope has become in recent years, as handled by Craven, Scream was a game changer. Using comedy, a whodunit- style mystery, and every slasher clich. Beyond any academic praise you want to heap on the film, at the same time Scream is all of these things, it’s also a great horror film, one that is inventive and funny and harrowing all at the same time. The Blair Witch Project. Similar in spirit (if not style) to producer/director William Castle’s attempts in the 1. The Blair Witch Project was bolstered by fairly extensive pre- release buzz that sold the central story of three missing documentary filmmakers as genuine truth. It’s safe to say that approach was effective, as the film eventually grossed almost $2. At that point, . By choosing indirect and abstract scares to keep viewers unsettled, and letting . Rarely has a less- is- more strategy panned out so successfully. Invasion Of The Body Snatchers. An argument can be made that only bad films should get the remake treatment, but 1. Invasion of the Body Snatchers is a monolith of an exception. Perhaps it isn’t better in every way than the 1. Jack Finney’s novel), but it’s one hell of a lot more effective as a horror film. Kicking off a solid run of films for director Philip Kaufman, Invasion of the Body Snatchers is the pod people movie to rule them all, and its legacy is cemented by stars Donald Sutherland, his mustache, and Brooke Adams (not to mention Jeff Goldblum and Leonard Nimoy), as well as some of the most fabulously disgusting special effects of the decade. The film also exhibits its 1. Or wherever you want to call that psyche- shattering mutant dog. A Nightmare On Elm Street. The only franchise I can recall that made jumping rope unnervingly creepy, the Nightmare on Elm Street films remain championed more than most genre series for never fully settling into haphazardly conceived dreck. And it all started with Wes Craven’s 1. Freddy Krueger. Everything a horror fan could hope for is in A Nightmare on Elm Street. Freddy is the greatest movie monster of all time, the cast (including an infant Johnny Depp) is perfect, the backstory is chilling and the kills. Freddy’s glove is a masterpiece of weaponry, but this movie’s best deaths were Tina’s, in which her bleeding body is dragged all over her bedroom’s walls and ceiling, and Glen’s, whose murder results in a wonderful geyser of blood shooting up from his bed. Depp’s character said it best: . Baseball bats and boogeymen. Bride Of Frankenstein. When Bride of Frankenstein was first released in 1. Internet where people could argue over the value of movie sequels. Acclaimed but not entirely beloved upon its release, James Whale’s follow- up to his own 1. With Ernest Thesiger eagerly welcomed as Henry Frankenstein’s former mentor Doctor Pretorius, Bride of Frankenstein tells the ghastly next chapter in the story of Henry and Boris Karloff’s Monster, treating viewers to visual and aural splendor for a grisly tale that climaxes in the creation of the Monster’s Bride, played with magnificence by Elsa Lanchester and her unforgettable hair. The Bride is sadly only in the movie for a brief period, but her . One can only wonder what the film would have been like had it not been a big target for censorship. Evil Dead 2. Rare is the sequel that surpasses its predecessor in almost every way, but hail to the king of modern horror follow- ups, baby. The Best Documentaries of All Time . In the light of the amazing recent success and cultural impact of several nonfiction films, a group of curators, myself included, were chewing over what the BFI might do specifically for documentary films and television. It soon became obvious that we were not sure exactly what it was that we were trying to discuss. I’m usually loath to do anything that takes lustre away from Sight & Sound’s ten- year poll of the Greatest Films of All Time but a new poll seemed to me the most obvious solution to getting a full view of the documentary canon. Approximately four months later I’m delighted with the quality of what more than 2. John Akomfrah, Michael Apted, Clio Barnard, James Benning, Sophie Fiennes, Amos Gitai, Paul Greengrass, Jose Guerin, Isaac Julien, Asif Kapadia, Sergei Loznitsa, Kevin Macdonald, James Marsh, Joshua Oppenheimer, Anand Patwardhan, Pawel Pawlikowski, Nicolas Philibert, Walter Salles and James Toback) have come up with in terms of choices and commentary and I’m very proud of the team of advisors, BFI colleagues and S& S editors who have worked so hard to produce this poll edition. What’s remarkable about the Top 5. One in five of the films chosen were made since the millennium, and to have a silent film from 1. That allusive essay films feature so strongly throughout demonstrates that nonfiction cinema is not a narrow discipline but a wide open country full of explorers. The current special documentary edition of S& S contains further features and reflections on our poll; the real explorers among you will also want to browse all the individual votes and comments over on our dedicated interactive web page. The top 5. 0Dziga Vertov, USSR 1. Michael Nyman)1. 00 votes. David Abelevich Kaufman is documentary’s Jumpin’ Jack Flash. Indeed, there is a photograph of him caught in mid- air, jumping. His pseudonym . And his masterpiece, Man with a Movie Camera (Chelovek s kinoapparatom, 1. It has taken more than 8. Man with a Movie Camera is a . These films celebrated the vibrancy of the modern cityscape with pastiches of urban images, for the most part neither set up nor reconstructed. Vertov, though, plays fast and loose with the conventions of such films, to profound effect. He superimposes, splits the screen, deploys fast- and slow- motion and extreme close- ups, and animates using stop- motion. Most surprisingly, he shows us the processes whereby a documentary is made. The eponymous man with the movie camera is his brother Mikhail, and his wife, Yelizaveta Svilova, is his editor. Both appear at work on screen. His experimental exuberance was not appreciated. When the film was seen in the West, it was dismissed. The British documentarist Paul Rotha remembered: “Vertov we regarded really as rather a joke, you know. All this cutting, and one camera photographing another camera photographing another camera – it was all trickery, and we didn’t take it seriously.”At the time, his colleague John Grierson, the Scottish producer and theorist regarded as the father of British realist documentary, dismissed Vertov’s work peremptorily: “Vertov has pushed the argument to a point at which it becomes ridiculous.”More profoundly and more dangerously for Vertov, he was also attacked in the Soviet Union. Eisenstein called Man with a Movie Camera “cine- hooliganism”. The comrade- theoreticians associated with the intellectual LEF journal were equally unimpressed: “Dziga Vertov cuts up newsreel. In this sense his work is not artistically progressive” – a failing that could get you years in the Gulag. Vertov, who always marched to a different drummer, compounded the threat. He never produced recognisable scripts, shot from the hip (most of the time), went over budget and was generally uncontrollable. He was a combative polemicist vehemently insisting that the potential of the cinema as a revolutionary tool was being ignored by his fellows. Their fictions were bourgeois distractions, unlike his efforts with the “unplayed film”, as he called documentary. Almost from the start of his career in newsreels immediately after the Bolshevik revolution of 1. Vertov’s agenda in Man with a Movie Camera signposts nothing less than how documentary can survive the digital destruction of photographic image integrity and yet still, as Vertov wanted, “show us life”. Vertov is, in fact, the key to documentary’s future. It is no wonder that two years ago Man with a Movie Camera entered the top ten in Sight & Sound’s . It is not merely that a great film now receives its just deserts. Vertov has no reason any longer to be “sad”.—Brian Winston, excerpted from a new essay in our September 2. Claude Lanzmann, France 1. There are documentary filmmakers who plant their stakes within existing traditions and those for whom cinema has to be reinvented. Claude Lanzmann clearly belongs in the latter category. Of course cinema already had to exist in order to allow Lanzmann to make Shoah – the title is the Hebrew word for catastrophe – but he also had to rethink what cinema could be. His 5. 50- minute examination of the Jewish Holocaust falls within the documentary tradition of investigative journalism, but what he does with that form is so confrontational and relentless that it demands to be described in philosophical/spiritual terms rather than simply cinematically. Determined to make us imagine the unimaginable, Lanzmann literalises a quote from the philosopher Emil Fackenheim: “The European Jews massacred are not just of the past, they are the presence of an absence.”One could even describe Shoah as a kind of cruel but determined shotgun marriage between Judaism and existentialism – a match between Lanzmann’s sense of his tribal roots (he was born in 1. French Jewish family of Eastern European immigrants, and joined the Resistance at the age of 1. Jean- Paul Sartre’s journal Les Temps modernes and the lover of Simone de Beauvoir). How does one negotiate between a religion founded on the dictates of the past and a philosophy founded on the needs and challenges of the present? First of all, in the case of Shoah, by refusing any historical or archival footage or narration. The film depends exclusively on interviews and footage shot in the present, either at certain key places where the Holocaust occurred (on the trains carrying Jews to the death camps, or at what remains of the camps themselves at Chelmno, Sobibor, Treblinka, Auschwitz) or in other relevant locations in Wlodawa, Kolo, Berlin, Belzec, Warsaw – even, most memorably, in an Israeli barbershop. Secondly, by recording Lanzmann and others in their own languages (including German, Hebrew, Polish and Yiddish) and including the translations into French, which are then subtitled in English in Anglo- American prints of the film. And thirdly, as de Beauvoir noted in her preface to the film’s published text, by editing the sequences not according to any chronological order, but poetically. Allusions to Jean- Jacques Rousseau, the Khmer Rouge and the revolutionary history of Guinea- Bissau are heady stuff, but who can resist a glancing close- up of a puffed- up bird bobbing its way through a botanical garden? Rigour and discursiveness – or perhaps a uniquely discursive rigour – are the most potent weapons in Sans soleil’s arsenal. Shot by Marker under the pseudonym Sandor Krasna and narrated (in both its English and French- language versions) by an actress pretending to be this cipher’s closest correspondent – and thus a vessel for conveying both his footage and his thoughts to the audience – the film is unique in the documentary canon for its simultaneous embodiment of both documentary’s most classical and radical qualities. At its core, the work is an exercise in ethnographic filmmaking, with Marker- as- Krasna decamping to locations in Japan and Africa to observe the environments and rituals therein. But the highly mediated presentation – the adoption of a fictional framework and the relentless manipulation and juxtaposition of the images into a kind of audiovisual labyrinth – gets so far away from Flaherty that it actually laps him: depending on one’s perspective, Sans soleil is either an hommage to the observational ethos of Nanook of the North or an ardent repudiation. It’s a clich. It addresses memory even as its different threads seem to forget themselves; it parses geopolitics without betraying any affiliation; it might be Marker’s most elaborately self- effacing film, or his most plangently personal. It’s quite telling that the emu that shows up seemingly apropos of nothing near the start returns at the end, and that even though he’s barely recognisable through the video- artefacted veil of Japanese artist Hayao Yamaneko’s electronic imagery – a visual space that the narration refers to as “the zone” – he feels like some long- lost old friend. An emu in the Ile de France is a rare bird, and so is Sans soleil.—Adam Nayman. Night and Fog (Nuit et brouillard, 1. Alain Resnais, France 1. In 1. 94. 5 moviegoers worldwide became familiar through weekly newsreels in their local cinemas with the unspeakable conditions in the recently liberated Nazi extermination camps. Immediately there followed documentary assemblages of this material (most notably for screening as evidence at the Nuremberg war crime trials). Not, however, until Night and Fog (Nuit et brouillard), commissioned to mark the tenth anniversary of the Allied liberation of the most notorious camp, at Auschwitz, did film producers truly confront and define the moral and aesthetic parameters involved in treating such an intractable subject. Everyone involved in making the film was a modernist, associated with the international avant garde (most famously at the time the composer Hanns Eisler, an Austrian former pupil of Schoenberg who had spent the Nazi era in exile). But the director, Alain Resnais, refused to take part until it was settled that the script should be written by the poet and editor Jean Cayrol, himself a survivor of the camps. How can I set a short timeout with the ping command? LAN. It does the same thing but uses layer 2 arp packets to do the 'ping'. You can use a combination of arpping and icmp ping, or in fact tcp ping, to gather what the failure is. EXample is a tcp stack crash, although rare these days, we could find if a machine tcp stack had crashed, as the machine would not respond to ping, however it would respond to arp (which is a different piece of code on the host). If you have managed ethernet switches you can get physical link data, revealing if the machine is actually switched on, or had been physically unplugged. We had a situation where machines (clients in public rooms) would be switched off, we gathered that data and the sent wake on lan packets, to power up the machines. 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