Ken Foree

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BET Awards Gifting Suite - Arrivals

Ken Foree - BET Awards Gifting Suite hosted by Celebrity Connected held at the Sofitel Beverly Hills - Arrivals - Los Angeles, California, United States - Saturday 23rd August 2014

Water For Elephants Trailer


In the 1930's The Benzini Brothers Most Spectacular Show on Earth was known as the best circus in America, a small and tight knit community of performers and animals who were all masters of their craft. When trainee veterinarian Jacob Jankowski finds himself as a passenger on their circus train he soon becomes part of the family. Hired to look after the animals he meets Marlena, a beautiful woman who performs as an equestrian star and her husband August, the head animal trainer; it doesn't take long for Jacob to see there's a sinister side to August's personality.

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Picture - Ken Foree Barcelona, Spain, Friday 12th October 2007

Ken Foree Friday 12th October 2007 Sitges Film Festival 2007 - Halloween - Photocall Barcelona, Spain

The Devil's Rejects Review


Excellent
House of 1000 Corpses, the last song on Rob Zombie's 2001 album The Sinister Urge, also served as the title track to the metal frontman-turned-filmmaker's 2003 directorial debut, but the cut's country twang-inflected ghoulishness would have made a more apt musical accompaniment for Zombie's The Devil's Rejects. Less a sequel than a spiritual follow-up, the director's latest revisits House's serial-killing Firefly clan as they're cast into the backwater dustbowls of rural America by a sheriff (William Forsythe) intent on exacting vigilante revenge for the murder of his brother. A gritty Western-via-grindhouse modern exploitation flick imbued with the ferocity of independent '70s horror, Zombie's splatterfest wisely alters virtually everything (narratively, stylistically, thematically) that characterized his campy, cartoonish and awkward first film. And from its coarse, graphic visual aesthetic, profusion of classic Southern rock tunes, and portrait of unrepentant mayhem, his film reverentially exults in the deranged spirit and impulsive, unpredictable energy of seminal genre masterpieces The Texas Chain Saw Massacre and The Hills Have Eyes.

The Devil's Rejects diverges from its predecessor beginning with its opening frames, in which the depiction of the Firefly residence - no longer a remote, forest-shrouded funhouse of horrors but, rather, a dilapidated structure situated in a stretch of open land - speaks to the film's rejection of atmospheric claustrophobia in favor of wide-open anarchy. A fascination with rampant disorder certainly fuels the tour de force intro sequence, a bullet-strewn siege on the Firefly home by Sheriff Wydell (Forsythe) and an army of police officers heightened by Zombie's sly use of freeze frames, Sergio Leone-esque close-ups, and The Allman Brothers' "Midnight Rider." Exhibiting a directorial maturity devoid of his former MTV-ish gimmickry (no hyper-edited montages with varying film stocks or bludgeoning industrial heavy metal here), the director orchestrates the chaotic events with feverish abandon, his shaky handheld camera set-ups and scraggly, sun-bleached cinematography (courtesy of Phil Parmet) placing us directly inside the carnage. By the time murderous siblings Otis (Bill Moseley) and Baby (Sheri Moon) escape their now overrun home to seek shelter in the rotting, blindingly white desert, Zombie has demonstrated a newfound adeptness at lacing nasty action with a breakneck thrust and vicious wit.

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Dawn Of The Dead (1978) Review


Good
Ten years after the original Night of the Living Dead, George Romero returned to his zombie plague in what is widely considered that rare sequel which is better than the original. He certainly had more money to spend -- the movie's in color, with pretty good production values, extreme gore, and zombies galore. The story, of course, remains the same, as our gang of mismatched heroes hole up in a shopping mall while zombies surround them, Romero's tongue-in-cheek ode to Americans behaving as consumerist cattle. The splatter effects are outstanding and fairly pioneering for 1978, but any sense of foreboding is outweighed by the movie's repetitive plot. Two hours is just way too long for a zombie movie, folks, no matter how much flesh gets eaten.
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