Latest news with #1980s
CNET
11 hours ago
- Entertainment
- CNET
This Pitch-Perfect '80s Horror Throwback Hits All the Right Notes, and It's Free on Tubi
Tons of movies try to pull off the vibe of classic 1980s horror movies, but it's not as easy as dropping in some neon spandex and sprawling synthesizers. One film that does a fantastic job of capturing the "Me Decade" horror aesthetic is The House of the Devil, and you can stream it for free right now on Tubi. Directed by Ti West, this indie gem doesn't rely on cheap jump scares or flashy effects. Instead, it leans into tension, atmosphere and that slow-building sense of unease that defines the best of retro horror. It's a love letter to the genre that understands what makes it so terrifying in the first place. If you're craving something suspenseful, stylish and soaked in vintage vibes, this one's a must-watch. The movie follows Samantha (Jocelin Donahue), a college student desperate for cash who takes a babysitting job in a creepy old mansion. She soon discovers she's dealing with a much different charge than a child when she arrives on site. As she's left alone for the night, she orders a pizza and cues up a flick on TV, while the dread builds incrementally and the audience settles in for something horrific. The House of the Devil is reminiscent of classic films like Halloween and When a Stranger Calls, but ratcheted up tenfold. This horror flick is gory, grim, and shockingly true to its vintage setting. MPI Movie Group/Screenshot by CNET From the opening credits, The House of the Devil sets the tone with a ridiculously accurate and detailed retro aesthetic. It doesn't just take place in the 1980s -- it feels like it was made then. The grainy film texture, era-appropriate costumes and hair are absolutely perfect. It's set to a curated soundtrack with tracks including The Fixx's One Thing Leads To Another and The Greg Kihn Band's The Break Up Song. The movie doesn't just feel like it's dressing up in '80s tropes, but like it was birthed from that time. The movie was shot on 16mm film, creating its specialized throwback look. It lifts cinematography straight from '80s filmmakers along with a slew of other techniques to evoke classics of the era. Everything, down to the credits, is period accurate, and I appreciated all the attention given to making sure everything matches, down to the cups at the pizza restaurant seen early in the movie. The Ulmans have a secret reason why they hired Sam to watch "Mother." MPI Movie Group/Screenshot by CNET Sam realizes something is amiss when she stumbles upon proof that the family that hired her for the babysitting job isn't the same one in the photos. Realizing she might have been deceived, she attempts a 911 call, but she's already eaten a piece of tainted pizza. She passes out just as she gets a glimpse of what exactly it is she's been hired to "babysit." The movie's path is fraught with grisly moments (just ask Sam's best friend Megan, played by Barbie director Greta Gerwig), with believably gruesome practical effects that unsettle and chill to the bone. The hideous "Mother," who Sam discovers is connected to her original job, is an example of '80s filmmaking that would have made audiences sick to their stomachs. Sam's friend Megan is not pleased at all by the situation at the Ulmans' house. MPI Movie Group/Screenshot by CNET Without spoiling the climax, The House of the Devil maintains a gnawing, upsetting sense of dread throughout its runtime. It isn't afraid to use themes of isolation, the unknown and betrayal to keep you on the edge of your seat, which I appreciated on my first viewing and only grew to love more with each rewatch. As horrific as the story is, I firmly believe that this movie wouldn't have been possible without its commitment to staying true to the era that inspired it. If you're looking for a horror movie that doesn't rely on cheap jump scares or the overwrought parable "sex is bad" with a group of teens being picked off one by one, The House of the Devil is one of the best flicks you could put on your Halloween viewing list. It brings the golden years of '80s horror to life in believable, decadent ways that'll have you squirming in your seat. I'm still unpacking the gagworthy climax, and I bet you will be too.
Reuters
2 days ago
- Business
- Reuters
Trump administration has 'no imminent plans' to refill nation's emergency oil reserve
WASHINGTON, June 26 (Reuters) - The Trump administration has no imminent plans for refilling the nation's Strategic Petroleum Reserve, White House spokeswoman Karoline Leavitt said on Thursday. The emergency oil reserve is currently at its lowest levels since the 1980s after President Joe Biden tapped the stockpile to help lower prices amid market uncertainty.
Yahoo
2 days ago
- Entertainment
- Yahoo
‘Ferris Bueller's Day Off' Sweater Vest Worn by Matthew Broderick Sells for $279,400 at Sotheby's New York Auction
The famous sweater vest worn by Matthew Broderick in the 1986 John Hughes teen comedy 'Ferris Bueller's Day Off' sold at auction on Tuesday for $279,400 via Sotheby's in New York City. The sweater vest attracted 11 bids. Broderick wears the memorable photomatched vest during the 'Twist and Shout' sequence of the '80s film. 'Ferris Bueller's Day Off' follows the titular character on an epic day playing hooky in Chicago at the end of the school year. More from WWD EXCLUSIVE: Sotheby's Taps Jean-Charles de Castelbajac to Showcase Napoleonic Treasures Julien's Auctions to Offer Key Menswear Pieces From Celebrities, Designers Diamonds, Dynasties and Drama: Marie Antoinette's Smuggled Pink Diamond Resurfaces, Heads to Christie's Auction 'Few items in film history carry the instant recognition and cultural weight of Ferris Bueller's sweater vest. It's more than just a costume — it's a piece of 1980s Americana that embodies a character, a decade, and a universal sense of youthful rebellion,' Ralph DeLuca, Sotheby's vice chairman, popular culture, said in a statement. 'As Sotheby's launches its newly dedicated Popular Culture department, offering this vest at auction marks a fitting start — an item that reflects the spirit of a beloved film and connects with audiences across generations.' 'Ferris Bueller's Day Off' marked Oscar-nominated American costume designer Marilyn Vance's fourth collaboration with director John Hughes, the filmmaker behind such teen classics as 'The Breakfast Club' and 'Sixteen Candles.' Prior to working on 'Ferris Bueller's Day Off,' Vance collaborated with Hughes on his films 'The Breakfast Club' and 'Pretty in Pink,' the latter of which Hughes wrote but did not direct. According to Sotheby's, the sweater vest was one of Vance's initial ideas for creating the costumes for the titular character. Vance found the camel and chocolate brown sweater with its striking geometric pattern reminiscent of leopard print at Marshall Field's, according to Sotheby's. She cut the sleeves off to give the piece its memorable look. The 'Ferris Bueller's Day Off' sweater vest sale coincides with the debut of Sotheby's newly dedicated Popular Culture department, led by DeLuca. Moving forward, Sotheby's will host dedicated multi-auction sales events twice a year — in October and April — for items spanning film, TV, music and comics. View Gallery Launch Gallery: Iconic Film Costumes: 'The Wizard of Oz,' 'Clueless,' 'Barbie' and More [PHOTOS] Best of WWD Stores Closing in the U.S. in 2025: Joann, Kohl's, JCPenney and More Companies Facing Financial Challenges The History Behind the World's Most Expensive Hats: From Princess Beatrice's Royal Wedding Headpiece to the $2.7 Million Chapeau D'Amour and More Every Winner in Miss World History: Opal Suchata Chuangsri, Priyanka Chopra and More
ABC News
2 days ago
- ABC News
Serial rapist Warren John McCorriston spared more jail time for attempted cold case abduction
A serial rapist who attempted to abduct a teenage girl to rape her 45 years ago has avoided jail time. Warren John McCorriston pleaded guilty to trying to abduct the 17-year-old in 1980 near Newcastle after she got off a bus near her home. Newcastle District Court heard McCorriston "did by force detain [the woman] against her will with intent to carnally know her". The girl eventually broke free and hid in bushes in her neighbours' front yard before he drove off. During McCorriston's sentencing hearing on Thursday, the court heard the 64-year-old was a registered sex offender. He previously served eight-and-a-half years in jail for attacks on three women around the same area as the attempted abduction from 1979 to 1999. Judge Tim Gartelmann said he had to factor in time spent behind bars when considering the sentence for the offence. McCorriston was sentenced to two years and three months in jail, with a non-parole period of one year and three months. Due to time served, the judge granted an immediate release from the dock. On the night of the attempted abduction, the teenage victim had watched a film at a Newcastle cinema, the court heard. She caught a bus which dropped her about 600 metres from her home. As she walked home, a red hatchback pulled up in front of her and McCorriston got out of the car. He told the girl he was armed with a knife and she should get into his car. He told police he planned to force her into his car for sex. The victim didn't report the crime until 2023, after watching a program about another teenager who was abducted in Newcastle in the 1990s. She identified McCorriston from a black and white photo. McCorriston was convicted in 2021 of raping three women over two decades. The victims were as young as 17. At McCorriston's sentencing hearing, Judge Gartelmann said he needed to consider time served when handing down this sentence, and spoke about "the principle of totality". "The sentence he had been serving was imposed for several offences," the judge said. "Sentences for those offences were effectively partly concurrent and partly cumulative. McCoriston's non-parole period for after his term for attacking his three other victims ended last year. Despite this, the court heard he stayed an extra 200 days in prison before he was released in February this year. The judge said he had shown remorse and his dysfunctional childhood lessened his moral culpability. He will be subject to further supervision while on parole until February next year.
Forbes
2 days ago
- Entertainment
- Forbes
What Was Michaelmania Of The 1980s All About?
American singer Michael Jackson (1958 - 2009) performing on stage, circa 1987. (Photo by Dave ...) As 16 years since the untimely death of Michael Jackson near the sunset, it's fair to reflect on the phenomenal era that marked the prime of his solo career in the 1980s. By the early 1980s, it was evident to anyone paying attention that the sensational young man and lead singer of the Jackson 5 had outgrown the velvet ropes of Motown adolescence. Michael Jackson was no longer the cherub-faced prodigy in matching jumpsuits harmonizing alongside his brothers, he was an artistic force ready to break the mold of the child star. His solo juncture was not a detour from the Jackson family legacy, it moreover enhanced it and served as a cultural and commercial overdrive that would redefine global stardom and recalibrate the power of Black artistry in pop culture. By 1984, Michael Jackson wasn't just a star. He was a spectacle. An enigma. He had that rare, alchemical power to stop time, command tears, and quite literally make people faint just by existing in the same space. Fans routinely collapsed at his concerts, an act that swindled into the 1990s. To be in the same dwelling as him wasn't just a thrill, it was a spiritual experience for many. American singer, songwriter, record producer and entertainer known as the King of Pop, Michael ... More Jackson and his producer Quincy Jones attend the 26th Grammy Awards ceremony. They won a record 8 awards. (Photo by Bill Nation/Sygma via Getty Images) By early 1984, Thriller, which dropped in December 1982, had already moved over 30 million copies worldwide. With seven of its nine tracks hitting Billboard's Top Ten, Thriller amalgamated the lines of genre, form and grandly, that of race leading Black music back to its natural position of the forefront amid the clouds of being marginalized. The record breaking identity of Thriller was too excessive to ignore. Michael ultimately set new industry standards. His corporate collaborations, especially with Pepsi, weren't just promotional efforts. They were strategic alliances that expanded his brand into previously untapped markets. The "Victory" tour, which featured Michael and his brothers, became one of the most heavily funded and anticipated tours in music history. And the highly publicized hair burning accident couldn't deter the then 26-year-old Michael. A master showman, he pushed forward and the world witnessed the little boy of the Jackson Five showcase a resilience that became signature to his professional repertoire. That repertoire, however, was never one-dimensional. He was deeply spiritual, modest in his personal habits, and introverted offstage. Yet onstage, he was electrifying, cinematic, sensual, and surreal. This dichotomy was no mere affectation. It was a reflection of his complex nature that was intensely captivated by consumers and critics alike. NEW YORK, NY - FEBRUARY 7: Michael Jackson accepts an award from CBS and The Guinness Book Of World ... More Records celebrating "Thriller" as the largest-selling album of all time (25 million) February 7, 1984 at the New York Metropolitan Museum of Natural History in New York City. This event is taking place 11 days after he suffered hair and scalp burns filming a Pepsi Cola commercial. (Photo by) Long before celebrity endorsements became a standard playbook move, Michael brokered that groundbreaking $5 million deal with Pepsi, an alliance that didn't just slap his face on a can, but rewrote the rules of music-brand synergy. This wasn't about slinging soda. It was about embedding a global pop icon with massive appeal into the corporate bloodstream. The campaign, along with its cinematic ads and cross-promotion of the Victory tour, marked the beginning of the superstar-as-multinational brand. Tito Jackson, Jackie Jackson, Marlon Jackson, Jermaine Jackson, Randy Jackson and Michael Jackson of ... More The Jacksons, 1983. (Photo by Ron Galella/Ron Galella Collection via Getty Images) *** Local Caption *** The Victory tour itself was a masterclass in scale and strategy. Estimated to gross up to $100 million, it was a hybrid of music, merchandising, and media spectacle. Fans weren't just buying concert tickets, they were purchasing access to an entire ecosystem which granted them limited-edition tour jackets, commemorative dolls, video specials, and the mythos of a pop deity. Michael and his brothers secured 85% of the tour's net profits, while Michael's personal record royalties, reportedly around $2 per album sold, cemented his position as one of the most financially empowered artists in music history. At a time when Black musicians were still fighting for fair contracts, and Michael's deals were beyond being lucrative and were rather revolutionary. Popular American musician Michael Jackson (1958 - 2009) stands in a graffiti-filled subway car ... More during the filming of the long-form music video for his song 'Bad,' directed by Martin Scorsese, New York, New York, November 1986. (Photo by) That signature mystique of Jackson carried weight. With just a look, a gesture, a lean into the spotlight, he could stir millions. Even rumors of his arrival in a city could send people into euphoric chaos. He operated at a frequency few could even comprehend. The distance he maintained from everyday celebrity culture only fueled the allure. He was present, yet untouchable, and seen, but rarely understood. Michael Jackson didn't just go solo. He curated a whole entire universe around his persona out of rhythm, maturity, and reinvention. The mania of the 1980s wasn't just about a man. It was about the way that man, the King of Pop, bent time, culture, and commerce to his will. It was about the arrival of a new era, one where Black brilliance reigned supreme.
