{"id":9988,"date":"2014-11-04T12:56:01","date_gmt":"2014-11-04T17:56:01","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=9988"},"modified":"2014-11-04T12:57:25","modified_gmt":"2014-11-04T17:57:25","slug":"twilight-time-goes-to-war-part-2-under-fire-plus-the-package","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=9988","title":{"rendered":"Twilight Time Goes to War, Part 2: Under Fire, plus The Package"},"content":{"rendered":"

\"OrionPicturesRelease_logo\"<\/a>From 1978-1998, Orion Pictures<\/a> was a company known for producing and releasing films that were more artistically daring, perhaps not wholly commercial, and a studio where independent-minded filmmakers could see their work come to fruition without heavy executive interference – the result of which included Oscar-winning, Oscar-nominated, and unusual films with topics and running times with which some studios may have issues.<\/p>\n

Among the company’s high-level roster were Excalibur<\/strong> (1981), Wolfen<\/strong><\/a> (1981), Amadeus<\/strong> (1984), Broadway Danny Rose<\/strong><\/a> (1984), F\/X<\/strong> (1986), The Believers<\/strong> (1987; my review will appear in an upcoming issue of Rue Morgue magazine), No Way Ou<\/strong>t (1987), Robocop<\/strong> (1987), Colors<\/strong> (1988), Eight Men Out<\/strong> (1988), The Hot Spot<\/strong> (1990), The Addams Family<\/strong> (1991), and The Silence of the Lambs<\/strong> (1991), to name a selective (and subjectively enjoyed) few.<\/p>\n

Another attractive feature of an Orion film was it’s very cool animated logo:<\/p>\n

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