Gahan wilson best cartoons youtube

He created his first flash animation series -- a stick figure-based work titled Bendee -- in the early s. His debut Eddsworld flash cartoon appeared in late Maintained by his friends after his death, the EddsWorld YouTube channel has amassed more than 1. He was born and raised in London, England. Tragically, he died of acute lymphoblastic leukemia at the age of only He was a friend and artistic collaborator of fellow web star Thomas Ridgewell also known as Tomska.

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Content:

• Review: ‘Born Dead, Still Weird’ a jaunty portrait of Gahan Wilson
• Remembering Gahan Wilson
• FRIDAY’S FORGOTTEN BOOKS #663: A NIGHT IN THE LONESOME OCTOBER By Roger Zelazny & Gahan Wilson
• Remembering 'New Yorker' Cartoonist Gahan Wilson
• David Sipress’ “What’s So Funny: A Cartoonist’s Memoir”
• Bob Burden Goes To The Origins Of Flaming Carrot And Announces Hit Man For The Dead
• Watch Gahan Wilson: Born Dead, Still Weird 2013 in Australia
• Gahan Wilson's Out there
• Gahan Wilson, creepy cartoonist loved by Stan Lee and Guillermo del Toro, dies at 89

WATCH RELATED VIDEO: Sesame Street - Animals Escape From the Zoo - Gahan Wilson (1980s)

Review: ‘Born Dead, Still Weird’ a jaunty portrait of Gahan Wilson

But the video streaming service also has a great, if hard-to-find, selection of legal free movies. This month saw a big shift in the movies available to rent, with some of the newer films represented on our Best of list coming up.

Or visit all our Paste Movie Guides. Steamboat Bill, Jr. Watch on YouTube. But Steamboat Bill, Jr. Year: Director: F. Sunrise was born of that ambition, as Fox brought German genius F. Murnau to Hollywood, where he and his cameramen used all the resources at their disposal to create some of the most stunning visuals ever put on celluloid.

Year: Director: Stanley Kubrick. The purple prose of future Pulitzer-winner Howard Sackler fills both dialogue and voiceover with strained metaphors and abstract intellectualizing, and the actors, by and large, respond to the overwritten material by overacting it. Representative of violence and desire and how those two always seem to be neighbors in men, the look is a brief but telling stylistic choice in a scene filled with pet themes and physicalizations of these ideas.

Grasping hands and spilled stew create some of the most memorable images, but that the images are what remain most memorable from the movie is itself a kind of indicator. Buster Keaton was never one for grandiose social commentary, but he loved observing absurd human behavior.

So he had no trouble making Our Hospitality , about a generations-long family feud that comes head-to-head with a southern hospitality code. Keaton has a great time attempting escapes, with the inside of the house serving as his safe zone if things go wrong.

The funniest moment is the dinner prayer, during which everyone is watching everyone else rather than actually praying. A river chase sequence, including a killer waterfall stunt, brings things to a perfect climax. This film also just entered the public domain on Jan. Year: Director: Buster Keaton. In the 91 years since Keaton made his love letter to cinema, no one has crafted a better examination of the relationship between the audience and the silver screen.

Keaton plays a movie theater projectionist and wannabe detective who dreams he walks into a movie screen and becomes a suave hero—the perfect metaphor for the appeal of the movies. Keaton plays with reality through virtuoso special effects, but also captures genuine stunts in single takes.

He broke his neck in one scene and still finished the take. He daringly subverts structure—the conflict is resolved halfway through the movie with no help from the hero. He brings visual poetry to slapstick with rhyming gags. The laughs coming from failure in the real world and serendipity in the fantasy movie world, but the mechanics parallel each other. And he strings it all into a romp that never stops moving toward more hilarity.

When Yankee spies steal his locomotive and kidnap his girlfriend, a Southern railroad engineer "The Great Stone Face" Buster Keaton is forced to pursue his two beloveds across enemy lines. While a few Charlie Chaplin pictures give it a run for its money, The General is arguably the finest silent comedy ever made—if not the finest comedy ever made. Year: Directors: Fred C. This film just entered the public domain recently. Magnificent in its freakish, dour mood and visual eccentricities, the movie invented much of modern vampire lore as we know it.

Year: Director: Bob Saget. Watch on YouTube The Navigator mines an ocean liner for every gag imaginable. Keaton plays a clueless rich young man who finds himself stranded on a giant, adrift ship with the clueless rich young woman who rejected him serving as his only company.

The best moment may be a spooky night when the characters let the creepiness of the boat get the best of them. There are Buster Keaton two-reelers with more ambitious special effects, more epic stunts and more elaborate chase scenes, but in my experience, none get more laughs than The Scarecrow.

The film never stops to catch a breath as it moves from place to place, always setting up and paying off new laughs. Unlike Nugent, Bernie is conspicuously loved by all.

Behold arrogance anthropomorphized: A year-old Arnold Schwarzenegger, competing for his sixth Mr. He is both the epitome of the human form and almost tragically inhuman, so corporeally perfect that his physique seems unattainable, his status as a weightlifting wunderkind one of a kind.

Chaplin went against heavy studio opposition to create a more serious film in contrast to his earlier work. However, The Kid features just as much slapstick humor as his previous shorts, but placed within a broader, more dramatic context.

Year: Director: George A. The question is more accurately, "how does it hold up today? Duane Jones more than makes up for that as the heroic Ben, however, in a story that is very self-sufficient and provincial—just one small group of people in a house, with no real thought to the wider world.

But in terms of entertainment value, Romero would perfect the genre in his next few efforts. Also recommended: The remake of this film by Tom Savini, which is unfairly derided just for being faithful to its source. Limb-breaking, face-pulverizing action fills this semi-historical film, which succeeds gloriously both as compelling drama and martial arts fan-bait. Alexander Smith. Many superb romance films double as family dramas. Little Women , About Time and the underappreciated dramedy Tortilla Soup are prime examples of this fact.

All four members of the family navigate the challenges of their personal neuroses and respective romances while attempting to maintain a semblance of normalcy around their dinner table. Romantic love is not hierarchically positioned as more important than any other kind of love in this film. Rather, Tortilla Soup suggests that the ways people are witnessed, through the love of their chosen family, gives them the courage to demand mightier and more fulfilling love in all aspects of their lives.

Sita Sings the Blues is a study in cinematic obsession and a triumph of individual achievement for its creator, artist and animator Nina Paley. The film is a testament to how, even by , Hitchcock was shaving each of his films down to their most empirical parts, ready to create some of the most vital genre pictures of the s. Year: Director: Edgar G. A Poverty Row staple with an unknown cast peering into the post-war dark night of the soul, Detour has come to embody the best film noir has to offer—namely, that budget and schedule concerns indirectly enriched the artistic product, paring down a weightier script and even more bloated source novel into a precise, exquisitely sharp bit of storytelling economy.

As much an efficient encapsulation of its genre as it is a noir drowning entirely within its own hell-bent nightmare, Detour is most impressive for how gracefully Ulmer can get the most out of so little.

A charming bank heist film with lots of heart and a killer central relationship, Thunderbolt and Lightfoot is almost as good as its wild title.

This South Korean story of a career-minded father attempting to protect his young daughter on a train full of rampaging zombies is equal parts suspenseful popcorn entertainment and genuinely affecting family drama. Rent at YouTube. Undine opens as a rom-com might. A lilting piano score, not without a shade of sadness, purrs quietly during the title cards. She could actually murder this guy. What once felt familiar now feels pregnant with dread. Undine is a water spirit, making covenants with men on land in order to access a human soul as well as a tasteful professional wardrobe.

Breaking that covenant is fatal. Or so the story goes. He too is bound to the evolving bones of Germany, repairing bridges and various underwater infrastructure—he may, in fact, be more intuitively connected to the country than most. In Undine , Petzold captures this tension with warmth and immediacy.

Many, many lives have brought us here, but none are more important than these two, and no time more consequential than now. My god, how romantic. What are her ambitions? What interests and excites her? Alana is instantly strange and striking, and—when Anderson introduces her in a languid dolly-shot with a mini-skirt, kitten-heels, slumped shoulders and a gloriously pissed expression—we are compelled to fall in love with her, just like Gary does, at first sight.

Of course, Anderson quickly rejects the notion that Licorice Pizza is going to be a straightforward romance. Each shot, filled with dreamy pastels, glows with a youthful nostalgia. Anderson and cinematographer Michael Bauman balance out this haziness with a unique control of the camera, implementing long takes, slow dollies, and contemplative pans galore.

What is it that Alana gets from being friends with someone ten years younger than her? And why does Gary always return to Alana even when she tries her best to put him down?

Like gleefully gliding through the streets of L. The Sparks Brothers is a thorough and charming assessment and appreciation of an idiosyncratic band, and the highest praise you could give it is that it shares a sensibility with its inimitable musicians. Not an easy task when it comes to Ron and Russell Mael. One made a trilogy of parodies that stands atop its individual genres zombie, cop, sci-fi movies.

Only fitting for a movie about the consequences of toxic overachievement—of what happens when quasi-liberal education is a money-making machine, burning kids like coal. No participation ribbons. Keep an eye on her, as The Novice may have just revealed an up-and-coming master. Alexia Agathe Rousselle had an early connection with cars. The accident rendered her father mostly unscathed, and Alexia with a titanium plate implanted in her skull.

Perhaps, it is because he knew what Alexia would become; perhaps, Alexia was just born bad. Bones break, skin rips, libidos throb—the human body is pushed to impossible limits. Titane is a convoluted, gender-bending odyssey splattered with gore and motor oil, the heart of which rests on a simple if exceedingly perverted story of finding unconditional acceptance. Eighteen years following the childhood incident, Alexia is a dancer and car model, venerated by ravenous male fans aching to get a picture and an autograph with the punky, sharp-featured young woman.

And despite her cruelty, and the relative distance from and lack of insight into her character, Alexia remains an empathetic protagonist.

Titane is not just bloody minutes of bodily mutilation and perversion, but of blazing chaos inherent in our human need for acceptance. Ducournau has wrapped up this simple conceit in a narrative that only serves to establish her voice as one which demands our attention, even as we feel compelled to look away.

Remembering Gahan Wilson

My favorite cartoonist was Gahan Wilson , who passed away earlier this week at the age of Wilson also had a knack for revealing the tawdry reality around the corner. Wilson took some deft jabs at military madness over the years. He was scheduled to give a talk and was a bit uncertain of finding the lecture room in that cavernous Marriott hotel. I walked up, mentioned that I knew where he was speaking, and chatted for a pleasant five or ten minutes as we headed to the venue. His spiel was far and away the highlight of that cartoonist show captured at the YouTube link below. When he was a youngster, his family lived in the apartment next to that of one of the Chicago Tribune editors.

FRIDAY’S FORGOTTEN BOOKS #663: A NIGHT IN THE LONESOME OCTOBER By Roger Zelazny & Gahan Wilson

Tom Spurgeon's Web site of comics news, reviews, interviews and commentary. February 21, CR Reviews. CR Interviews. CR Letters. CR Commentary. Bart Beaty's Conversational Euro-Comics. CR Calendar, Dates, Events. CR Comics Collective Memory.

Remembering 'New Yorker' Cartoonist Gahan Wilson

He was He went peacefully — surrounded by those who loved him. Gahan Wilson leaves behind a large body of work that is finely drawn, elegant, and provocative. If any cartoonist carried the torch Charles Addams lit, it was Gahan Wilson.

David Sipress’ “What’s So Funny: A Cartoonist’s Memoir”

The series follows the adventures of a boy named Finn Jeremy Shada and his best friend and adoptive brother Jake John DiMaggio —a dog with the magical power to change size and shape at will. The series is based on a short film that aired on Nicktoons. After the short became a viral hit on the Internet, Nickelodeon 's executives passed on its option before Cartoon Network commissioned a full-length series from Fred Seibert and Ward, which was previewed on March 11, The same year, the series premiered on Cartoon Network on April 5, and ended its eight-year run on September 3, It was produced using hand-drawn animation; action and dialogue for episodes are decided by storyboarding artists based on rough outlines. Because each episode took roughly eight to nine months to complete, multiple episodes were worked on concurrently.

Bob Burden Goes To The Origins Of Flaming Carrot And Announces Hit Man For The Dead

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Watch Gahan Wilson: Born Dead, Still Weird 2013 in Australia

Skip Morrow, seen here at home in Wilmington, Vt. Publishing cartoon illustrations since , he has explored the human condition through corporate logos, editorial illustrations, advertisements, greeting cards and more than a dozen books. On his website, he states that businesses commission him to apply his "warped sense of humor" to their campaigns.

Gahan Wilson's Out there

RELATED VIDEO: Gahan Wilson: Born Dead, Still Weird

Gahan Wilson is gone at 89 years old. Wilson was a prolific cartoonist with a penchant for probing the pitch-dark, puzzling corners of the human mind. And when I received a subscription to The New Yorker when I was 10 years old , I was happy to enjoy it out in the open, although my mother did not find Wilson funny at all when I posted this drawings on the bulletin board in my room. Wilson worked in the tradition of the famed New Yorker cartoonist, Charles Addams, who also drew macabre situations with a humorous edge to them.

Gahan Wilson, creepy cartoonist loved by Stan Lee and Guillermo del Toro, dies at 89

Cartoonist Gahan Wilson died November 21 at the age of His work was often described as macabre and weird. In an appreciation of Wilson published in The New Yorker, cartoonist Michael Maslin described Wilson as liking to depict ordinary folks encountering some kind of anxious terror or experiencing the unthinkable in mundane places. Gahan Wilson was a fan of vampire and werewolf movies and even made his own pilgrimage to Transylvania to visit the historic Castle Dracula. I spoke with Wilson in

We start out with a biographical feature on the cartoonists who worked for Playboy in the mids. Sokol was arguably the most gifted artist who ever worked for Playboy, with a keen eye for all of the elements of good drawing- composition, clear silhouettes, original color harmonies, interesting staging and a keen sense of light and shade. His style evolved as time went by, and his images became more and more beautiful. This group of cartoons is arranged in a more or less chronological manner.