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An estimated 7,000 spectators packed Bologna’s Piazza Maggiore square to catch the 1936 classic starring Chaplin and Paulette Goddard in a restored version with live musical accompaniment on Saturday, as it opened the 30th edition of the Il Cinema Ritrovato festival dedicated to rediscovered gems.
Directors Jean-Pierre and Luc Dardenne, Bernardo Bertolucci, Ermanno Olmi, and Cannes Film Festival artistic director Thierry Fremaux are among guests of this year’s 30th edition of Cinema Ritrovato, which will run through July 2. Fremaux, who also heads the Lumiere Institute in Lyon, inaugurated a photo exhibition dedicated to the Lumiere Brothers, cinema’s most illustrious pioneers.
The Dardenne brothers Sunday night introduced the freshly restored copy of their 1996 breakthrough feature “La Promesse” (“The Promise”), on the timely topic of immigration in Europe. Bertolucci and cinematographer Vittorio Storaro (“Apocalypse Now”) will be »
- Nick Vivarelli
Identity crisis. Airplane hijinks. Killer sharks. Is there a common thread here? “All my movies have a concept,” director Jaume Collet-Serra recently explained to IndieWire when asked about how his latest film, “The Shallows,” fits into his oeuvre of thrillers like “Non-Stop” and “Unknown.”
This time around, however, the Catalan filmmaker had much bigger fish to fry than “it takes place all in one night” or “everything happens on a plane,” as the Blake Lively-starring nail-biter features a single beach-set location, a compressed timeline and a giant, very angry shark.
Set entirely on a secluded beach in Mexico, “The Shallows” stars Blake Lively as the resourceful Nancy, who has sought out the isolated surf spot because it’s the place that her recently deceased mother loved when she was younger. What starts as a personal pilgrimage swiftly becomes a bloody fight for survival when a rogue shark attacks Nancy, »
- Kate Erbland
It’s a pretty great time to be a “Power Rangers” fan. While it’s been known for some time that Elizabeth Banks would be causing serious trouble as the villainous Rita Repulsa, we’ve been left wondering for months who would step into Zordon’s floating head, and it looks like we finally have our answer: Bryan Cranston. The “Breaking Bad” Emmy winner has lined up the iconic role of the Power Rangers’ mentor, who happens to be the longtime adversary of Banks’ evildoer. The actor announced the casting on Twitter.
Ever since leaving Walter White behind, Cranston has lined up a series of committed roles in historical dramas like “All The Way” and “Trumbo,” which earned him his first Oscar nomination for Best Actor, but we’ll see a whole new side of him »
- Zack Sharf
“Hey, you wanna hear my philosophy of life? Do it to him before he does it to you!”
On The Waterfront (1954) screen this Friday through Sunday (June 24th-26th) at Webster University’s Moore Auditorium (470 E. Lockwood, Webster Groves, Mo 63119). The film begins each evening at 8:00.
More than 60 years after its original release, On The Waterfront, Academy Award®-winning director Elia Kazan’s classic tale of crime and corruption among unionized dock workers in New York and New Jersey, returns to the big screen when it plays at Webster University’s this weekend. Movie buffs can experience the second collaboration of Marlon Brando and Kazan, following A Streetcar Named Desire, along with the acclaimed performances of Eva Marie Saint and Karl Malden, and a still-searing, Academy Award®-winning screenplay by Budd Schulberg.
Filmed in just 36 days on-site in Hoboken, New Jersey, On The Waterfront tells the story of struggling »
- Tom Stockman
We here at Cineplex would like to wish all you fathers out there a very Happy Father’s Day on Sunday!
What better way to celebrate the holiday and spend time with your kids, then to watch a movie or two with them at home this weekend? In case you're having trouble choosing from the many, many titles in the Cineplex Store, we've carefully chosen our top five dad-themed movies for your enjoyment this weekend:
Francis Ford Coppola’s masterpiece The Godfather is all about father and son dynamics. This classic which won best picture at the Oscars, stars Marlon Brando, who plays the powerful yet aging Godfather who ends up passing down his mafia dynasty to his reluctant son, Michael Corleone, played by Al Pacino. The all-star ensemble cast in this is incredible to watch including: Diane Keaton, James Caan and Robert Duvall. This is a movie you can’t refuse! »
- Scott Goodyer
Stephen Lacey and Andrew Leyland are your guide to Marvel’s First Family, The Fantastic Four. Starting at the very beginning of the Marvel Age of Comics, they cover every issue of The Fantastic Four, every spinoff title (Strange Tales, Marvel Two-In-One, and more), every guest appearance and every cameo, in order of publication…
Hello, and welcome to episode 184 of The Fantasticast. Each week, Steve Lacey and Andy Leyland guide you through every issue, guest-appearance and cameo of The Fantastic Four.
This week, Steve and Andy are tackling something a little… bigger than usual. It’s the second/first issue of Giant Size Fantastic Four (blame title changes for the lack of certainty), in which another accidental activation of Doctor Doom’s time platform threatens to unravel human evolution because George Washington fell off his horse. It’s probably best not to wonder how…
It’s the return of John Buscema to the Fantastic Four, »
- Gary Collinson
At 63, Tony Kaye is plotting another comeback. Although he’s always been an award-winning director of commercials and music videos, his feature career is a study in scorched earth. His last feature was five years ago; before that, he shot “Black Water Transit,” which was never finished. And then there’s his debut, a masterpiece riddled with production woes called “American History X.”
That track record leads to perceptions that it’s impossible to take Kaye seriously — but that would be a mistake.
Studios may view him as a flustered and frustrating eccentric, but Kaye remains a rare breed — an outlaw artist working through one hurdle after another, beaten but not broken, and always ready to rise again. While virtually every American studio movie reflects some kind of compromise, truly unfiltered creative visions are rare. At a time when we could use more committed independents, we don’t hear from Kaye nearly enough.
That’s about to change, and while his characteristic brashness is still evident, he said he’s learned a bit of restraint. “We’ve all got demons inside of us,” he explained in a recent phone interview. “I’ve gotten rid of mine — or got them under control.”
His chosen vehicle to showcase that rehabilitation is “Stranger Than the Wheel,” Kaye’s first feature-length project since 2011’s “Detachment.” Last fall, Kaye announced on Facebook that Shia Labeouf would star in the self-financed film.
He’s wanted to make this movie for decades. In the early ’90s, Kaye was a popular director of commercials and music videos (he won a Grammy for Soul Asylum’s “Runaway Train” video). But his goal was to make movies. “Stranger Than the Wheel” was one of three scripts he considered for his debut (another one was written by a newcomer named M. Night Shyamalan; the third was “American History X”).
Written by Joe Vinciguerra, “Stranger Than the Wheel” is the story of a young man who struggles to reconnect with his estranged father. “It’s a kind of serial drama about isolation, alienation, and alcoholism,” Kaye said recently, clearly relating — even if he hadn’t lost his father in recent years, Kaye would identify with the character’s alienated state.
In April, Kaye announced the departure of his lead via email, with the subject line “Shia Labeouf Qu!T.” (“Tony and I rolled around and wrestled an idea together,” Labeouf explained by email. “We shot a test. But in the end, we are not making a film together.”) Now the film will star Evan Ross (“The Hunger Games”). Kaye has been shooting test footage, and plans to begin production later this summer, with the stated (if unlikely) goal of finishing the picture in time for the fall festival circuit.
Or, all of this could be a preamble for more of the same. Eighteen years ago, “American History X” was also gearing up for a fall showcase — the Toronto International Film Festival offered it a prime slot — when Kaye flew across the country to meet with festival CEO and director Piers Handling. Claiming New Line Cinema had made changes to the film without his permission, Kaye asked Handling to refuse the studio’s version and show his cut instead.
“He was eccentric, opinionated, and had a very strong sense of what he wanted to do,” Handling recalled, noting that Kaye brought a small digital camera with him to their meeting and recorded the whole conversation. Handling talked to the studio about showing Kaye’s version, but instead, the company pulled the movie from the lineup.
While artistic temperaments are often part of the filmmaker package, Kaye is a breed apart. He’s the kind of Hollywood aberrant whom the corporate-overlord studio system has all but bred out of existence. “Tony doesn’t play that game,” Handling said. “He always wants to do things on his own terms.”
That’s an especially dicey proposition in 2016, an age in which every facet of the entertainment industry is deathly allergic to risk. Anyone concerned about the bottom line would be wary of Kaye’s track record when it comes to managing a responsible production.
During production on “American History X,” Kaye went to war with his star, Edward Norton, declaring him unfit for the part. (He later received his second Oscar nomination.) Kaye hired a priest, a rabbi and a Buddhist monk to join a meeting with New Line executive Michael De Luca. Editing was a protracted process and, after Kaye completed a cut the studio liked, he demanded eight more weeks to radically reimagine the film.
When New Line refused, Kaye began trashing the movie; he threatened to remove his credit and replace it with “Humpty Dumpty.” (That has since become the title of an unfinished documentary about the production that Kaye hopes to release.) Then came the Toronto showdown.
When it was all over, Kaye had earned the outright ire of New Line, the DGA, and the Alliance of Motion Picture & Television Producers; everyone else was confounded. After that, things didn’t get easier. While he won a lifetime achievement award for his advertising work in early 2001, that fall, Marlon Brando hired Kaye to direct a series of acting workshops. The filmmaker showed up dressed as Osama bin Laden, shortly after 9/11, infuriating everyone involved.
A year later, he confessed his major regret in an article for The Guardian. “I thought I was upholding the old movie industry traditions of strutting around, picking fights with the studio and being the fly in everyone’s ointment,” he wrote. “I had passion — you have to give me that. But I was, it has to be said, a spectacular pain in the ass.” These days, he describes his previous setbacks as the result of “desire for self alone.”
Whatever his current emotional state may be, his existing filmography speaks on its own terms. If there’s an overarching theme to Kaye’s work, it’s his ability to deliver achingly real portraits of America’s fractured communities.
Kaye’s antics make it almost too easy to dismiss his filmmaking outright — as this writer did initially, with “Detachment.” The vulgar tale of a disgruntled public high school instructor (Adrien Brody) struck me as a shrill riff on “Half Nelson.” At Kaye’s urging, I took a second look, and found that “Detachment” is more than theatrics surrounding student-teacher relationships: it’s a tender investigation into what it means to feel utterly helpless while battling institutional dysfunction.
But nothing in Kaye’s filmography demonstrates his vision more cohesively than “Lake of Fire,” the haunting black-and-white encapsulation of abortion debate in America that Kaye spent decades assembling. From its visceral imagery of abortion operations to the angry protestors, the film conveys an operatic vision of anger and frustration rendered in expressionistic terms.
Kaye realizes it’s his most coherent achievement to date. “I don’t know how I made that movie,” he said.
“There are some people who don’t really fit into the Hollywood structure,” said Handling. “Tony’s one of those guys. He’s a renegade, an outsider — not unlike Orson Welles.” And like Welles, Kaye’s sensibility extends beyond the fits of ambitious projects, some more polished than others. The man is indistinguishable from his movies.
Kaye has remained an accomplished commercial artist. The money he makes on ads enable him to self-finance his films. He also recently completed work for the virtual reality company Jaunt on a six-part series, “Pure McCartney,” which features McCartney at home discussing his relationship to five different songs. Kaye spoke emphatically about the possibilities of the new technology. “It’s this incredible process of carrying the viewer into a solitary experience,” he said.
Kaye described his current inspirations as ranging from Jackson Pollock to David Lean, whose “Lawrence of Arabia” epitomizes the kind of sprawling drama Kaye hopes to create. “I’ll get there,” he said, and hopes to do it with “Stranger Than the Wheel.”
His new star is thrilled at the prospect. “I’m generally just excited about anything Tony Kaye does,” said Ross, who has already been shooting footage for the project around Los Angeles. “I don’t think I’ve worked with a director like him who can just put incredible things together.”
Kaye shared his vision with IndieWire via multiple emails, showcasing photos of ink-blotted pages filled with fractured images from his planning sessions for the film: a raggedy school bus, some kind of giraffe-bird mashup, an impressionistic sketch of his leading man, the quixotically named Faunce Bartleby.
“I think I am real,” he wrote at one point. At another, he noted that he planned to turn “Stranger Than the Wheel” into a musical — “a dramuzical epic,” as he wrote in an email. At times, he sounded off about his resistance to industry standards, noting his frustration over a recent big studio film he attended with his kids. “These perpetrators of pollution people should not be allowed to work!” he wrote.
Will Kaye succeed in bringing his visions to the world? If not, it won’t be for lack of trying. While he has struggled with a stutter over the years, the impediment was barely discernible in recent conversations. Kaye has no trouble formulating the case for his latest efforts.
“I’ve got something marvelous here,” Kaye said of his new project. “Don’t worry: I want it to be a hit.”
Related storiesTony Kaye Returns With 'Stranger Than The Wheel' Starring Shia Labeouf'American History X' Director Tony Kaye Says He's Still In Director's JailDaily Reads: Going Deep on Mark Wahlberg, How Pop Culture's White Supremacists Validate Lone-Wolf Racism, and More »
- Eric Kohn
June 6, 1944. Today marks the 72nd anniversary of D-Day.
On June 7th, Paramount Home Media Distribution will release director Michael Bay’s remarkable 13 Hours: The Secret Soldiers Of Benghazi.
Hailed as “powerful” (Kyle Smith, New York Post), “engrossing” (Soren Andersen, Seattle Times) and “full of explosive action” (Dan Casey, Nerdist), the film arrives on Blu-ray Combo Pack, DVD and On Demand this Tuesday. (Review)
13 Hours: The Secret Soldiers Of Benghazi tells the incredible true story of six elite ex-military operators who fought to protect the CIA against overwhelming odds when terrorists attacked a U.S. diplomatic compound on September 11, 2012. The film stars John Krasinski (TV’s “The Office”), James Badge Dale (World War Z) and Pablo Schreiber (TV’s “Orange is the New Black”), and is based on the nonfiction novel 13 Hours: The Inside Account of What Really Happened in Benghazi by New York Times best-selling author Mitchell Zuckoff with »
- Movie Geeks
.All nine films come direct from Cannes to Sydney Film Festival", Festival Director Nashen Moodley said, "including Korean director Park Chan-wook.s sensual, twist-filled tale The Handmaiden; Fipresci Prize winner Maren Ade.s clever and original comedy about the complexities of familial relationships, Toni Erdmann; Jim Jarmusch.s popular Cannes hit Paterson, a gentle, quietly moving portrait of a bus driver poet and his artistic wife and Olivier Assayas. Personal Shopper, a spooky ghost story starring Kristen Stewart...
.Two true stories will also screen: a critically acclaimed heart-warming tale about India.s travelling picture shows, The Cinema Travellers, by Shirley Abraham and Amit Madheshiya; and Mahamat-Saleh Haroun.s.Hissein Habré, A Chadian Tragedy, a film to honour »
- Staff Writer
“You think the world was surprised when Nixon resigned? Just wait till I whip George Foreman’s behind...” The poet laureate of the boxing ring, Muhammad Ali was a natural screen performer, effortlessly blurring the line between sports and show business. Quite apart from being arguably the greatest boxing champion in history, and certainly the most beloved, his mischievous wit and towering self-confidence made him into a magnetic showman. He once called himself the "Elvis of boxing.” For once, he was being modest: He was the Elvis, the James Brown and the Marlon Brando of boxing rolled into
- Stephen Dalton
My guest for this month is West Anthony, and he’s joined me to discuss the film he chose for me, the 1976 comedy-drama film The Front. You can follow the show on Twitter @cinemagadfly.
Not sure what happened to the audio in the introduction, apologies! The Hollywood blacklist is a term for the treatment of people in the entertainment industry who refused to name names to the House Un-American Activities Committee from 1947 to 1960 For a more in depth take on the blacklist, check out the latest season of the phenomenal You Must Remember This podcast WonderCon is a comic book convention that was held annually in Sf until it was cruelly moved to the La area in 2012. Yes I’m still bitter about it. West also recommends the Gabrielle de Cuir directed Thirty Years of Treason by Eric Bentley Among the people famously blacklisted were Lillian Hellman, Lionel Stander, »
- Arik Devens
Deadline is reporting that 20th Century Fox has given the go ahead to a remake of the classic musical Guys and Dolls, with Michael Grandage (Genius) set to direct from a script by Danny Strong (The Hunger Games: Mockingjay).
Based on Damon Runyon’s short stories and the 1950 stage musical, Guys and Dolls was previously adapted for the screen by director Joseph L. Mankiewicz and producer Samuel Goldwyn in 1955 and starred Frank Sinatra as Nathan Detroit, a gambler looking to set up an unlicensed game of craps. In order to do so, he makes a bet with acquaintance Sky Masterson (Marlon Brando) where Sky must take the girl of Nathan’s choosing to dinner in Havana, with Nathan nominating the wholesome missionary sister Sarah Brown (Jean Simmons).
- Gary Collinson
For decades, Marlon Brando was the actor who almost everyone associated with Superman’s Kryptonian father, Jor-El, but in 2013’s Man of Steel, Russell Crowe inherited the role. Moviegoers watched him save his son from their home planet’s annihilation and his consciousness assist Kal-El years later. However, Jor-El didn’t reappear in Batman v Superman: Dawn of Justice, and according to Crowe, the adjustments made to the movie led to his absence from the story. While plugging his new movie, The Nice Guys, with Digital Spy, Russell Crowe revealed that no approached him about reprising Jor-El due to the plans changing on following up on Superman’s life in the DC Extended Universe. He said: Originally — I could be completely wrong — I think there was a number of Superman movies. But I think they made the decision to jump past those and »
At this year’s TCM Classic Film Festival, Francis Ford Coppola sat down with host Ben Mankiewicz for an extensive discussion about the director’s film from the ’70s, during which time he helmed four now-canonical works of American cinema: The Godfather, The Godfather Part II, Apocalypse Now, and The Conversation. Primarily centered around the lattermost as it was screening that evening, The Q&A With Jeff Goldsmith has now shared the talk in full.
Though the success of these films guaranteed Coppola a comfortable place among the Hollywood greats (before the interview, Coppola was honored by having his handprint and footprint literally cemented outside the Tcl Chinese Theatre), his anecdotes indicated that making these films was anything but comfortable. One humorous story revealed that Paramount executives disapproved of Al Pacino and Marlon Brando during filming of the original Godfather, an opinion unimaginable to most film viewers today. Another divulged »
- The Film Stage
John Goldwyn is producing the picture with Working Title. Goldwyn’s grandfather Samuel Goldwyn produced the movie, directed by Joseph L. Mankiewicz with Frank Sinatra starring as Nathan Detroit, a gambler feeling the pressure from the police, and Marlon Brando as fellow gambler Sky Masterson.
The movie was based on the 1950 Broadway musical, which won the Tony for Best Musical that year. The musical was based on Damon Runyon’s stories “The Idyll of Miss Sarah Browne” and “Blood Pressure,” published in the 1930s.
Grandage directed a 2005 stage version of “Guys and Dolls” in London, starring Ewan McGregor as Sky Masterson and Douglas Hodge as Nathan Detroit. He’s currently Artistic Director of the Michael Grandage Company.
- Dave McNary
Adapted from Damon Runyon's short stories about the rogue gangsters and gamblers of the 1920s and 1930s, the previous film version starred Frank Sinatra, Marlon Brando and Jean Simmons. The likes of Channing Tatum and Joseph Gordon-Levitt were linked to a previous version of this remake, while Russell Crowe, Vin Diesel and Hugh Jackman have all mentioned desires to be involved in the past.
John Goldwyn is producing. Grandage is familiar with the property, he directed a stage version of the musical on the West End in 2005. That production starred Ewan McGregor as Masterson and Douglas Hodge as Nathan Detroit.
Source: Deadline »
- Garth Franklin
Since it’s Memorial Day, this seems like a good time to dissect the remake of the film about a (super) man who represents “truth, justice and the American way.” This week, Cinelinx looks at Man of Steel.
He may not be quite as popular as Batman anymore, but there is no comic book superhero is who is more iconic and influential than Superman. He is one of the most well-known fictional characters world-wide (along with Sherlock Holmes, Tarzan and Dracula). Just as the introduction of the man of steel in 1938 began the super hero genre in comics, the debut of Superman: The Movie (1978) in theaters initiated the cinematic super hero genre. It spawned 4 sequels (counting Superman Returns) and a spin-off (Supergirl). Years later, after numerous Marvel films had pulled in big wads of box office cash, Warner Brothers joined forced with Legendary Pictures to re-film the story of the last son of Krypton. »
- firstname.lastname@example.org (Rob Young)
In a 2005 episode of “Entourage” a super-agent played by Malcolm McDowell tells Jeremy Piven’s Ari Gold that his eight-year-old daughter knew that Johnny Depp was going to be a star when she watched “Platoon.”
“You showed her ‘Platoon’ when she was eight years old?” the hyper-caffinated Gold asks incredulously.
The joke may be about bad parenting, but the reality is that Depp was marked for stardom by Hollywood almost from the time he first turned heads in the Vietnam drama. After a brief detour into teen heartthrob-dom with the TV show “21 Jump Street,” Depp began justifying that initial enthusiasm, amassing well received turns in the likes of “Ed Wood” and “Edward Scissorhands.”
The movie industry was so convinced that the actor possessed that rare alchemy of talent and charisma that marks a true star, that it stuck by Depp for over a decade until he found his box office footing. »
- Brent Lang
Directors’ trademarks is a series of articles that examines the “signatures” that filmmakers leave behind in their work. This month, we’re examining the trademark style and calling signs of Bryan Singer as director.
Bryan Singer studied film at the New York School of Visual Arts and USC School of Cinematic Arts. After graduating, one of his short films caught the eye of a production company who funded low budget films. He then wrote Public Access with childhood friend Christopher McQuarrie, which he then directed as his first feature film in 1993. Two years later, he had his breakthrough with The Usual Suspects, which caught the eyes of critics at the Cannes Film Festival before ultimately becoming profitable in theaters. Next, Singer adapted a Stephen King novel for the screen, directing Apt Pupil (1998). That film received mixed reviews and was not a financial success. Singer was then hired to direct X-Men »
- email@example.com (G.S. Perno)
After tackling entertainment icon Marlon Brando with last year’s documentary Listen to Me Marlon, filmmakers R.J. Cutler (The September Issue) and John Battsek (Searching for Sugar Man) have reunited for a new documentary about one of comedy’s most revered names: John Belushi. John Belushi was a comedy legend who skyrocketed to fame and sadly left […]
The post John Belushi Documentary in the Works at Showtime appeared first on /Film. »
- Ethan Anderton
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