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'Under the Volcano' screening: John Huston's 'quality' comeback featuring daring Albert Finney tour de force As part of its John Huston film series, the UCLA Film & Television Archive will be presenting the 1984 drama Under the Volcano, starring Albert Finney, Jacqueline Bisset, and Anthony Andrews, on July 21 at 7:30 p.m. at the Billy Wilder Theater in the Los Angeles suburb of Westwood. Jacqueline Bisset is expected to be in attendance. Huston was 77, and suffering from emphysema for several years, when he returned to Mexico – the setting of both The Treasure of the Sierra Madre and The Night of the Iguana – to direct 28-year-old newcomer Guy Gallo's adaptation of English poet and novelist Malcolm Lowry's 1947 semi-autobiographical novel Under the Volcano, which until then had reportedly defied the screenwriting abilities of numerous professionals. Appropriately set on the Day of the Dead – 1938 – in the fictitious Mexican town of Quauhnahuac (the fact that it sounds like Cuernavaca »
- Andre Soares
Ronald Colman: Turner Classic Movies' Star of the Month in two major 1930s classics Updated: Turner Classic Movies' July 2017 Star of the Month is Ronald Colman, one of the finest performers of the studio era. On Thursday night, TCM presented five Colman star vehicles that should be popping up again in the not-too-distant future: A Tale of Two Cities, The Prisoner of Zenda, Kismet, Lucky Partners, and My Life with Caroline. The first two movies are among not only Colman's best, but also among Hollywood's best during its so-called Golden Age. Based on Charles Dickens' classic novel, Jack Conway's Academy Award-nominated A Tale of Two Cities (1936) is a rare Hollywood production indeed: it manages to effectively condense its sprawling source, it boasts first-rate production values, and it features a phenomenal central performance. Ah, it also shows its star without his trademark mustache – about as famous at the time as Clark Gable's. Perhaps »
- Andre Soares
By David Kozlowski | 7 July 2017
Welcome to Issue #3 of The Lrm Weekend, a weekly column highlighting cool and unique videos about film, TV, comics, Star Wars, Marvel, DC, animation, and anime. We also want to hear from you, our awesome Lrm community! Share your favorite videos to: @LRM_Weekend and we'll post your Tweets below!
Last Issue: 6.30.17
Why do we love superheroes, martial arts, fantasy, and sci-fi? The big fight scenes, of course. Every week we'll bring you an epic brawl from the recent or distant past -- we want to hear from you, share your favorite fights with us!
The original Chinese language movie poster from 1978!
What Is It?
- David Kozlowski
7 July 2017 9:32 AM, PDT | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »
The innate superiority of the Hemsworth family gene pool is demonstrated by Timothy Woodward Jr.’s low-budget oater in which Luke, older brother to Chris and Liam, plays Wild Bill Hickok. A perfectly serviceable Western featuring a comfortingly familiar storyline, Hickok will tide genre fans over until more substantial offerings come along.
Following in the footsteps of such actors as Gary Cooper, Jeff Bridges and Sam Elliott, among many others, the burly Hemsworth proves more than credible with his portrayal of the iconic gunslinger, the sort of archetypal Western character who doesn’t bother to remove his boots while taking a bath. »
- Frank Scheck
An authorized biopic of iconic baseball player Lou Gehrig was announced Wednesday, the 78th anniversary of Gehrig’s retirement from the New York Yankees.
The baseball team has given its endorsement to the new project “The Luckiest Man on the Face of the Earth.” The film will be directed by Jay Russell (“My Dog Skip” “Ladder 49”) and based on the biography “Luckiest Man” by Jonathan Eig, with a screenplay adaptation by Dan Kay.
The movie will focus on Gehrig’s playing career from 1923 to 1939, when it was cut short by Amyotrophic lateral sclerosis, and his relationship with his wife Eleanor. Gehrig died in 1941 and his life was recounted in 1942’s “Pride of the Yankees,” which starred Gary Cooper and received 11 Oscar nominations.
The title is taken from a speech Gehrig gave at Yankee Stadium two weeks after his retirement. The speech began, “Fans, for the past two weeks, you’ve been reading about a bad break. Today I consider myself the luckiest man on the face of the earth. I have been in ballparks for 17 years and have never received anything but kindness and encouragement from you fans.”
Producers are Branded Entertainment’s Michael Uslan and David Uslan, Kingsway Productions’ Robert Molloy and Conglomerate Media’s Armando Gutierrez. Barrie Osborne and Jeff Steen will serve as executive producers. Principal casting will begin this month.
“Lou Gehrig is an iconic character, not just in baseball, but as a true American hero, a man who faced his intense, personal battles with quiet bravery,” Russell said. “While Gehrig’s story has previously been told in the beloved ‘Pride of the Yankees’, this will be a new depiction with a more contemporary style and approach.”
David Uslan said, “This is the story of how a shy, quiet man, at the moment in life that tests him to the absolute extreme, can step up to the plate and deliver extemporaneously, and from the heart, arguably one of the greatest speeches in American history. It can’t help but rekindle our belief in the best of humanity during today’s polarizing and dispirited times.”
Michael and David Uslan are represented by Wme and Manatt Phelps & Phillips. Russell is represented by Apa, Zero Gravity Management and Gang, Tyre, Ramer, and Brown. Kay is represented by Apa, Circle of Confusion and Myman, Greenspan, Fineman, Fox, Rosenberg & Light. Osborne is represented by Gersh and Stankevich Law. The news was first reported by Deadline Hollywood. »
- Dave McNary
In August 1983, Ronald Reagan was president, “Every Breath You Take” by The Police was in the middle of an eight-week run as the #1 single, Ivanka Trump wasn’t quite two years old, and few people were aware of the Church of Scientology. And “Risky Business,” the first movie to star Tom Cruise, became a surprise hit.
34 years later, Cruise is at a different kind of crossroads at the box office. He’s been charged with rebooting Universal’s Mummy franchise, which will launch the studio’s “Dark Universe” story world. And while “The Mummy” has already opened strongly in its first date (South Korea), projections here are considerably less kind. Reviews have ranged from disappointing to incendiary, and “Wonder Woman” is expected to soundly beat the film in its opening weekend.
While “The Mummy” won’t be a career highlight, »
- Tom Brueggemann
If you've been watching television for the last few months, you have probably seen Carrie Coon cry. This is not unusual, considering that, throughout her tenure on the three seasons of The Leftovers, HBO's bleak, brilliant drama has required the actress to turn on the waterworks numerous times. Also, she's an excellent crier, the kind who can run the scales from single-silent-tear-running-down-a-cheek to full-out crumbling, crinkle-faced ugly sobbing. A wise showrunner knows that when you've got someone on your team who can bring it like that on a series about trauma and tragedy, »
Submarine movie evening: Underwater war waged in TCM's Memorial Day films In the U.S., Turner Classic Movies has gone all red, white, and blue this 2017 Memorial Day weekend, presenting a few dozen Hollywood movies set during some of the numerous wars in which the U.S. has been involved around the globe during the last century or so. On Memorial Day proper, TCM is offering a submarine movie evening. More on that further below. But first it's good to remember that although war has, to put it mildly, serious consequences for all involved, it can be particularly brutal on civilians – whether male or female; young or old; saintly or devilish; no matter the nationality, ethnicity, religion, sexual orientation, or any other label used in order to, figuratively or literally, split apart human beings. Just this past Sunday, the Pentagon chief announced that civilian deaths should be anticipated as “a »
- Andre Soares
For those with a sudden interest in new German cinema thanks to last year’s Toni Erdmann, the Cannes Film Festival has again selected another powerful, deeply human and intricately political drama in Valeska Grisebach’s terrific Western. Like Maren Ade, with whom she has collaborated, Grisebach has made two films—the lovely graduation short feature Be My Star (2001) and Longing (2006), a small town tale of a fireman’s love life—with long pauses in between. Western comes more than a decade after her first proper feature, and it confirms that the director is as talented as ever.The setting is a German worker camp in the modern day Bulgarian countryside, and, as as the title daringly states, this is indeed a "western." The isolated Germans are the encroaching (economic) colonizers—“we come here to work,” they say, flush with money and a reputation dating from the Second World War »
In the opening minutes of Josh and Benny Safdie’s “Good Time,” Robert Pattinson bursts into the room and it’s clear he’s trying something different. With his black hair tousled above an angry stare and a silvery earring peering out from one side, he’s a scruffy, irrepressible ball of fury, eager to fix a problem and on the verge of making it worse. He’s abrasive, clumsy and a little bit fearsome. In other words: He’s in a Safdie brothers movie.
Anyone familiar with the sibling directors from their dreary NYC junkie drama “Heaven Knows What” or gritty urban comedy “Daddy Longlegs” knows how the brothers have assembled a universe of grimy characters enmeshed in bizarre, dangerous circumstances that can seem at once naturalistic and surreal. With “Good Time,” they transform that focus into a Kafkaesque heist movie, populated by maniacal characters careening through Queens on »
- Eric Kohn
If you’re a fan of actress, camp icon, and anti-fascist Marlene Dietrich or want to learn more about her, you’re in luck. The Metrograph theater in New York City is hosting “Marlene,” a retrospective featuring 19 of Dietrich’s films. The festivities kicked off May 23 and will continue until July 8.
Marie Magdalene “Marlene” Dietrich was born in Berlin in 1901. Dietrich began her career as a vaudeville performer in Weimar Germany. She moved to Hollywood and eventually became a revered film actress, “bisexual sex symbol, willful camp icon, [and] paragon of feminine glamour” — “comfortable in top hat and tails, ballgown, or gorilla suit.” But the actress did not forget about what was happening back home in Germany; Dietrich became involved in the fight against fascism during WWII. She “used her likeness to fundraise for Jewish refugees escaping Nazi Germany and performed on Uso tours, earning her the Metal of Freedom and Légion d’honneur by the French government,” the press release details. Dietrich died in 1992 at the age of 90.
The “Marlene” retrospective will feature Dietrich’s seven films with director Josef von Sternberg: “The Blue Angel,” “Morocco,” “Blonde Venus,” “Dishonored,” “Shanghai Express,” “The Devil Is A Woman,” and “The Scarlet Empress.” The actress’ collaborations with Alfred Hitchcock (“Stage Fright”), Orson Welles (“Touch of Evil”), and Billy Wilder (“A Foreign Affair”) are among the other films screening at the Metrograph. A documentary about Dietrich, Maximilian Schell’s “Marlene,” will also screen. All of the films, besides “Marlene,” will be shown in 35mm.
Head over to The Metrograph’s site for showtimes and more information. The featured films and their synopses are below, courtesy of the Metrograph.
1937 / 91min / 35mm
Director: Ernst Lubitsch
While English statesman Herbert Marshall worries over international affairs, his glamorous wife (Dietrich) concerns herself with, well, international affairs, beginning a tryst with a dashing stranger (Melvyn Douglas) who she only allows to know her as “Angel.” Dietrich’s last film on her Paramount contract is a spry, surprising love triangle, one of the least-known of Lubitsch’s essential works from his Midas touch period.
1932 / 93min / 35mm
Director: Josef Von Sternberg
A.k.a “The One with the Gorilla Suit,” which Dietrich dons to perform her big number “Hot Voodoo.” It’s all for a good cause: she’s an ex-nightclub chanteuse who’s gone back to work to pay for husband Herbert Marshall’s radium poisoning treatments, though she later allows herself to become the plaything of Cary Grant’s dashing young millionaire, earning only contempt for her sacrifice.
1930 / 106min / 35mm
Director: Josef Von Sternberg
Mild-mannered, uptight schoolteacher Emil Jannings lives a faultlessly law-abiding, by-the-book existence, but it’s all over when he gets a glimpse of Dietrich’s nightclub chanteuse Lola-Lola, and is immediately ready to ruin himself for her amusement. The first collaboration between Dietrich and von Sternberg made her an international star, and linked her forever to her seductive, world-weary delivery of the song “Falling in Love Again.” We’re showing the German-language version, preceded by a four-minute-long Dietrich screen test.
1936 / 95min / 35mm
Director: Frank Borzage
Dietrich and Gary Cooper reunite in this delightful urbane comedy by Borzage, a master of romantic delirium, here working somewhat after the style of producer Ernst Lubitsch. La Dietrich’s stylish jewel thief stashes a clutch of pearls in the pocket of an upstanding American businessman, and while trying to get back the goods she can’t help but notice the big lug isn’t half bad-looking. An excuse to recall the following lines from the 1936 Times review: “Lubitsch, the Gay Emancipator, has freed Dietrich from von Sternberg’s artistic bondage.” Those were the days.
1939 / 94min / 35mm
Director: George Marshall
Jimmy Stewart, still in his rangy, impossibly-good-looking phase, is a marshal who sets out to clean up the wide-open town of Bottleneck without firing a shot in this charming Western musical comedy. The local roughnecks present him one kind of challenge; Dietrich’s saloon singer Frenchy, belting out her rowdy standard “The Boys in the Back Room,” quite another.
1935 / 80min / 35mm
Director: Josef Von Sternberg
Dietrich and von Sternberg’s final collaboration, and an apotheosis of sorts. In Spain in the early years of the 20th century, Lionel Atwill’s loyal suitor Pasqualito and the revolutionary Cesar Romero are teased into a frenzy by legendary coquette Concha (Guess who?). The coolly scrolling camera and baroque compositions are courtesy of an uncredited Lucien Ballard and Von Sternberg himself, doing double duty as cinematographer.
1931 / 91min / 35mm
Director: Josef Von Sternberg
Dietrich plays X-27, a Mata Hari-esque spy for the Austrian Secret Service tasked with using a bevy of costume changes (Russian peasant, feathered helmet, leather jumpsuit) to gather information on the Russians during World War I. Outrageous plotting, high chiaroscuro style, and the star’s earthy sensuality mark this unforgettable pre-code treasure, beloved by Godard and Fassbinder both. Says Victor McLaglen: “the more you cheat and the more you lie, the more exciting you become.”
1948 / 116min / 35mm
Director: Billy Wilder
Against the backdrop of a ruined postwar Berlin, another conflict is just heating up, as Dietrich’s cabaret singer with rumored Nazi ties vies with Jean Arthur’s Iowa congresswoman-on-a-fact-finding-mission for the affection of American officer John Lund. Wilder’s penultimate collaboration with co-writer Charles Brackett is a black comic delight full of crackling, piquant dialogue, and Dietrich’s knowing slow-burn has never been better.
1961 / 186min / 35mm
Director: Stanley Kramer
Dietrich’s last truly substantial screen appearance came as part of the ensemble for Kramer’s courtroom drama, playing the widow of a German general executed by the Allies who’s befriended by investigating judge Spencer Tracy in this fictionalized retelling of the events of a 1947 military tribunal addressing war crimes by civilians under the Third Reich. Rounding out the all-star cast are Burt Lancaster, Richard Widmark, Judy Garland, William Shatner, and Maximilian Schell, who would win the Academy Award for Best Actor, and later directed a portrait of Dietrich.
1942 / 92min / 35mm
Director: Mitchell Leisen
Leisen, considered a comic talent on-par with Lubitsch during the screwball era, lends characteristic sparkle to this mid-career attempt at reconfiguring Dietrich’s very 1930s star persona to fit the needs of the 1940s women’s picture; here she plays a glamor-gal diva whose life changes when she discovers a baby on Eighth Avenue and decides to adopt, passing through melodramatic coincidences and a vale of tears before falling into the arms of Fred MacMurray.
1981 / 113min / 35mm
Director: Rainer Werner Fassbinder
Dietrich had for all purposes retired from the screen by the time that Fassbinder began his frontal assault on West German popular culture, but her image and her unlikely combination of cool irony and torrid emotion left a profound mark on his films. Lola, the candy-colored, late-1950s-set capstone of his “Brd Trilogy” in particular draws heavily from The Blue Angel, with bordello singer Barbara Sukowa torn between Mario Adorf’s sugar daddy and Armin Mueller-Stahl’s incoming building commissioner in boomtown Coburg.
1984 / 94min / Digital
Director: Maximilian Schell
More than twenty years after Schell had co-starred with Dietrich in Judgment at Nuremberg, during which period she’d retired to a life of very private seclusion, he tried to get her to participate in a documentary about her life. She finally gave in — sort of. Dietrich offered only her memories and her famous voice, refusing to appear on camera, but necessity became a boon to the resulting film, a sort of guided tour of Dietrich’s life and work, which simultaneously reveals much and deepens her mystery.
1930 / 92min / 35mm
Director: Josef Von Sternberg
After The Blue Angel, shot in Germany, was a hit, von Sternberg was given full run of the Paramount backlot, where he would conjure up all manner of exotic destinations out of thin air. First stop: North Africa, where French legionnaire Gary Cooper competes with sugar daddy Adolphe Menjou for the favors of Dietrich’s cabaret star Amy Jolly, who in one scene famously rocks a men’s tailcoat and plants a smooch on a female fan.
1952 / 89min / 35mm
Director: Fritz Lang
Teutons Lang and Dietrich team up in a Technicolor wild west of deliberate, garish artifice in this singularly claustrophobic oater, in which a revenge-mad Burt Kennedy goes looking for his fiancée’s killers at a hideaway inn run by Dietrich, and discovers dangerous, unbidden desires instead. As the chant of the film’s recurring, persecutorial Brechtian ballad goes: “Hate, murder, and revenge.”
1934 / 104min / 35mm
Director: Josef Von Sternberg
Have ever a screen persona and a historical personage found such a hand-in-glove-fit as did Dietrich and Empress Catherine the Great of Russia? While the Motion Picture Production Code was preparing to chasten American movies, Dietrich and von Sternberg got together to throw one last lavish S & M orgy, a flamboyant film of 18th century palace intrigues and ludicrously lapidary décor.
1932 / 82min / 35mm
Director: Josef Von Sternberg
“It took more than one man to change my name to Shanghai Lily,” proclaims Marlene Dietrich with the disdain of an empress, though in fact she’s a high-class courtesan, re-encountering former lover Clive Brook on an express train rolling through civil war-wracked China. The fourth of Dietrich and von Sternberg’s collaborations is a riot of delirious chinoiserie artifice and sculpted shadowplay — Dietrich’s co-star Anna May Wong was never again shot so caressingly.
1933 / 90min / 35mm
Director: Rouben Mamoulian
So often the instrument of corruption, Mamoulian’s film allows Dietrich to be the corrupted one, playing a country girl, Lily, who comes to big-city Berlin and quickly becomes the model and muse of sculptor Brian Aherne. Lionel Atwill’s preening decadent Baron von Merzbach admires Lily’s nude form in marble, and decides to bring the original home with him, where she slips into the role of the cynical sophisticate, though her heart remains with the artist.
1950 / 110min / 35mm
Director: Alfred Hitchcock
Hitchcock’s last film in his native England until 1972’s Frenzy is an audaciously-structured thriller, making use of an extended flashback and a whiplash narrative about-face. Acting student Jane Wyman tries to save beau Robert Todd from taking the fall for a murder committed by stage star Dietrich, who shows her hypnotic charm in a show-stopper performance of “I’m the Laziest Gal in Town.”
1958 / 95min / 35mm
Director: Orson Welles
It’s not the size of the part, but what you do with it. Playing a brothel keeper in a seedy border town in Welles’s magnificently baroque late noir, Dietrich only has a clutch of lines, but they’re the ones you remember, whether her famous requiem for crooked cop Hank Quinlan, or her reading of his “fortune”: “Your future’s all used up.” Bold and self-evidently brilliant, you could use Touch of Evil to explain the concept of great cinema to a visiting Martian.
Marlene Dietrich Retrospective Screening at the Metrograph in NYC was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »
- Rachel Montpelier
Meinhard Neumann and Syuleyman Alilov Letifov.For those with a sudden interest in new German cinema thanks to last year’s Toni Erdmann, the Cannes Film Festival has again selected another powerful, deeply human and intricately political drama in Valeska Grisebach’s terrific Western. Like Maren Ade, with whom she has collaborated, Grisebach has made two films—the lovely graduation short feature Be My Star (2001) and Longing (2006), a small town tale of a fireman’s love life—with long pauses in between. Western comes more than a decade after her first proper feature, and it confirms the director as talented as ever.The setting is a German worker camp in the modern day Bulgarian countryside, and, as as the title daringly states, this is indeed a "western." The isolated Germans are the encroaching (economic) colonizers—“we come here to work,” they say, flush with money and a reputation dating from »
This remake of a pre-Code classic adds amazing European locations, glorious Technicolor and entire armies on the move, yet doesn’t improve on the original. Producer David O. Selznick secured Rock Hudson to play opposite Jennifer Jones, but the chemistry is lacking. Why did the man spend twenty years trying to top Gone With the Wind?
Kl Studio Classics
1957 / Color / 2:35 widescreen / 152 min. / Street Date April 18, 2017 / available through Kino Lorber / 29.95
Production Designer: Alfred Junge
Art Direction: Mario Garbuglia
Original Music: Mario Nascimbene
Produced by David O. Selznick
Directed by Charles Vidor
What happens when a major Hollywood producer thinks he has all the answers? »
- Glenn Erickson
The retrospective Frank Capra, The American Dreamer is showing April 10 - May 31, 2017 in the United Kingdom.Frank CapraFrank Capra has fallen badly out of fashion in recent decades. While still well-known for the extraordinary Depression-era purple patch that produced It Happened One Night (1934), Mr. Deeds Goes to Town (1936) and Mr. Smith Goes to Washington (1939), the critics have rarely been kind. His work is routinely derided as “Capra-corn” for its perceived sentimentality and “fairy tale” idealism while the man himself is written off in favour of contemporaries Howard Hawks, Preston Sturges and Ernst Lubitsch.Elliot Stein, writing in Sight & Sound in 1972, attacked Capra’s “fantasies of good will, which at no point conflict with middle-class American status quo values”, arguing that his “shrewdly commercial manipulative tracts” consist of little more than “philistine-populist notions and greeting-card sentiments”. Pauline Kael found him “softheaded,” Derek Malcolm a huckster hawking “cosily absurd fables.” To an extent, »
“Hello Yank, welcome to a very merry little war. And now how about a wee drop for the King and Uncle Sam?”
The 1927 silent classic Wings will screen at Webster University’s Moore Auditorium (470 East Lockwood) April 14th at 7:30pm. Wings will be accompanied by an original score by the Prima Vista Quartet. Tickets are $10.00
Ticket information can be found Here
In 1927, the first Best Picture Oscar went to Wings, a thrilling silent WW1 drama from director William S. Wellman. Wings told the story of poor boy Jack (Charles Rogers) and rich boy David (Richard Arlen) who are in love with the same woman, which causes the two to become bitter enemies. When WW1 breaks out the two are thrown together and quickly become friends, although David is too nice to let Jack know that the girl back home doesn’t love him. Clara Bow »
- Tom Stockman
Michael Shannon can easily be described as Hollywood’s secret weapon. He’s a reliable working actor whose versatility onscreen has seen him emerge from Michael Bay’s Pearl Harbor to appear opposite Eminem in 8 Mile, earn an Oscar nomination in Leonardo DiCaprio and Kate Winslet’s highly anticipated onscreen reunion Revolutionary Road and walk away unscathed from Man of Steel, in which he played the critically panned blockbuster’s main baddie, General Zod. He’s repeatedly worked with directors that include Jeff Nichols, Liza Johnson, Michael Bay, Siofra Campbell and Werner Herzog.
In fact, Vulture even gave him that title in 2016 when he was promoting the back-to-back releases of Nocturnal Animals, which earned him an Oscar nomination for Best Supporting actor, and Loving, the latter of which most fans probably didn’t even realize he was in until the actor suddenly appeared onscreen as a photographer who captures the story of Richard (Joel Edgerton) and Mildred »
Blood, bikinis, and neon panthers made for a B-movie gone wrong murder mystery on Bones Season 12 Episode 10.
Our TV Fanatics Ashley Bisette Sumerel and Christine Orlando are joined by Pam, a Bones fan, to debate Aubrey leaving for La, Wendell’s lack of passion, and if anyone will die before the series is over.
Do you think Aubrey should take the job in Los Angeles?
Pam: Yes, he can go far, and he should. He can still be friends with everyone, but he needs to grow and experience what he can do in other departments.
Ashley: Yes, absolutely. I love that he's being offered a promotion, and I think he deserves it.
Christine: Aubrey has really grown on me. If the show were continuing, I’d want him to stick around, but since it is ending, I’m happy he’s getting a promotion and moving on; he deserves it. »
- Christine Orlando
28 February 2017 6:55 PM, PST | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »
UCLA Festival Of Preservation At The James Bridges Theater | 10899 Wilshire Blvd.
The UCLA Film and Television Archive’s annual Festival of Preservation returns to the Billy Wilder Theater at the Hammer Museum this month for a multiweek showcase of the organization’s newly restored classics and rescued obscurities. And this year’s edition kicks off on Friday with an evening comprised of each, with Ernst Lubitsch’s beloved comedy Trouble in Paradise toplining a double bill alongside the previously elusive I Take This Woman, a romantic Western starring Gary Cooper and Carol Lombard. Not everything is as star-studded, but nearly every evening »
- Jordan Cronk
A representative for his family released a statement asking for privacy and saying, “Bill’s passion for the arts was felt by all who knew him, and his warmth and tireless energy were undeniable.”
With a Texas twang and grizzled visage, Paxton often found himself playing military men and cowboys. He was closely associated with James Cameron, playing a punk leader in “The Terminator,” as well as an ill-fated technician in “Aliens,” a venal car dealer in “True Lies” and a treasure hunter in “Titanic.”
Paxton earned an Emmy nomination for the 2012 mini-series “Hatfields & McCoys,” and was starring as a morally ambiguous detective in the CBS series “Training Day” at the time of his death.
Bill Paxton’s »
- Brent Lang and Pat Saperstein
My first meeting as a member of the New York Film Critics Circle was December 1989 and, in those days, the group met at the old Newspaper Guild building, then on West 44th Street. The meeting room was a cramped, windowless enclosure with fake wood-panel walls, a full assortment of ashtrays and the ambiance of — well, interior designers have a technical name for enclosures like this: Shit-hole, I believe, is the term of trade.
But when I walked into this unprepossessing little room, here were people whose names were magical to me, critics whose work helped shape the way I looked at movies as a college student and then as a nascent critic and film journalist. Pauline Kael. Andrew Sarris. Rex Reed. Richard Schickel.
Schickel, who died Saturday at 84, may have been the name that struck the deepest chord at that time. Long before I discovered either Kael or Sarris, I »
- Marshall Fine
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