10 items from 2017
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
Richard Schickel, the longtime film critic for Time magazine who also wrote 37 books, mostly on film, and directed a number of documentaries on film subjects, died on Saturday in Los Angeles of complications from a series of strokes, his family told the Los Angeles Times. He was 84.
“He was one of the fathers of American film criticism,” his daughter, writer Erika Schickel, told the Times. “He had a singular voice. When he wrote or spoke, he had an old-fashioned way of turning a phrase. He was blunt and succinct both on the page and in life.”
He wrote and/or directed more than 30 documentaries, mostly for television.
Schickel shared a 1977 Emmy nomination for the documentary “Life Goes to the Movies” and received two nominations in 1987 for the documentary “Minnelli on Minnelli: Liza Remembers Vincente,” which he directed.
Schickel wrote film reviews for Life magazine from 1965 until the magazine folded in »
- Carmel Dagan
Author: Stefan Pape
Alongside Ava DuVernay’s 13th, Raoul Peck can also boast having an Oscar nominated documentary this year – for his pertinent, incredibly moving feature I Am Not Your Negro. It’s so important for films of this nature to be lauded in such a way, and therefore stand more of a chance of reaching a broad audience, with both productions unforgiving in their depiction of racial inequality in the United States. What they also share in common is the ability to evoke feelings of such anger in the viewer, as it’s hard not to leave this title with an overwhelming sense of all-consuming rage and bafflement, at the fact people are treated in such an inhumane way purely due the colour of their skin.
“Written by James Baldwin” appears on the screen in the opening credits, and though a documentary this is definitely a film that comes »
- Stefan Pape
A showdown’s a’ comin’! Not on the main street of Dodge City, but at the multiplex once again. The final throw down between the hero and villain has been a staple of cinema since its earliest days, mainly in action films and primarily the western. There have been countless screen versions of that infamous incident , the gunfight at the O.K. Corral (the most famous being the Kirk Douglas/Burt Lancaster 1950’s classic) . This most likely inspired many other “oaters”, the most celebrated being the iconic 1952 High Noon (which garnered an Oscar for star Gary Cooper). It’s set in real-time as the clock ticks to 12, while Will Kane readies himself for the arrival of the Miller gang. We’ve seen this plot used in many other genres, providing extra excitement to the final acts of every movie hero’s exploits from Rocky to Bond to Batman. But it »
- Jim Batts
16 February 2017 10:00 AM, PST | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »
Phil Joanou's 1987 teen comedy Three O'Clock High, while not a remake of High Noon, signaled its heritage and its comic anxiety in the title: The solemnity of Fred Zinnemann's midday-showdown Western was transformed into something sounding like the name of a high school, with the ticking-clock deadline now timed to the final school bell — three more hours of desperation than Gary Cooper had to endure.
If that's an attempt to manage expectations, »
- John DeFore
Blu-ray + DVD + Digital HD
2016 / Color / 2:35 widescreen / 139 min. / Street Date February 21, 2017 / 39.99
Cinematography – Simon Duggan
Film Editor – John Gilbert
Original Music – Rupert Gregson-Williams
Directed by – Mel Gibson
Combat movies fascinate this reviewer — if you look at the Savant review index you’ll see that I review practically every war picture of note that I can get my hands on. But brace yourself — I become huffy when I see themes of patriotism and faith used to deliver dicey messages.
Mel Gibson’s big, slick WW2 combat film Hacksaw Ridge tells the truly inspiring story of combat medic Desmond Doss, the first conscientious objector to receive the Medal of Honor and the only one to »
- Glenn Erickson
Whether it’s the golden era of spaghetti westerns or the more blood soaked appeal of the Tarantino films, there’s no denying that Hollywood loves the appeal of the old west. From books, to video games, and even casino slots, the world loves a good western. We take a look at some of the greatest films in history!
Butch Cassidy & The Sundance Kid
Without a doubt, one of the most popular westerns in cinematic history, Butch Cassidy and the Sundance Kid was released in 1969. Directed by George Roy Hill and written by William Goldman the film is loosely based on a true story. It tells the story of the outlaws Robert LeRoy Parker, known as Butch Cassidy and his partner Harry Longabaugh, the Sundance Kid, who are on the run after a string of train robberies. The pair, along with Longabaugh ‘s lover Etta Place flee to Bolivia in »
- The Hollywood News
1957 / B&W / 1:85 widescreen / 130 min. / Street Date February 7, 2017 / available through the WBshop / 21.99
Cinematography: William C. Mellor
Film Editor: Leonid Azar
Art Direction: Alexandre Trauner
Adapted Music: Franz Waxman
Produced and Directed by Billy Wilder
A favorite of Billy Wilder-philes, Love in the Afternoon is a strong expression of the ‘romantic-Lubitsch’ vein in Wilder’s work. It’s essentially a return to the early ’30s Lubitsch comedies with Maurice Chevalier, but played in a more bittersweet Viennese register. It’s also Wilder’s first collaboration with the comedy screenwriter I.A.L. Diamond. Together they fashion the predominantly verbal comedy machine that will carry them through three or four big hits, and a few losers that have become classics anyway. »
- Glenn Erickson
Sam Elliott must have made out of John Wayne’s rib, so fully does he ooze cowpoke charm. It’s a shame that Hollywood doesn’t make many westerns these days, because no actor wears a ten gallon hat more convincingly than Elliott. Some of that ease is attributable to his handlebar mustache and the rest stems from Elliott’s voice, a Texas-tinged baritone that seems to luxuriate over every syllable. So it’s a bit intimidating to hear Elliott pick up the phone, sounding a little like he just finished wrestling longhorns.
“You’ll have to excuse me,” Elliott says with the same drawl he’s used to hawk Coors beer or beef. “I’m right on the tail end of a flu bug. Still feeling kinda like shit. I hadn’t been sick in years and I’ve forgotten what it felt like.”
After years of well-regarded character »
- Brent Lang
10 items from 2017
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