1-20 of 56 items from 2016 « Prev | Next »
The Ringer Who is winning the Chris wars: Evans, Pine, or Hemsworth?
/Film Stranger Things will get a sequel season, Netflix confirms. I'm a bit disappointed honestly because I thought an anthology approach would be more satisifying, with a whole new story. Season 1 was resolved satisfyingly. Who needs every story thread neatly tied up? Boo.
The Metrograph has a Madonna week in August which will include a Q&A with Truth or Dare director Alek Keshishian - alas, the latter is already sold out. They also have a fun series in a week called "This is PG?!" featuring movies from the late 70s to the mid 80s when the MPAA was pressured into adding "PG-13" (I really have to get better at this Metrograph thing. They're big nights with Q&As seem to sell out instantly so I keep missing them.)
- NATHANIEL R
Glenn here. Each Tuesday we bring you reviews and features on documentaries from theatres, festivals, and on demand.
Gillian Armstrong is nearly as prolific as a documentarian as she is a dramatic filmmaker. While the likes of her “Seven Years On” series (an Australian 7 Up), her Bob Dylan concert doc Hard to Handle, or the true crime murder mystery of an interior design queen in Unfolding Florence aren’t as well-known as her collaborations with Judy Davis, Cate Blanchett, Mel Gibson, and Winona Ryder, they are eclectic and passionate works nonetheless. As she said in her interview with Jose last year at Toronto, “there’s a different art to making documentaries” and unlike many other directors who split their time between mediums, her documentaries do feel distinctly unique from her other work and yet equally essential.
Her latest non-fiction work is Women He’s Undressed, a peek behind the velvet curtain at Orry-Kelly, »
- Glenn Dunks
The marvelous season of Leo McCarey films at New York's Museum of Modern Art features a few real rarities and a whole passel of acknowledged classics: features like Duck Soup and Make Way for Tomorrow and hilarious shorts programs featuring Laurel & Hardy, Charley Chase and others. Perhaps the rarest item is Part Time Wife, a 1930 rehearsal for the greatness of The Awful Truth, complete with Airedale, but only slightly less obscure is late-career entry Rally 'Round the Flag, Boys! (1958), a strange quasi-satire which folds together several late-fifties concerns without actually addressing them or working out what it is, or what it's for.Whether it's actually true that right-wingers can't do satirical comedy, McCarey certainly lost the fire that made Duck Soup so truly anarchic during the years when he moved away from comedy to make beloved, sentimental and sincere dramas. Returning to broad comedy is something many of his fan probably wished he would do, »
Booth tried to hide his need for glasses while the team chased a murderer and a jewel thief, and Hodgins made an amazing discovery on Bones Season 11 Episode 21.
Our TV Fanatics Ashley Sumerel and Christine Orlando are joined by Pam from Cbr Radio to talk poltergeists, men in glasses, and their favorite scenes from “The Jewel in the Crown.”
Did you think there was a poltergeist, seismic tremors or something else entirely?
Pam: No, I thought it was something to do with the body they found and wasn't even thinking that it was Hodgins’ body/legs causing the freak things happening. Delighted that he is feeling movement and hope he walks again.
Ashley: I figured it was something else. Actually, I really figured it was something to do with Hodgins' healing process, and thank goodness it was that and not actually a poltergeist!
Christine: I don’t believe in ghosts »
- Christine Orlando
Aubrey was able to live out his dream as he and the team tried to catch a jewel thief on Bones Season 11 Episode 21.
The theme made for a fun hour of movie references including everything from Brennan being oblivious to Hodgins’ Pink Panther impersonations to Booth telling Aubrey he’s nothing like Cary Grant from To Catch a Thief. Ouch!
Watch Bones Season 11 Episode 21 Online
The Gentleman Thieves turned out to be a lady and one gentleman thief who was a two-time murderer.
Can you be a gentleman and a murderer at the same time?
I didn’t think that Chadwick Grey and Henri had the exact same build, especially since Henri was played by Gilles Marini, but I suppose that since I have no personal, hands on experience, I’ll have to take their word on that.
I was afraid that Inspector Rousseau was going to be nothing more »
- Christine Orlando
His hometown is celebrating Archie Leach’s transformation into the 20th century’s most charming and debonair movie star – but in real life he was more bad boy than sweetheart
Cary Grant, Hollywood’s most dry and dapper gentleman, was full of secrets. Even now, when we can easily read all about his adventures – the five wives, the gay relationships, the rows with the Academy, the chemical experimentation – it’s a surprise to learn that Hitchcock’s stiff-necked hero was more of a bad boy than a sweetheart. That’s because his smooth appearance on screen is a seductive path to an idea of old-school movie charm, the twinkly-eyed gent in a dress shirt we’d like to clink martinis with. But deep down, the real appeal of Cary Grant is that we know he’s not as conventional or as saccharine as that at all.
Over 10 days, the Cary Grant »
- Pamela Hutchinson
The conceit of the clip finds Carvey playing a celebrity caught in a generic, split-second scenario. For example, "Bernie Sanders helps kids cross the road," "Charlie Sheen tries to hail a cab with someone in it" or "Bill Clinton retrieves his wedding ring from the garbage disposal."
Even though the bits are brief, Carvey's ability to capture a person's essence in the moment is remarkable. »
NEWSPoster for Abbas Kiarostami's The ReportIt's been a devastating series of days for film lovers. First, Heaven's Gate director Michael Cimino passed away at 77, silencing one of American cinema's most importance visionaries. Then, Palme d'Or-winning Iranian master Abbas Kiarostami has died at the age of 76. It is very hard—very—to imagine cinema without these voices.Some good news from the much-criticized Academy of Motion Pictures Arts & Sciences: they are increasing the scope of their voting pool. Included in the roster, but strangely as writers and not directors, are such international luminaries as Mia Hansen-Løve, Jia Zhangke, and Takeski Kitano (Kiarostami was also added, as a director).With so much death in the news, let's celebrate a birth. Specifically, the 100th anniversary of Olivia de Havilland's birth. Farran Nehme Smith has penned a lovely homage for Sight & Sound:She continued to work all the way up to 1988, and her life has been full, »
“If you’re going to kill someone, do it simply.”
Alfred Hitchcock’s Suspicion screens at St. Louis’ fabulous Hi-Pointe Theater this weekend as part of their Classic Film Series. It’s Saturday, July 9th at 10:30am at the Hi-Pointe located at 1005 McCausland Ave., St. Louis, Mo 63117. Admission is only $5
Joan Fontaine won the 1941 Oscar for Best Actress for Suspicion as the heiress who marries cad Cary Grant and then thinks that maybe he is trying to kill her. Cary Grant? Well, what do you think? This Hitchcock movie is one of his most underrated; it’s psychologically taut and it’s very entertaining. Grant’s innocence is hardly ever in doubt, despite the proliferation of red-herrings, but Hitchcock knows which buttons to push to create suspicion not just in Joan but in the audience.
Many thought Fontaine’s Oscar was a sympathy prize for having lost the year »
- Tom Stockman
After the worst shooting in U.S. history that left 49 people dead in an Orlando nightclub, writer-director Michael Showalter has been questioning what role Hollywood plays in the culture of violence and if the industry should be more careful about the images that appear in movies, TV shows and video games. Variety asked Showalter (“Wet Hot American Summer”) to expand on those thoughts in a guest column.
I wrote a tweet on Sunday. It said, “Feeling angry at everyone including Hollywood movies that glorify violence. Liberal actors shooting guns left and right. Hypocritical.” Many responders accused me of laying blame on the wrong culprit. Of course the real culprit is the person who pulls the trigger, but I am angry. I am angry and looking everywhere for answers. Above all, I believe that gun control is an absolute imperative if we are to have any chance of survival as a civil society. But I do also believe that Hollywood films, television and video games contribute to an overall culture of violence that affects our society in negative ways.
As filmmakers, where do we draw our own lines? What kind of messages do we want to send? Shooting guns at people means something different today than it did 20 years ago, 10 years ago, 5 years ago, last week.
I do not in any way subscribe to the notion that being continually subjected to images of graphic violence has no affect on our collective psyche. Just as our society is inundated with images that objectify women, we are inundated with images that glorify and fetishize gun violence. Can there be any doubt that these images have a cumulative effect on us?
People also responded that my tweet was an attack on the First Amendment. The First Amendment does not require us to say whatever we want without regard for the effects that it will have. To me, having freedom carries with it the obligation to use the freedom responsibly. Just because we Can do something does not mean that we Should. We can censor ourselves if we believe that doing so has value. We can hold ourselves accountable.
If we say we are against the exploitation of women are we not being hypocritical if we exploit women in our films? If we say we are against the marginalization of minorities are we not being hypocritical if we marginalize them in our films? If we say we are opposed to gun violence are we not being hypocritical when we glorify gun violence in our movies? Are we sending the message that guns are cool? Just like the old days of Bogey, James Dean and Cary Grant smoking cigarettes.
I am not in any way suggesting that we stop making action films, or stop depicting violence, or pretend that guns do not exist, or that Quentin Tarantino should start making rom-coms. I am only saying that we acknowledge that things have changed. The country needs to do something. Can we be part of the solution?
- Michael Showalter
Update: Due to terrible events of week, and taking a mental health day, One From The Heart will be pushed back two days. Apologies for the inconvenience but that gives you two more days to watch it on Netflix and join us.
Wanna join us? It's easy to play. Just...
1. watch the movie
2. pick your favorite shot
3. post that shot to your blog, twitter, instagram, tumblr or wherever and say why you chose it. Hashtag it #Hmwybs so we see it
4. we link up on the night of the event when we post the roundup
Thursday June 16th
This Las Vegas set musical was a financial disaster for Coppola's Zoetrope Studios but it's a fascinating visually rich curio. The film features an Oscar nominated song score by Tom Waits and cinematography by Ronald Victor García and Vittorio Storaro. [Amazon Prime | iTunes]
Tues. June 21st
Many films by this prolific German auteur are frustratingly hard to access but this classic, featuring an all female cast and centering around a fashion designer is relatively easy to get so let's do it! Cinematography by Michael Ballhaus, who really needs to be given an Honorary Oscar immediately. He's 80 years old, still with us, and shot so many great American and German classics. [Hulu | Amazon | Netflix | iTunes]
Tues June 28th
Something light & summery as the weather keeps on heating up. Join Cary Grant and Grace Kelly on the French Riviera. Winner of Best Cinematography at the Oscars. [Netflix Instant Watch | Amazon | iTunes] »
- NATHANIEL R
“It kind of freed me from a lot of criticisms people have from my other films,” Whit Stillman told us at Sundance earlier this year, speaking about adapting Jane Austen‘s epistolary novel Lady Susan, which became Love & Friendship. “Things can work really well and not be entirely realistic and often they can be better than realism. We love the old James Bond films. They weren’t realistic, but they’re delightful. And the great 30s films. The Awful Truth with Cary Grant and Irene Dunne. It’s not realistic; it’s just perfect.”
To celebrate Stillman’s latest feature becoming his most successful yet at the box office, we’re highlighting his 10 favorite films, from a ballot submitted for the most recent Sight & Sound poll. Along with the aforementioned Leo McCarey classic, he includes romantic touchstones from Preston Sturges, Ernst Lubitsh, and François Truffaut. As for his favorite Alfred Hitchcock, he fittingly picks perhaps one of the best scripts he directed, and one not mentioned often enough.
We’ve covered many directors’ favorites, but this is one that perhaps best reflects the style and tone of an artist’s filmography. Check it out below, followed by our discussion of his latest film, if you missed it.
Miracle of Morgan’s Creek (Preston Sturges)
See more directors’ favorite films.
- Jordan Raup
“A Heavenly Beginning”
They must have done something right. Here Comes Mr. Jordan (1941) has proven to be a timeless and universal movie that keeps on giving, and the welcome new release from the Criterion Collection attests to it.
The premise of the film has been around for a while. Most of our generation know the remake better—Heaven Can Wait (1978, starring Warren Beatty and Julie Christie)—which is a superb Oscar-nominated romantic comedy in its own right. Another remake in 2001, Down to Earth, starred Chris Rock.
But that’s not all. It wasn’t until I’d viewed the supplements on the new disk that I appreciated the fact that Mr. Jordan was indeed the first of several Hollywood pictures dealing with “heavenly” concepts—angels, the afterlife, and second chances. In a video discussion, critic Michael Sragow and filmmaker/distributor Michael Schlesinger reveal how the picture’s popularity actually began a trend of similar movies throughout the 1940s—A Guy Named Joe, Angel on My Shoulder, A Matter of Life and Death, It’s a Wonderful Life, and even Mr. Jordan’s direct sequel, Down to Earth (1947, not to be confused with the Chris Rock remake), which features both James Gleason and Edward Everett Horton again playing their roles from the first movie.
Here Comes Mr. Jordan was a major release and surprise hit from Columbia Pictures, a studio that always struggled to be one of the majors despite having director Frank Capra on their team in the ‘30s. Critically and popularly acclaimed, the picture successfully blends fantasy, romance, comedy, and intrigue, creating a delightful, and sometimes thought-provoking, piece of entertainment. It was nominated for Best Picture of 1941, Best Director (Alexander Hall), Best Actor (Robert Montgomery), Best Supporting Actor (James Gleason, and he steals the movie!), and Best B&W Cinematography. The film deservedly won the Oscar for Best Writing, Original Story, for Sidney Buchman and Seton I. Miller.
The story concerns Joe Pendleton (enthusiastically played by Montgomery in a stretch from his usual sophisticated tuxedo-clad characters) as a prizefighter with a heavy New Jersey accent who crashes in his private plane. His soul is saved by the Messenger (Horton), an angel whose job is to escort to Heaven the departing souls from his “territory.” In the mist-filled outskirts of Heaven, Mr. Jordan (benevolently portrayed by Claude Rains), a sort of St. Peter in a three-piece suit, checks in the new souls as they board another plane to take them to their afterlife homes. But Joe’s soul was accidentally taken before his body actually died—and therefore Mr. Jordan grants Joe a second chance. However, his consciousness must be placed into a recently deceased person—so Joe winds up inside a rich, corrupt banker’s body. Joe, in his new persona, sets about turning the banker’s life around for good, and he also attempts to continue his prizefighting. For the latter, he calls in his former manager, Corkle (Gleason) to train him. First, though, he’s got to convince Corkle that he’s really Joe inside the new man’s form. To complicate things, Joe falls in love with the daughter (Evelyn Keyes) of a man the banker destroyed financially and sent to prison. Joe also doesn’t know it yet, but he will have to jump bodies one more time before the story plays out.
The comedy and romance work like a charm, and the fantasy elements of Mr. Jordan are surprisingly effective. The movie is intelligently written and treats its subject matter with respect; and yet it has fun with the mechanics of death and the philosophical discourse of what we think the afterlife really is. The audience is tricked, in a way, into pleasantly enjoying a movie about death. What happens to Joe Pendleton at the end isn’t the norm for a romantic comedy. Technically it’s not a happy ending—and yet, it is. It’s a feel-good movie with a bittersweet center. This is a testament to the quality of writing in Here Comes Mr. Jordan.
The new 2K digital restoration looks fabulous. It has an uncompressed, monaural soundtrack. Along with the aforementioned video conversation about the film, the supplements include a long audio interview with Elizabeth Montgomery (daughter of Robert Montgomery, and, yes, the star of Bewitched) about her father and the movie; the Lux Radio Theatre radio adaptation starring Cary Grant (who was originally approached to star in the film—one can only imagine what it would have been like with Grant), Rains, Keyes, and Gleason; and a trailer. An essay by critic Farran Smith Nehme adorns the booklet.
A little gem from Hollywood released just prior to America’s entrance into World War II, Here Comes Mr. Jordan is a genuine classic, arguably superior to its many remakes and imitations. You will believe...
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- firstname.lastname@example.org (Cinema Retro)
Here's a sterling example of what Hollywood excelled at back in the golden age: Robert Montgomery, Evelyn Keyes, Claude Rains and Edward Everett Horton star in possibly the most magical of movies known as Film Blanc. A cosmic goof leaves a man with fifty years yet to live without a body -- so heavenly troubleshooters try to find him a new one. Here Comes Mr. Jordan Blu-ray The Criterion Collection 819 1941 / B&W / 1:37 flat Academy / 94 min. / available through The Criterion Collection / Street Date June 14, 2016 / 39.95 Starring Robert Montgomery, Evelyn Keyes, Claude Rains, Rita Johnson, Edward Everett Horton, James Gleason. Cinematography Joseph Walker Art Direction Lionel Banks Film Editor Viola Lawrence Original Music Frederick Hollander Written by Sidney Buchman, Seton I. Miller from the play Heaven Can Wait by Harry Segall Produced by Everett Riskin Directed by Alexander Hall
Reviewed by Glenn Erickson
Some movies are so entertaining that it's best to tell people, »
- Glenn Erickson
As a supplement to our Recommended Discs weekly feature, Peter Labuza regularly highlights notable recent home-video releases with expanded reviews. See this week’s selections below.
A woman departs a steamer in Argentina and soon finds herself in the middle of a love triangle between two pilots vying for her attention. They carry her off to a bar, then gamble between taking out the mail and a juicy steak date. As the loser Joe takes off into the night, the fog sets in. The music stops, the sounds of the plane motor crinkle above the jungle air. The mist proves too thick, and a fiery mess consumes the ground, but only the woman screams. There’s no time for tears, something the Brooklyn lass has yet to understand. “Who’s Joe?” becomes a denial of existential fear, and the music crowds the air once again. The man fades into memory out of necessity. »
- Peter Labuza
Mark and Aaron fly back to 1939 to discuss Howard Hawks’ classic Only Angels Have Wings. We evaluate the special effects, how the film built suspense, the context of aviation in the late 1930s, and later films that embody a similar masculinity. We also reveal the winner of our Don Hertzfeldt contest and talk about region free players.
About the film:
Electrified by crackling dialogue and visual craftsmanship of the great Howard Hawks, Only Angels Have Wings stars Jean Arthur as a traveling entertainer who gets more than she bargained for during a stopover in a South American port town. There she meets a handsome and aloof daredevil pilot, played by Cary Grant, who runs an airmail company, staring down death while servicing towns in treacherous mountain terrain. Both attracted to and repelled by his romantic sense of danger, she decides to stay on, despite his protestations. This masterful and mysterious adventure, »
- Aaron West
'Money Monster' with George Clooney and Jack O'Connell: TV celebrity and unwise investor/hostage taker. 'Money Monster' review: Jodie Foster movie suffers from both qualitative and intellectual disconnect Sometimes there's a difference between what a movie thinks it is and what it actually is. Usually it's a qualitative disconnect, as in “this movie thinks it's exciting but it's actually boring” or “this movie assumes Kevin Hart is funny when, in fact, he's not.” In the case of Money Monster, the divide is also an intellectual versus anti-intellectual one. The fourth film directed by Jodie Foster fancies itself a ripped from the headlines wail from the bottom of the economic ladder. A thriller-cum-exposé into how Wall Street and big media suckered average Americans into following the Pied Pipers of TV's financial punditry class over the cliff into economic ruin. However, the movie we're really getting is »
- Mark Keizer
By John M. Whalen
Cornell Woolrich is a writer whose work was much loved and cherished by fans of film noir. The Internet Movie Database lists 102 credits for him for both film and TV shows—titles including “Rear Window,” “The Bride Wore Black,” “The Night Has a Thousand Eyes,” “Black Angel,” “Fear in the Night,” and “Phantom Lady,” He didn’t write any screenplays that I know of. The films and TV shows were all adapted from a prolific output of stories written under his Woolrich and William Irish pseudonyms, and under his real name, George Hopley.
While Raymond Chandler, Dashiell Hammett, and James M. Cain make up the Big Three in noir fiction, Woolrich carved out a special niche for himself. Chandler, and Hammett wrote about tough guy heroes who usually overcame the web of evil they encountered. Cain’s heroes weren’t always so lucky, but at least »
- email@example.com (Cinema Retro)
Here are a bunch of little bites to satisfy your hunger for movie culture: Trailer Remake of the Day: Watch the Captain America: Civil War trailer redone with 8-bit video game graphics in this video from JoBlo.com: Fan Art of the Day: Little Rey just wants to be friends, but young Kylo Ren is too jealous of her attention in this Star Wars fan art by Jenny Dolfen (via Geek Tyrant): Mashup of the Day: The iconic cropduster scene from North by Northwest with a Tie Fighter from Star Wars instead of the plane. Plus C-3Po, R2-D2 and Cary Grant in space (via Cinematic Montage Creators): Rescored Movie of the Day: Star Wars dogfight and other space combat scenes are a lot cooler when set to Kenny Loggins's "Danger...
- Christopher Campbell
Part of the fun in rounding up recent books about (or connected to) cinema is the sheer diversity of releases. This latest collection features a dive into this history of Hollywood legends, lots more Force Awakens, compelling reads from two fascinating critics, texts highlighting the art of Batman v. Superman and The Little Prince, and more. Plus, if you’ve been coveting Constable Zuvio mentions, you’re finally in luck.
Movie Freak: My Life Watching Movies by Owen Gleiberman (Hachette Books)
My favorite book of 2016 thus far has arrived, and it’s Movie Freak by former Entertainment Weekly critic Owen Gleiberman. For many a nineties teen, EW was something of a pop culture bible, and Gleiberman’s incisive writing was a key reason. In Movie Freak, his unguardedly personal memoir, he talks of films loved (Blue Velvet, Manhunter), friendships dashed (with the likes of Oliver Stone and Pauline Kael), and »
- Christopher Schobert
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