1-20 of 71 items from 2015 « Prev | Next »
At least once a month, Cinelinx will chose one director for an in-depth examination of the “signatures” that they leave behind in their work. This week we’re examining the trademark style and calling signs of Stanley Kubrick as director.
Kubrick’s interest in visual arts began with photography before he became interested in filmmaking. He enjoyed making short films and became very proficient at doing so. Eventually he made his first feature film The Killing Fields (1953) as an exercise in low-budget filmmaking. That film was not a commercial success, and he had to work hard to get funding to keep working as a filmmaker. His next film, Killer’s Kiss (1955) involved a lot of experimentation, so much that it ended up eating into the budget and costing Kubrick a profit. As a result, he decided to work with a professional crew on his next film, The Killing (1956), which also did not become commercially successful, »
- firstname.lastname@example.org (G.S. Perno)
Has Texas model Karlie Kloss joined a cult? Ok… we know she hasn’t. But she goes through a radical transformation in the new issue of V magazine and looks like she’s stepped out of Stanley Kubrick’s 1999 erotic thriller “Eyes Wide Shut.” The Taylor Swift Bff is known for natural beauty. It’s vaulted her into the top ranks of fashion models in just a few short years. ...Read More »
You can’t say that Rishi Kaneria doesn’t know what he’s interested in when he makes his supercuts. Following logically on the heels of “Stanley Kubrick: Red,” which looked at that director’s use of the color, now we have “Red & Yellow: A Wes Anderson Supercut.” Red’s on the left, yellow’s on the right, and there’s an oddly disproportionate emphasis on his 2007 short Hotel Chevalier. »
- Filmmaker Staff
"Wait, what is 'Focus' again?" This is a question that is usually fired back at me, over the past few weeks, when people ask me what I've seen recently and really liked.
Lately, when I run down the movies I've seen recently, "Focus" is always one of those movies I mention, because I really, really liked it. But then, without fail, the person I am talking to asks what "Focus" is. And then I have to explain it to them. This probably has to do with the film's nebulous title and equally nebulous ad campaign, which isn't exactly explanatory (or particularly evocative or moody). So let me tell you just what "Focus" is, exactly. And when I explain what it is, you'll probably be shocked you haven't heard more about it.
- Drew Taylor
After treating cinema fans for more than a decade, Ee's 2-for-1 ticket offer is coming to an end today (February 25). We'll certainly miss breaking up the week with a cut-price cinema visit, and the end of the promotion has made us all nostalgic about the classic Orange Wednesdays ads that started it all off.
Dubbed 'Orange Gold Spots', they starred Brennan Brown and Steve Furst as two clueless film execs listening to pitches from some of Hollywood's finest. Brilliantly lampooning the bean counter thinking of studio suits and the fragile creative egos of A-listers, the likes of Patrick Swayze, Macaulay Culkin and Carrie Fisher all stepped up to offer their increasingly compromised film pitches:
This early offering sought to capture that creative moment when the lightbulb flicks on... unfortunately Brown's dim-witted exec can't quite grasp what's dangling right in front of him. Stanley Kubrick would be livid. »
Sunday’s Academy Awards marked an historical moment in the annals of cinematography. With his win for “Birdman,” Emmanuel Lubezki became just the fifth cinematographer ever in Hollywood history to win back-to-back Oscars (he took home the statuette last year for “Gravity”). Lubezki’s impressive and deservingly Oscar-winning “single-take” illusion will surely be much discussed over the coming weeks, but let’s take a moment now to turn back the pages of the history books and revisit one of the late, great cinematographers — John Alcott. Alcott passed away nearly 30 years ago, but he remains, in memory, one of the best cinematographers of his time. Though he has multiple additional credits to his name, he is best known for his four collaborations with Stanley Kubrick. The two men first worked together on “2001: A Space Odyssey”; their partnership then continued over Kubrick’s next three films, “A Clockwork Orange,” “Barry Lyndon, »
- Zach Hollwedel
Red & Yellow: A Wes Anderson Supercut from Rishi Kaneria on Vimeo.
It’s recently been pointed out that increasingly, all movies are starting to look the same shades of blue and orange. Perhaps the one and only filmmaker noticeably going against the grain is Wes Anderson. His vibrant shades of red and yellow were enough to finally net him a Best Production Design Oscar on Sunday for The Grand Budapest Hotel, along with a cinematography nomination for Robert Yeoman. If the work of Matt Zoller Seitz wasn’t enough to whet your Anderson appetite, then another video essayist has pointed out how these two colors dominate Anderson’s palette. Rishi Kaneria put together this supercut of Anderson’s work. He’s given the same treatment to Stanley Kubrick for his bold use of red, and to Pixar for taking us through the entire spectrum of the rainbow. Watch the video above. »
- Brian Welk
This article contains a spoiler for the ending of Interstellar.
In case you missed it, the Oscars were this past weekend and Birdman was the big winner. The Academy’s choice to award Alejandro González Iñárritu's fever dream was a genuine shock, with Boyhood the running favourite for many months. Nonetheless, some things never change, and in that vein it's certainly a non-surprise the Academy also hardly noticed the most ambitious blockbuster of 2014: the Christopher Nolan space epic, Interstellar. Indeed, I use the phrase "non-surprise", because how could it be a winner when it was only nominated for the bare minimum of five Oscars in technical categories that are reserved as consolation prizes?
This is by all means par for the course with a film that has »
kogonada first caught our eye two years back with his exploration of symmetry in the works of Stanley Kubrick, followed by Wes Anderson a year later. But before both auteurs were associated with a centered, exacting aesthetic, Buster Keaton applied a looser construct of symmetry to his brand of physical comedy. The above video from Vince di Meglio looks at how the central framing of nearly 30 of Keaton’s films allows for head-to-toe humor in relation to both objects and space. »
- Sarah Salovaara
Through the use of satire, and a good dose of slapstick, Accidental Love attempts to show some of the more absurd aspects of society. However, the slapstick seems to undermine the gravity of the characters, as it carries the narrative too far into the ridiculous for the audience to then believe the film’s characterization of society. Although it is possible to bring satire and slapstick together in a way that works, in Accidental Love, they feel like two opposing tones. The movie is often humorous because of its astute observations through satire, but also awkward because it relies on embarrassing and meaningless sight gags, which hurt the overall plot and message that the filmmakers are trying to convey.
- Josh Cabrita
[Editor's Note: This post is presented in partnership with Movies On Demand. Catch up on this year’s Awards Season contenders and past winners On Demand. Today's Throwback Thursday selection is "Gravity" This article originally ran during the 2013 awards season.] Like Sandra Bullock’s character in "Gravity," writer-director Alfonso Cuaron is resilient, never one to back down to a challenge that others may deem impossible. Following his beloved apocalyptic thriller "Children of Men," Cuaron decided that for his next project, he wanted to go to space. The problem was, to get him there, new technology would have to be invented. Instead of throwing in the towel, Cuaron and his team worked tirelessly for four-and-a-half years to make Cuaron's dreams a reality. The result has been hailed by critics as the best space-set film since Stanley Kubrick's "2001: A Space Odyssey," and is now up for a whopping 10 Oscars, including Best Picture and Best »
Radius-twc has unleashed the first trailer for the acclaimed documentary, My Life Directed by Nicolas Winding Refn. The film shines a spotlight on the director’s unique process in a behind-the-scenes style expose and in particular, it pays close attention to the period during which Refn shot Only God Forgives in Bangkok.
In the trailer, writer-director of the piece, Liv Corfixen, provides unfettered access to the visionary filmmaker. Why? Because she’s his wife. What’s brilliant about that imposed closeness is that we’re offered a more aggressive line of questioning toward Refn, whose spouse dares to ask questions that no film journalist would dream to pose. From this sneak peek into the movie we’re able to witness a snapshot at the stresses and strains placed upon the director, when faced with creating a successful follow-up to Drive.
The familial relationship between Refn and Corfixen – which permits an »
- Gem Seddon
The IMDb synopsis for Jack Strong describes the film as a “gripping spy thriller” that “tells the true story of a man who dares to challenge the Soviet empire.” While it’s true that the story involves spies, soviets and men, there’s not a great that’s daring, gripping or thrilling in this meandering yet overwrought snoozefest.
The Cold War is a rich seam for stories that has quite possibly been excavated of all its jewels at this point (mainly by John le Carré and Stanley Kubrick), so a plot involving state secrets being passed from Russia-controlled Poland to the slickly-suited USA has me stifling a yawn from the opening credits on. “Jack Strong” is the codename given to the Polish colonel disenfranchised by his Communist overlords and embarks upon »
- Mark Allen
Gotham Season 1, Episode 16: ‘The Blind Fortune Teller’
Written by Bruno Heller
Directed by Jeremy Hunt
Airs Mondays at 8pm Et on Fox
The season returns in stride with this week’s episode that is full of Batman mythology nods, with fun character moments that build momentum for the season’s subplots that are showing lots of promising development. At the center of the episode is the relationship of Gordon and Leslie, which is budding in interesting ways and is well integrated with the case of the week. The case of the week addresses two iconic Batman characters in one fell swoop, a bold attempt for the series that could’ve easily been a misstep. However, it is done efficiently enough that it will hold interest in the long run, as there are more stories that they could mine with the characters introduced here.
Fish’s plot is developing very quickly, »
- Jean Pierre Diez
There are 195 individuals nominated for Oscar this year. And when the winners are named Feb. 22, they will become part of film history, joining such greats as Billy Wilder, Ingrid Bergman, Ben Hecht and Walt Disney.
But 80% of the contenders will go home empty-handed. However, there is good news: They are in good company as well.
Here is a sampling of nominees that didn’t win: “Citizen Kane,” “Chinatown” and “Star Wars”; directors Alfred Hitchcock, Howard Hawks, Stanley Kubrick and Ingmar Bergman; writers Tennessee Williams, Arthur Miller, Dashiell Hammett, John Steinbeck, Graham Greene, Harold Pinter and David Mamet; actors Gloria Swanson in “Sunset Blvd.”; Audrey Hepburn in “Breakfast at Tiffany’s”; and Peter O’Toole in “Lawrence of Arabia.”
They managed to do Ok, though.
- Tim Gray
Quite a few special events are happening this weekend for Valentine's Day that don't include the supposedly kinky sex of Fifty Shades Of Grey. Tonight at the Marchesa, the Austin Film Society is having a special premiere screening of 5 to 7. The movie stars Anton Yelchin (Star Trek) and Berenice Marlohe (Skyfall). If you'd rather go for classic romances on Saturday, Alamo Drafthouse Slaughter Lane is having a Gone With The Wind feast and Ritz is having a Casablanca feast. If you're a single women or gay man, you may prefer a Valentine's Day screening of Magic Mike at Alamo Lakeline. For that movie, the Alamo's typical "Don't Talk" rules are suspended and specialty cocktails are on the menu for a real free-for-all.
If you're completely twisted, then Alamo South Lamar has you covered too. They're teaming up with Chiller and Mondo for a Cannibal Holocaust screening on Saturday late night. »
- Matt Shiverdecker
The Killing, 1956.
Directed by Stanley Kubrick.
A group of men plan to steal money from a local race track, scrupulously planning the heist, and coming across a host of obstacles.
The Killing is rarely cited when referencing heist films such as Inside Man and Ocean’s Eleven, yet it is deeply imbedded in their – and many others’ – genetics. Coming from the great Stanley Kubrick, expect a film as carefully constructed as the caper within it. Even with a story that now seems standard, The Killing has barely aged, and despite some predictability (mostly thanks to a number of contemporary films copying its style) the finale packs a punch.
Building up to a perfectly devised conclusion, The Killing relies on a motif of meticulousness, with the loud diegetics of ticking clocks, the constant criss-crossing of people, »
- Gary Collinson
Stars: Sterling Hayden, Coleen Gray, Vince Edwards, Jay C. Flippen, Ted de Corsia, Marie Windsor, Elisha Cook Jr., Joe Sawyer, Timothy Carey, Kola Kwariani, Dorothy Adams | Written and Directed by Stanley Kubrick
It goes without saying that film fans know that Stanley Kubrick was a master of his art. All masters though have a starting point where they were learning and in some respects were yet to evolve into the legends that they would become. With the Arrow Academy release of The Killing on Blu-ray, which also includes Killer’s Kiss we get to see a director who had a vision, but was yet to perfect his style.
The Killing is a heist movie that when it was first released didn’t make that much of an impact, but not surprisingly when it comes to Kubrick’s work has grown to be respected and revered as a true classic of the genre. »
- Paul Metcalf
Editor's Note: RogerEbert.com is proud to reprint Roger Ebert's 1978 entry from the Encyclopedia Britannica publication "The Great Ideas Today," part of "The Great Books of the Western World." Reprinted with permission from The Great Ideas Today ©1978 Encyclopædia Britannica, Inc.
It's a measure of how completely the Internet has transformed communication that I need to explain, for the benefit of some younger readers, what encyclopedias were: bound editions summing up all available knowledge, delivered to one's home in handsome bound editions. The "Great Books" series zeroed in on books about history, poetry, natural science, math and other fields of study; the "Great Ideas" series was meant to tie all the ideas together, and that was the mission given to Roger when he undertook this piece about film.
Given the venue he was writing for, it's probably wisest to look at Roger's long, wide-ranging piece as a snapshot of the »
- Roger Ebert
We're still in the yearly box office grey zone, where studios release the movies they regret making or have little confidence in. So there's no better time stay in and get reacquainted with a legend, namely Stanley Kubrick. But I'm not just talking about sitting down for a marathon of his movies (though that's not a bad idea); I'm talking about a deeper examination of his oeuvre. The below should be just the thing. For the past little while, the folks at The Directors Series have been putting together an extensive, detailed look Kubrick's career in a series of video essays, which is now complete. Running nearly three hours long (!!) and spread across five parts, these are some great, deep looks at Kubrick's work, the evolution of his techniques, and much more. It's perhaps fitting that the longest essay spans "2001: A Space Odyssey" to "The Shining," a particularly incredible run for the filmmaker. »
- Kevin Jagernauth
1-20 of 71 items from 2015 « Prev | Next »
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners