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Titan and Hard Case Crime have announced the next two additions to the Hard Case Crime line of comic books in Minky Woodcock: The Girl Who Handcuffed Houdini and Quarry’s War.
Created by acclaimed artist, author, director, and playwright Cynthia Von Buhler (Speakeasy Dollhouse, Evelyn Evelyn, The Countess & Her Cats, Emily and the Strangers), Minky Woodcock: The Girl Who Handcuffed Houdini has already garnered praise from legendary author Neil Gaiman (Sandman) who said: “I was seduced by Cynthia Von Buhler’s artwork. She is a wonder.”
Unappreciated at her father’s detective agency, the fabulous rabbit-loving Minky Woodcock straps on her gumshoes in order to uncover a magical mystery involving the world-famous escape artist, Harry Houdini!
Featuring covers by artist Robert McGinnis – the famous creator of movie posters for classic films such as James Bond and Breakfast at Tiffany’s and acclaimed comics legend David Mack (Kabuki), the first »
- Gary Collinson
Gore is being directed by Michael Hoffman (The Last Station) and will explore the life of the author, playwright and political commentator during the 1980s. The film is currently shooting in Rome, but will soon move to Vidal’s longtime villa in Ravello, where he entertained a host of high-profile friends including the likes of Greta Garbo, Lauren Bacall, Paul Newman, Susan Sarandon, Andy Warhol, Rudolf Nureyev, and Mick Jagger.
Kevin Spacey was most recently seen in Edgar Wright’s latest film Baby Driver, while his upcoming films include Rebel in the Rye, Billionaire Boys Club and All the Money in the World – all of which see him portraying real life people in Whit Burnett, Ron Levin and J. »
- Amie Cranswick
U.S. director Michael Hoffman (“The Last Station”) is helming the 1980s-set film about the late American author, playwright, and occasional political candidate. “Gore” is currently shooting in Rome but will move next month to Vidal’s longtime villa in Ravello, a village on the Amalfi Coast, sources tell Variety.
Netflix was not available for comment.
Vidal’s beloved gravity-defying villa La Rondinaia, nestled on a craggy cliff in Ravello a thousand feet above the Tyrrhenian Sea, will feature prominently in the movie, according to the president of the Ravello Foundation, Sebastiano Maffettone, local media reported. At La Rondinaia, which he sold in 2004, Vidal entertained his vast network of high-profile friends and acquaintances, including Greta Garbo, »
- Nick Vivarelli
MaryAnn’s quick take… Three movies in, and this world of sentient driverless cars still creeps me out, and still does nothing except advertise a mountain of related merch for kids. I’m “biast” (pro): nothing
I’m “biast” (con): not a fan of this franchise
(what is this about? see my critic’s minifesto)
So, hotshot sentient driverless race car — dammit, three movies in, and that’s still creepy — Lightning McQueen has hit middle age. He’s not as fast as he used to be. The youngsters are nipping at his heels… tires… whatever… and lapping him on the track. What’s an automobile dude to do?
I have many questions about the scenario of Cars 3.
But… wait… Who designed and built the sleek new supercharged race cars nipping at Lighting McQueen’s heels?
- MaryAnn Johanson
By Ciara Wardlow
Celebrating the Ryan Gosling that we didn't have to import from Canada.
The article 7 Reasons Paul Newman Was The Ultimate All-American Dreamboat appeared first on Film School Rejects. »
- Ciara Wardlow
'Making Love': Groundbreaking romantic gay drama returns to the big screen As part of its Anniversary Classics series, Laemmle Theaters will be presenting Arthur Hiller's groundbreaking 1982 romantic drama Making Love, the first U.S. movie distributed by a major studio that focused on a romantic gay relationship. Michael Ontkean, Harry Hamlin, and Kate Jackson star. The 35th Anniversary Screening of Making Love will be held on Saturday, June 24 – it's Gay Pride month, after all – at 7:30 p.m. at the Ahrya Fine Arts Theatre on Wilshire Blvd. in Beverly Hills. The movie will be followed by a Q&A session with Harry Hamlin, screenwriter Barry Sandler, and author A. Scott Berg, who wrote the “story” on which the film is based. 'Making Love' & What lies beneath In this 20th Century Fox release – Sherry Lansing was the studio head at the time – Michael Ontkean plays a »
- Andre Soares
The classical western exists as an ideal sandbox for stories of heroism, in which white hats can immediately separate our protagonists from the black-hatted antagonists. Occasionally, though, we have a revisionist western that questions and defies the well-trodden patriarchal confines of the genre, as if looking at an old image from a tilted perspective and finding something new.
Sometimes, the characters don’t fit into the dusty old boxes occupied by so many western heroes and heroines. The hero robs and kills to stay alive, frightened and overwhelmed by this strange, new frontier. Other times, the stereotypical Western landscape disappears, blanketed in snow. Horses drive their hooves through ice-covered puddles. Wind screams past bone-thin trees — manifest destiny frozen over, encasing the American dream in ice.
In the case of Sofia Coppola’s newest, The Beguiled, gender and power roles reverse: an injured Union soldier (Colin Farrell) turns up at a girl’s school, an arrival which breeds intense sexual tension and rivalry among the women (Nicole Kidman, Kirsten Dunst and Elle Fanning). According to our review, the movie is “primarily based on the 1966 book by Thomas Cullinan,” and “appears, at first glance, to be a remake of Don Siegel’s 1971 film adaptation rather than any sort of new reading of the original text. Coppola, of course, is far too clever for that.”
In celebration of The Beguiled, we’ve decided to take a look at the finest examples of the revisionist western. Enjoy, and please include your own favorites in the comments.
Robert Ford (Casey Affleck) idolized the legendary outlaw Jesse James (Brad Pitt), growing up hearing campfire stories about the man. Ford loved James so much that he eventually willed himself into the man’s life story. You cannot tell James’s story without also telling Ford’s. These two tragic lives are irrevocably linked by Ford’s betrayal. The film’s dryly antiseptic voiceover narration confides that Ford grew to regret his violent ways. The same goes for James, who at one point beats a child and then weeps into his horse’s neck, unable to live with his own deeds. While James’ propensity for violence is a deeply cut character flaw, Pitt plays the outlaw like an emotionally wounded teenager. His jovial sense of humor cloaks a vindictive and self-loathing interior. Whether Jesse James hurts himself or someone else, there is always a witness looking on with wide eyes. After James’ murder, Ford became a celebrity, touring the country reenacting the shooting. But Ford gained his prominence by killing a beloved folk hero. And so, one day, a man named Edward Kelly walked into Ford’s saloon with a shotgun and took revenge for James’s murder. Unlike the aftermath of Ford’s deed, people leapt to Kelly’s defense, collecting over 7000 signatures for a petition, leading to his pardon. America hated Robert Ford because he killed Jesse James. They loved Edward Kelly because he killed Robert Ford.
Robert Altman’s largely forgotten and often funny western about egotistical showman Buffalo Bill Cody (Paul Newman) treats its lead without respect, eagerly mocking him at every opportunity. Known across America as they best tracker of man and animals alive, Cody runs Buffalo Bill’s Wild West Show, a rodeo-like performance of cowboy-feats, ranging from simple rope tricks to the trick-shots of the legendary Annie Oakley. However, Cody is a fraud, a walking accumulation of lies and tall-tales. When Cody gets the chance to hire Chief Sitting Bull, the man who defeated General Custer at Little Big Horn, he’s thrilled, until Sitting Bull refuses to participate in his offensive show. Contrasted with phony Buffalo Bill Cody, Sitting Bull drips with dignified authenticity, totally uninterested in living up to the ignorant public’s racist image of his people. While the manufactured “reality” of Cody’s shows gets applause from white audiences, the stoic realness of Sitting Bull initially receives jeers, until something occurs to the crowd: this isn’t showmanship; this is the real thing. Later, when Cody and his gang form a posse, he hastily removes his show attire and searches through his wardrobe, cursing: “Where’s my real jacket?” So utterly consumed by his own public image, Cody can no longer locate his true self. Altman’s film is a rare western with a lead character who never succeeds, changes, or learns from his mistakes, always remaining a hopelessly pompous horse’s ass.
As we meet the legendary Butch Cassidy (Paul Newman) he’s scoping out a bank, recently renovated to include heavy iron bars over every window and bolted-locks on every door. He asks the guard what happened to the old bank, which displayed such architectural beauty. “People kept robbing it,” the guard says. “Small price to pay for beauty,” Butch replies. It’s a running theme in revisionist westerns to reveal the truth behind the legend. The changing times had rendered bandits on horseback obsolete. But Butch Cassidy and his partner, the Sundance Kid (Robert Redford) didn’t see the end coming until the future was already upon them. After barely evading a super-posse (to use a term coined by screenwriter William Goldman) led by a ruthless bounty hunter, they escape to Bolivia with Etta (Katherine Ross) Sundance’s girl, where their criminal ways are similarly received. What began as a vacation away from their troubles slowly becomes a permanent getaway run, sowing seeds of inevitable tragedy. Etta sees what Butch and Sundance cannot: the end. “We’re not going home anymore, are we?” Etta tearfully asks Sundance, informing him that she has no plans to stick around to watch them die. George Roy Hill’s Butch Cassidy and the Sundance Kid is a tearful celebration of a pair of old dogs too foolish to learn new tricks.
Dead Man (Jim Jarmusch)
The gorgeous and haunting Dead Man opens with a soot-faced Crispin Glover trilling as he points out the window of a train: “They’re shooting buffalo,” he cries. “Government said, it killed a million of them last year alone.” The American machine greedily consumes the landscape, leaving smoldering devastation in its path, while a stone-faced accountant named William Blake (Johnny Depp) travels to the hellish town of Machine, where he’s promised a job. Unfortunately, there’s no job at the end of the line for this seemingly educated man, blissfully unaware of his namesake, the poet William Blake. After taking a bullet to the chest, Blake wanders this dying western landscape as if in a dream, guided by Nobody (Gary Farmer) a Native American raised in England after getting kidnapped and paraded around as a sideshow attraction for whites. At one point, Blake stumbles upon three hunters by a camp fire, one of which, played by Iggy Pop, wears a muddy dress and bonnet like a twisted schoolmarm. Writer-director Jim Jarmusch’s twist on the western (accompanied by Robby Müller’s flawless cinematography) hums with textured period detail and vivid costume design, the accumulation of which achieves an eerily stylized tone.
The spirit of Quentin Tarantino’s Django Unchained is in the sequence scored by Jim Croce’s “I’ve Got a Name.” Django (Jamie Foxx), now a free man, removes the old saddle from his horse’s back, a saddle originally procured by a white slaver, the animal’s previous owner. He then mounts in its place, his own saddle personalized with an embroidered D. His freedom is still new and unfamiliar but, Django is more than willing to grasp those reigns. What works best about the film is how Tarantino’s screenplay embraces the politics of the Antebellum South in a fashion carefully ignored by every other western of its time. The dialogue, Tarantino’s most applauded talent, wheels a careful turn between a sly comedy-of-manners and a bluntly provocative historical indictment, always landing on a shameless exploitation cinema influenced need for violent catharsis. Tarantino’s channeling of Spaghetti Western violence, with the gore cranked up to a level far beyond that of even Sergio Corbucci’s bloodiest work, delivers tenfold on that catharsis, splattering the pristine white walls of Candyland plantation bright red.
Dripping with transgressive and bizarre imagery, El Topo embraces every taboo imaginable with a breathless zeal. Existing somewhere between Midnight Movie oddity and art-house epic, Alejandro Jodorowsky’s second feature envisions the west as an unknowable landscape, dotted with peculiar and grotesque characters, such as a legless gunfighter who rides around on the back of an armless man. Describing the film in narrative terms, beat by beat, would be pointless, although we follow a rider in black, the titular El Topo (which means The Mole) who crosses the desert with a naked boy on the saddle. Though we spend more time with El Topo, his son is the heart of the film, this warped and subversive pseudo-fable exploring the cyclical nature of life. Jodorowsky’s painterly eye for composition lends individual shots with arresting and breathtaking resonance. With less than subtle biblical imagery scattered throughout, including a marvelous sequence involving a religion based around the game of Russian Roulette, Jodorowsky’s film feels at times like a twisted celebration of mysticism, sampling notes from Catholicism, Christianity, Hinduism and Buddhism. It’s ending, a chaotic, dream-like burst of violence, adds a scathing gut-punch to an already overwhelming experience. There is no other western quite like El Topo, to say the least.
Continue >> »
- Tony Hinds
Simon Brew Jun 22, 2017
It’s a project that’s been around a long time this one, at one stage a possible vehicle for Robert Redford and Paul Newman. The current guise of the film will be directed by John Lee Hancock, who previously wrote the Kevin Costner-headlined A Perfect World, and directed The Founder and Saving Mr Banks.
Hancock has re-written the script too, from an earlier draft by John Dusco.
The project »
According to Deadline, a long-in-production movie about the Texas Rangers tasked with hunting down legendary outlaws Bonnie Parker and Clyde Barrow might finally get made, at least if Netflix can get the rights from Universal. The project is called Highwaymen, and it was originally set to star Paul Newman and Robert Redford, but due to the endless passage of time, Netflix wants to replace them with Woody Harrelson and Kevin Costner.
Assuming this all works out, Costner will play lawman Frank Hamer—who Deadline says “survived 100 gunfights and killed 53 people”—with Harrelson playing Manny Gault. Together, those two men led a posse tasked with ending Bonnie and Clyde’s crime spree, which naturally gives Highwaymen a different spin than what you usually see in Hollywood’s many Bonnie and Clyde stories. Again, this is all fairly early and dependent on a few good things happening for Netflix, but »
- Sam Barsanti
Highwaymen is a film project that once had Paul Newman and Robert Redford attached to star as the fresh-to-the-badge Texas Rangers who chased the famed, violent robbers Bonnie & Clyde to their bitter and bloody end. The film eventually stalled out and was placed on the back-burner, until now. Today, sources close to Deadline Hollywood have said that Netflix is in early negotiations to pair Kevin Costner and... Read More »
- Steve Seigh
When Paul Newman passed away in 2008, Robert Redford had been working on “A Walk In The Woods” (which he’d later make with Nick Nolte) as a potential project to make with his longtime friend. Another vehicle the duo had kicked the tires on was crime pic, “Highwaymen,” and it’s been percolating in development for years. Back in 2013, Woody Harrelson and Liam Neeson were eyed as the new leads, but, while Neeson has exited, another name is coming aboard.
- Kevin Jagernauth
Exclusive: Highwayman, the drama that once had Paul Newman and Robert Redford poised to play the veteran Texas Rangers who put an end to the violent robbery spree of Bonnie & Clyde, might finally find its way into production. Sources said Netflix is in early discussions to team Woody Harrelson and Kevin Costner as the lawmen who hunted down Depression Era outlaws Bonnie Parker and Clyde Barrow, with John Lee Hancock directing. To do this, Netflix is negotiating to… »
The ending of Cars 3 makes the movie, but as with all Pixar films, it was a work in progress for many years. Last week, I spoke with director Brian Fee about how the Cars 3 ending evolved over the development and production of the film. While talking with Fee about how they resurrected Paul Newman’s […]
- Peter Sciretta
I know I’m in the critical minority when admitting my enjoyment of the Cars franchise, but I honestly do. It’s not even that I am a “car guy” either—I’ve never seen the appeal of them beyond their utility as a transportation vehicle. So my enjoyment of the first film was solely on the level of its message and humor. It dealt with the theme of ego and humility as Lightning McQueen (Owen Wilson) discovered you simply cannot get through life on an island alone. Cars 2 may not have put message in the foreground (Larry the Cable Guy‘s Mater taking center stage to teach kids about individuality, self-esteem, and courage), but it tried something different by projecting a pure entertainment genre (spy thriller) atop its existing world.
While the second didn’t possess the same lasting power as a result, it had merit if only because it was fun. »
- Jared Mobarak
Cars 3, 2017.
Directed by Brian Fee.
Featuring the voice talents of Owen Wilson, Armie Hammer, Cristela Alonzo, Nathan Fillion, Chris Cooper, Bonnie Hunt, Larry the Cable Guy, Kerry Washington, Tony Shalhoub, Bob Costas, Isiah Whitlock Jr., Ray Magliozzi, Bob Peterson, Lea, DeLaria, Darrell Waltrip, Cheech Marin, Margo Martindale, John Ratzenberger, and Paul Newman.
Lightning McQueen sets out to prove to a new generation of racers that he’s still the best race car in the world.
Seeing as the Cars franchise started a little over a decade ago, young children have most likely aged to their adolescent or teenage years, meaning that Pixar and director Brian Fee (storyboard artist turned director making his debut feature here) have made a wise decision upping the maturity level for this third installment in the series. Cars has always been the most kid friendly Pixar franchise from a studio clearly fascinated with churning »
- Robert Kojder
As we creep along to the midway point of Summer, this can only mean one thing at the multiplex (aside from added matinees): another installment of a big studio franchise (formerly a series) will be occupying several screens. We’ve already had a new Alien, and another Depp pirate pic as the Planet Apes and Transformers wait in the wings, along with that wall-crawling wonder. I suppose we’re due for an animated sequel, but this one’s from the most celebrated studio of the last couple of decades, Pixar. Aside from Toy Story, they avoided follow-ups to their other hit films until 2011 when the Cars gang refueled for Cars 2. Then one of the other hits got a prequel, Monster University, and another spawned last year’s box office smash, Finding Dory. Now here’s the automotive, track-burnin’ “hat trick” as good ole’ number 95, Lightning McQueen roars back »
- Jim Batts
In 2006, Cars and its hotshot hero, Owen Wilson’s Lightning McQueen, sped away with the hearts of moviegoers around the world, with the franchise becoming one of the most profitable in Pixar’s history (mostly due to through-the-roof merchandise sales). The film’s commercial success stood in stark contrast to its tepid critical reception, with most critics agreeing that this was the first time a Pixar movie fell below the high bar set by their prior work. Cars 2, a dazzling but ill-conceived globetrotting spy thriller, fared even worse than its predecessor, garnering harsher criticism and a far less successful line of product tie-ins.
With Cars 3, Pixar returns to a franchise that youngsters still love but has grown putridly stale for almost everybody else. The bad news is, the threequel doesn’t deliver anything that feels fresh, revitalizing or progressive either in its story or its presentation. The good news is that, »
- Bernard Boo
Before seeing Cars 3, I had heard that the filmmakers decided to bring Paul Newman‘s character Doc Hudson back as a tribute to the late great actor. What I didn’t anticipate is how much of the core of the story is built around Doc Hudson – it’s not just a brief mention or appearance. So when […]
- Peter Sciretta
For the juggernaut that is Pixar, the one consistent mark on an otherwise essentially spotless record has been the Cars franchise. Give or take one or two other outings that some people are higher on than others, this franchise is the only thing keeping the company from essentially a perfect record. This week, Cars 3 hits theaters and hopes to right the ship as it becomes part of a trilogy. Cars has a mixed reputation, but Cars 2 is Pixar’s somewhat red headed stepchild. Can Cars 3 change the trend? Well, yes and no. It’s going to be the best in the series to some or most, but it’s still very much lesser Pixar overall. I suppose your mileage may vary here (no pun intended) with this one. This sequel looks at how racer Lightning McQueen (voice of Owen Wilson) deals with no longer being the new kid on the block. »
- Joey Magidson
When kids – largely, but by no means exclusively, little dudes – lose their minds over the anthropomorphic autos of the animated Cars movies, it's simple math: Wisecracking racecars equals bright, shiny entertainment for the junior need-for-speed crowd and happiness for the shareholders. But if adults big-up the series for anything besides being a visual babysitter, it's for proving that yes, even the mighty Pixar is not perfect.
Since 1995, a.k.a. The Year That Toy Story Changed Everything, the company hasn't only revolutionized American animation – it's also had an insane hit-to-miss average, »
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