8 items from 2017
“Yes, I killed him. I killed him for money – and a woman – and I didn’t get the money and I didn’t get the woman. Pretty, isn’t it?”
Double Indemnity screens Wednesday April 12th at The Tivoli Theater (6350 Delmar in ‘The Loop’) as the second installment of their new ‘Classics in the Loop’ Crime & Noir film series. The movie starts at 7pm and admission is $7. It will be on The Tivoli’s big screen.
Cold-blooded, brutal, and stylishly directed by Billy Wilder, Double Indemnity is a prime example of The Film Noir genre and remains highly influential in its look, attitude and story. The 1944 crime drama set the pattern for that distinctive post-war genre: a shadowy, nighttime urban world of deception and betrayal usually distinguished by its “hard-boiled” dialogue, corrupt characters and the obligatory femme fatale who preys on the primal urges of an ordinary Joe hungry for sex and easy wealth. »
- Tom Stockman
There’s nothing more fun than getting to watch classic movies the way they were intended–on the big screen!
Now, I understand plenty of people don’t want to go to a theater, spend a fortune on tickets, popcorn, and a drink just to see the glow of cell phones and hear people rudely talking while someone kicks your seat from behind, but that’s not the experience you’ll get at Landmark theaters affordable ‘Crime & Noir’ film series. St. Louis movie buffs are in for a treat as Landmark’s The Tivoli Theater will return with it’s ‘Classics on the Loop’ every Wednesday beginning April 5th at 7pm. This season, the Tivoli will screen, on their big screen (which seats 320 btw), eight crime and noir masterpiece that need to be seen in a theater with an audience. Admission is only $7.
One benefits of the big screen is »
- Tom Stockman
The ballots are in, and the Oscars are but days away. Variety critics Peter Debruge, Owen Gleiberman, and Guy Lodge may not be Academy members, but if they were, here’s how they would have voted in the top eight categories.
Best Picture: “Moonlight.” Nothing against “La La Land,” whose realist take on contemporary romance brings a welcome edge to the fizzy old-fashioned song-and-dance format, but “Moonlight” marks the artistic breakthrough here — and not just because the Oscars (and the industry at large) have been #sowhite for #solong. Barry Jenkins’ superb portrait of a lonely young man seeking connection in Miami focuses audiences’ attention on the sort of character the movies so often marginalize — or overlook entirely — and makes the specificity of his experience feel universal. I ranked “Hell or High Water” one notch higher on my year-end top 10, but that movie is too similar to 2008 winner “No Country for Old Men »
- Peter Debruge, Owen Gleiberman and Guy Lodge
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
Dana Andrews movies: Film noir actor excelled in both major and minor crime dramas. Dana Andrews movies: First-rate film noir actor excelled in both classics & minor fare One of the best-looking and most underrated actors of the studio era, Dana Andrews was a first-rate film noir/crime thriller star. Oftentimes dismissed as no more than a “dependable” or “reliable” leading man, in truth Andrews brought to life complex characters that never quite fit into the mold of Hollywood's standardized heroes – or rather, antiheroes. Unlike the cynical, tough-talking, and (albeit at times self-delusionally) self-confident characters played by the likes of Alan Ladd, Edward G. Robinson, James Cagney, Humphrey Bogart, and, however lazily, Robert Mitchum, Andrews created portrayals of tortured men at odds with their social standing, their sense of ethics, and even their romantic yearnings. Not infrequently, there was only a very fine line separating his (anti)heroes from most movie villains. »
- Andre Soares
There’s a whole world of science stories just waiting to be told.
Theodore Melfi’s Hidden Figures is a wonderful victory tale, both in the true story it depicts and in how it has, as a film about Black women in Stem, been so warmly received by audiences. A lot of attention has been given to the first half (that is, it being a film centered around three Black women), and rightly so. As a Black woman, I left the film with a proud smile only somewhat tempered by the wistful thought that I wished such a film had been around when I was a little girl. But today I want to shine a light on the second part — the part where Hidden Figures demonstrates that fact-based films revolving around Stem (short for Science, Technology, Engineering, and Math) history can have mass appeal. More importantly, how Hidden Figures serves as a sort of blueprint as to »
- Ciara Wardlow
The eighteenth entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin. Mubi will be showing Fritz Lang's Scarlet Street (1945) from December 30, 2016 - January 28, 2017 in the United States. In Fritz Lang’s masterpiece Scarlet Street (1945) it is never simply a matter of characters seeing or not seeing something important—although that can furnish the first, basic level of the intrigue. It is also a matter of what people really understand of what they see—which, in turn, has much to do with what they, consciously or unconsciously, project onto what is before their eyes. So, while the film is full of moments where its central figure, the ‘poor sap’ Chris Cross (Edward G. Robinson), has his eyes averted, or doesn’t hear someone creeping behind his back, it also explores his willful blindness: he looks at Kitty (Joan Bennett) and sees an innocent angel where, »
Boss Man: Interview with the director and star of Live by Night, Ben AffleckBoss Man: Interview with the director and star of Live by Night, Ben AffleckBob Strauss - Cineplex Magazine1/12/2017 10:01:00 Am
Things have changed a lot in Hollywood since the old contract-player days. However, if there’s any talent who’s identified with a particular studio at the moment, it’s Ben Affleck.
The square-jawed, 44-year-old Bostonian produced, directed and starred in Warner Bros.’ last Best Picture Oscar winner, Argo. He’s also made The Town and The Accountant for the company in the past few years. And Affleck not only plays the most important character, Batman/Bruce Wayne, in Warner’s latest round of DC Comics-based movies, »
- Bob Strauss - Cineplex Magazine
8 items from 2017
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