1-20 of 24 items from 2015 « Prev | Next »
Thanks for coming, all of you. I’ll dive south into the comments now because I literally haven’t stopped for breath or even any cake. Who really wants cake now? I massively want and need cake. There’s only one thing for it now the shops are shut. I’m going to have to bake one.
Good night and thanks so much for coming! And don’t forget to donate.
Now don’t forget what this has all been for. If you text Bake to 70005 you can donate a fiver to this excellent cause and then we won’t have just spent the last hour sneering at other people’s cooking. Go on.
Mary says the younger bucks suffered from poor timing. »
- Julia Raeside
Director: Hettie Macdonald
Writer: Simon Donald
Review: It’s a huge week in Fortitude as they reveal a whole host about characters and on directing duties is Hettie MacDonald, you’ll know her work best from Doctor Who’s ‘Blink’ and The Tunnel, who’s great at bringing an early close-up encounter with Liam and an unexpected flashback as we finally see what happened when the young lad randomly jumped out the window and earned some severe frostbite.
It’s curious that we’ve forgotten how story-telling and editing can be manipulated and that everything we thought we saw, might not be exactly true. Yes, Frank and Elena got it on while Jules wandered Fortitude and yes, Liam did go for a walk…but what truly happened?
In the flashback, Charlie is revealed »
- Dan Bullock
Christian Petzold took a bold step into history with 2012's Barbara, exiling Nina Hoss's heroine into the diaphanous threats and suspicions of a provincial, 1980s East Germany. With Phoenix, his follow-up, Petzold takes this movement into history even further, striking starkly, deeply at questions of identity in a post-war Germany quivering silently with destitution, rage, and willful blindness. In a spectral sequence opening the film directly evoking the eerie clinical imagery of Georges Franju's lyrical horror film Eyes without a Face, Nelly, a concentration camp survivor, returns in quiet to Berlin after having reconstructive surgery following wartime mutilations. The woman who emerges from under the knife cannot be recognized. She emerges as embodied by Nina Hoss—a true queen in today's cinema—and her slender, lean physique becomes that of a post-war zombie, a ghost embodied, tottering and halting, a body not familiar with movements outside the camp, »
- Daniel Kasman
[Press Release] Denver -- February 26, 2015 -- Spy through the “rear window” from the best seat in the house as “TCM Presents: Rear Window” arrives at select U.S. cinemas as a special two-day event on March 22 and 25, 2015 at 2 p.m. and 7 p.m. local time. Presented by Fathom Events, Turner Classic Movies (TCM) and Universal Pictures Home Entertainment, this classic 1954 Alfred Hitchcock film stars Hollywood legends James Stewart and Grace Kelly and is digitally re-mastered for premium picture and sound quality. In addition to the film, movie buffs will also be treated to a specially produced introduction by TCM host Ben Mankiewicz. Tickets for “TCM Presents: Rear Window” are available at participating theater box offices and online at www.FathomEvents.com. The event will be presented in »
- Pietro Filipponi
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 »
13th Annual Tsr Movie Awards
Here are the results for the 13th Annual Tsr Movie Awards.
Thank you to the 342 movie fans from across the nation voted in the awards this year.
Click Here for instructions to the Tsr Movie Awards.
Read 13th Annual Tsr Movie Awards Read 13th Annual Tsr Movie Awards (Critics Only Edition) Read 12th Annual Tsr Movie Awards Read 12th Annual Tsr Movie Awards (Critics Only Edition) Read 11th Annual Tsr Movie Awards Read 11th Annual Tsr Movie Awards (Critics Only Edition) Read 10th Annual Tsr Movie Awards Read 10th Annual Tsr Movie Awards (Critics Only Edition) Past Tsr Movie Awards coverage
7.80 The Lego Movie
6.96 Big Hero 6
6.51 The Hunger Games: Mockingjay – Part 1
6.40 American Sniper
- Jeff Bayer
If you asked director Damien Chazelle at Sundance 2014 if he could imagine himself getting fitted for a suit for the Oscars this weekend, he’d probably laugh it off. The Rhode Island native, who graduated with a degree from Harvard’s Visual and Environmental studies program in 2007, moved to L.A. a few years ago, taking every writer-for-hire gig he could find. It wasn’t until he linked up with Jason Reitman and J.K. Simmons to make the little indie film that could, Whiplash, that success began to barrel his way.
What began as a short film about a jazz prodigy who struggles with his ruthless instructor, Whiplash is now a contender for Best Picture, and earned Chazelle an individual nod for Best Adapted Screenplay. Here, the 30-year-old writer-director speaks about the surrealness of prepping for the Academy Awards, working with Best Actor nominee J.K. Simmons, and his next film with Miles Teller, »
- Tara Aquino
Simone Simon: Remembering the 'Cat People' and 'La Bête Humaine' star (photo: Simone Simon 'Cat People' publicity) Pert, pretty, pouty, and fiery-tempered Simone Simon – who died at age 94 ten years ago, on Feb. 22, 2005 – is best known for her starring role in Jacques Tourneur's cult horror movie classic Cat People (1942). Those aware of the existence of film industries outside Hollywood will also remember Simon for her button-nosed femme fatale in Jean Renoir's French film noir La Bête Humaine (1938). In fact, long before Brigitte Bardot, Annette Stroyberg, Mamie Van Doren, Tuesday Weld, Ann-Margret, and Barbarella's Jane Fonda became known as cinema's Sex Kittens, Simone Simon exuded feline charm – with a tad of puppy dog wistfulness – in a film career that spanned two continents and a quarter of a century. From the early '30s to the mid-'50s, she seduced men young and old on both »
- Andre Soares
Fans of Kansas can probably rattle off a dozen of the rock band’s most iconic songs from memory, but the musicians credit one track in particular with changing the course of their careers: “Carry on Wayward Son.”
The song, written by Kerry Livgren for Kansas’ 1976 album “Leftoverture,” became the band’s first Top 40 hit and has subsequently been featured in countless films and TV shows — including every season of the CW’s demon-hunting horror series “Supernatural,” where it has become the show’s unofficial anthem throughout its 10 years on the air, even spawning a poignant cover version in the drama’s musical 200th episode.
Last year, to commemorate the 40th anniversary of their self-titled debut album, Kansas’ original lineup (Phil Ehart, Dave Hope, Kerry Livgren, Robby Steinhardt, Steve Walsh and Richard Williams) reunited for the first time in more than 30 years, resulting in a new documentary that promises to »
- Laura Prudom
Cyclops Observes the Celestial Bodies
I want to quibble with you on a point you made about an art installation in the Forum Expanded section. Discussing the simple but strangely transfixing Je proclame la destruction, you wrote to me of the order of its two shots, of first the radical speaker coming to the microphone and then the young student hero pushing through the crowd. But this installation was on loop—couldn't it be the other way around, that the hero enters, we see an empty stage, and then the radical steps up to declare destruction? I don't recall Robert Bresson's original film (from which these two shots are taken) enough to know the order, but one of the shifting pleasures of this installation was how sometimes one shot seemed to precede the other, only for the continual repetition to shift that sense of time and causality. »
- Daniel Kasman
Ah, yes, the plague of "not getting it" is one that afflicts all of us festival-goers on occasion, but I admire your willingness to write on Peter Kern's peculiar film as well as Jiang Wen's totally gonzo farce (which you were nevertheless able to appreciate more than myself). As you and I both know, "getting it" isn't completely necessary and doesn't always get in the way of enjoyment and appreciation. Being a relaxed and open-minded viewer doesn't always make one an expert, but hopefully it prepares them for being responsive, a quality we should all aspire to whether we find ourselves in or outside of our wheelhouses.
In my previous letter, I teased at an incredible viewing experience I had, and indeed it may be one my all-time favourite screenings. Let me start off by describing what is my new favourite place to sit and watch a »
- Adam Cook
However stagily preposterous, George Cukor’s 1940 movie The Philadelphia Story, now rereleased, is also utterly beguiling, funny and romantic; it is based on the same stage play, by Philip Barry, as the 1956 musical High Society. This is the most famous example of the intriguing and now defunct prewar genre of “comedy of remarriage”, the subject of an equally interesting study by film theorist Stanley Cavell called Pursuits Of Happiness. It features three stars from the studio era who are the aristocrats, or deities, of the Hollywood golden age: Cary Grant, Katharine Hepburn and James Stewart. Part of the fascination in watching this movie again is savouring those three extraordinary voices, highly imitable but entirely unique. Hepburn is the statuesque heiress Tracy Lord, »
- Peter Bradshaw
The Philadelphia Story, 1940.
Directed by George Cukor.
Set to remarry, Tracy Lord (Hepburn) has to contend with her ex-husband (Cary Grant) and a reporter on the snoop (James Stewart) as she tries to go through with her upper-class wedding – with their intention to spoil it.
Romance is in the air. The arrow of cupid has struck and, as Robson and Jerome covered, this Saturday night is at the movies. You may believe a Subway and Titanic is a romantic night in. I would argue it’s not*. In fact, an alternative is to head down to the BFI and watch a re-mastered copy of The Philadelphia Story. Not only will this extraordinary comedy give you a superior sense of cinematic taste, but it also features the genius pairing of Cary Grant and Jimmy Stewart – and that’s in addition to the feisty Katharine Hepburn, »
- Simon Columb
Catherine Shoard recommends The Philadelphia Story, George Cukor's 1940 screwball romantic comedy starring Katharine Hepburn, James Stewart and Cary Grant. Tracy Lord (Hepburn) finds herself torn between her ex-husband and a newspaper reporter on the eve of her wedding to a businessman
• The Philadelphia Story is rereleased in the UK this Friday, just in time for Valentine's Day
- Catherine Shoard and Paul Frankl
'Cat People' 1942 actress Simone Simon Remembered: Starred in Jacques Tourneur's cult horror movie classic (photo: Simone Simon in 'Cat People') Pert, pouty, pretty Simone Simon is best remembered for her starring roles in Jacques Tourneur's cult horror movie Cat People (1942) and in Jean Renoir's French film noir La Bête Humaine (1938). Long before Brigitte Bardot, Mamie Van Doren, Ann-Margret, and (for a few years) Jane Fonda became known as cinema's Sex Kittens, Simone Simon exuded feline charm in a film career that spanned a quarter of a century. From the early '30s to the mid-'50s, she seduced men young and old on both sides of the Atlantic – at times, with fatal results. During that period, Simon was featured in nearly 40 movies in France, Italy, Germany, Britain, and Hollywood. Besides Jean Renoir, in her native country she worked for the likes of Jacqueline Audry »
- Andre Soares
As much as any other filmmaker who found a niche in a given genre, in the 10 Westerns Anthony Mann directed from 1950 to 1958 he carved out a place in film history as one who not only reveled in the conventions of that particular form, but also as one who imbued in it a distinct aesthetic and narrative approach. In doing so, Mann created Westerns that were simultaneously about the making of the West as a historical phenomenon, as well as about the making of its own developing cinematic genus. At the same time, he also established the traits that would define his auteur status, formal devices that lend his work the qualities of a director who enjoyed, understood, and readily exploited and manipulated a type of film's essential features.
Though he made several fine pictures outside the Western, Mann as an American auteur is most notably recognized for his work in this field, »
- Jeremy Carr
“A murderer would never parade his crime in front of an open window”.
Rear Window Screens at The Hi-Pointe Theater in St. Louis Saturday morning January 31st at 10:30am
As with so many of Alfred’s Hitchcock’s films, Rear Window (1954) is a wonderful example of how to take an almost absurdly simple idea and spin out the maximum tension, character, humor and drama from it. It should be boring (a movie set in one room with a guy who can’t move) and ludicrous (a killer who murders his wife and chops her up in front of his neighbors) but it’s quite the opposite – riveting and eerily plausible. If ever there was a film about voyeurism and its relationship to cinema, this is it; Hitchcock tells engrossing little silent movies of the tenants (the newlyweds, the sculptress, Miss Torso, the dog-owners, the killer, the songwriter, Miss Lonelyhearts »
- Tom Stockman
Jenni Olson begins The Royal Road, her latest emotional excavation of Hollywood nostalgia via Benning-esque 16mm landscape portraiture, by self-referentially quoting Michel Chion on the shadowy pretext of off screen voiceover after reflecting in her own dryly articulated voiceover on the monologue that opens Billy Wilder’s classic allegory of broken La dreams, Sunset Boulevard. Though Olson’s film revolves around another stretch of California highway, the 600-mile El Camino Real strip, the cinematic reference leads us down a winding poetic path on which Hollywood history, the neglected record of the Mexican American War and Olson’s own unrequited romantic pursuits come together with the same sort of mannered meditation that won her San Francisco Film Critics Circle’s Marlon Riggs Award for The Joy of Life back in 2005.
Pitting rigorously composed images of modern day Los Angeles and San Francisco against her own gender dysphoric voice, she explicates an »
- Jordan M. Smith
By Anjelica Oswald
With Michael Keaton winning the Golden Globe for best actor in a musical or comedy and Eddie Redmayne winning for best actor in a drama, both men continue establishing themselves as the frontrunners in this year’s lead actor race at the Oscars.
Though not new to films, Redmayne starred in Oscar-nominated films such as Elizabeth: The Golden Age (2008) and Les Miserables (2012). His performance as Stephen Hawking in The Theory of Everything, however, propelled him to widespread acclaim and put him on the radar. He is one of four best actor nominees — along with Keaton, Benedict Cumberbatch and Steve Carell — to receive their first nomination this year.
For most of his career, Keaton was known for his comedic roles, such as Mr. Mom (1983) and Beetlejuice (1988), and for his turn as Batman in Tim Burton’s Batman (1989) and Batman Returns (1992). These roles earned Keaton praise and »
- Anjelica Oswald
While it's not exactly the kind of consolation prize the likes of Jake Gyllenhaal, Ralph Fiennes, David Oyelowo, Rene Russo, Josh Brolin and Jessica Chastain wanted this morning, they have now entered into a different kind of Oscar history: The long-standing tradition of undeserved acting snubs. It is a club that is just as prestigious -- if not more so -- than the one made up nominees themselves, even if it comes without any sort of official celebration. Read More: The 10 Biggest Surprises of the 2015 Oscar Nominations Consider the company: Bette Davis for "Of Human Bondage" or Dennis Hopper for "Blue Velvet" or Judy Garland for "The Wizard of Oz" or Jimmy Stewart for "Vertigo." Or the following ten folks, who make up our obviously subjective list of the 10 worst acting Oscar snubs of the past 10 years. And we definitely encourage thoughtful use of the comments to offer your own picks for tragic Oscar misses. »
- Peter Knegt
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