1-20 of 71 items from 2014 « Prev | Next »
With only hours ago before the official selection for the Main Competition is announced, we’ve narrowed our final predictions to the following titles that we’re crystal-balling as the films that will be included on Thierry Fremaux’s highly anticipated list. Despite an obvious drought of Asian auteurs (we’re thinking the rumored frontrunner Takashi Miike won’t be included in tomorrow’s list) who’s to say there won’t be some definite surprises, like Jia Zhang-ke’s A Touch of Sin last year.
Several hopefuls appear not to be ready in time, including Malick, Hsou-hsien, Cristi Puiu, and Innarritu, to name a few. But there does appear to be a high quantity of exciting titles from some of cinema’s leading auteurs. We’re still a bit tentative about whether Xavier Dolan’s latest, Mommy, will get a main competition slot—instead, we’re predicting another surprise, »
- IONCINEMA.com Contributing Writers
Above: a production still from the set of Manoel de Oliveira’s new production O velho do restelo, via our new Mubi Tumblr! Sight & Sound is poised to unveil a Best Documentaries of All Time list and Richard Brody has unveiled his ballot in advance, with annotations:
"...The history of documentary filmmaking isn’t the fact of capturing events on the wing but the idea of doing so, not the invention of investigative recording but its reinvention. That’s why, for this list, I selected movies that open new vistas for documentary filmmaking, which imply vectors of activity and thought that are still being realized today by the era’s best documentarists—and why, in mentioning these films, each of them implies many others that they have inspired. "
Above: Nathan Silver is turning to Kickstarter to fund his next project, Stinking Heaven. Keep your eyes out for his brilliant film, »
- Adam Cook
The Guardian said in February that Wes Anderson, 45, is probably at the halfway point of his career, with 8 films under his belt. But stacked up against director John Ford’s 140 films (made between 1917 and 1966), Anderson is anything but prolific. But don’t take that as a slight against Anderson—because you know we love him—instead see it as a great reason to study Ford’s oeuvre. Cinephilia and Beyond recently uncovered an interview with Ford from 1968 that the BBC never aired. Asc John Bailey uncovered the interview he worked on during a simple YouTube search a few years back. “I recognized it instantly as the interview on which I had worked. The video looked like uncorrected, raw dailies; I could believe it had never been broadcast, although Joseph McBride says he saw a finished version titled ‘My Name is John Ford: I Make Movies,’” said Bailey. Ford’s »
- Joshua Encinias
It used to be that people thought of Clint Eastwood (and before that, John Ford) when they thought of American westerns. Nowadays though, maybe we think of Tommy Lee Jones. The gnarled and folksy actor has been a staple in various westerns for the better part of several decades, even adding directing to his arsenal with The Three Burials of Melquiades Estrada. Now, he’ll return to the genre as both the director and star of The Homesman.
The first trailer for the film dropped today and it showcases Jones’s performance as a man who owes a serious debt of gratitude to Hilary Swank after she saves him from a hanging. Her price for saving his life? He now has to help her bring three mentally unstable women from Nebraska to Iowa. It won’t be easy though, as they’ll face terrible dangers along the way, including angry Native Americans, »
- Lauren Humphries-Brooks
★★★★☆In an alternate history of American cinema, Samuel Fuller would stand shoulder to shoulder with John Ford and Howard Hawks. If the latter pair constitute the heart and the soul, then Fuller would be its insatiable id. He's a director almost overcome with ideas, yet manages to channel them through lean, genre-defying works that excel in their blazing energy and passionate devotion to the art form. White Dog (1982) is an odd work, even for Fuller. Ostensibly an allegory about racism in America, it's a work that layers disparate ideas onto the B-movie form, ending up as an ambitious cross-breed; a biting social satire and Hollywood elegy.
- CineVue UK
Following our report from last month that Captain America 3 will go up against Batman Vs. Superman in 2016, Marvel has confirmed the sequel's May 6, 2016 release date. Take a look at the studio's official announcement below, then read on for more details about this Marvel Phase Three sequel.
Following the record-breaking premiere of Marvel's Captain America: The Winter Soldier this past weekend, the First Avenger will jump into his next big screen solo adventure in just a little more than two years on May 6, 2016!
Directed by Akira Kurosawa
By the time Akira Kurosawa’s The Hidden Fortress was released in 1958, it was more or less settled that the Japanese filmmaker — the only Japanese filmmaker most average moviegoers had heard of at that point — was among the world’s best. This was after Rashomon, after Ikiru, and after The Seven Samurai. Kurosawa’s talent was beyond question, and his global cinematic prominence was growing. However, his last three films, while positively received by critics, did not do so well with audiences. He needed something that would combine quality with commercial success. “A truly good movie is really enjoyable, too,” he once said. “There’s nothing complicated about it.” He would meet this condition with The Hidden Fortress, out now on a new Criterion Collection Blu-ray/DVD combo. While not containing the narrative innovation, »
- Jeremy Carr
Five directors at the top of their game abandoned Hollywood for the battlefield during War War II, churning out propaganda and training films for the military during a period of cooperation that has never been equaled since. Mark Harris, author of “Pictures at a Revolution,” examines the wartime experience of these men — John Ford, Frank Capra, William Wyler, John Huston and George Stevens — and how it shaped their work on their return in his latest book, “Five Came Back.” By putting themselves in harm's way, the directors captured crucial turning points such as the Battle of Midway. They also »
- Brent Lang
Criterion re-releases Akira Kurosawa’s 1958 adventure The Hidden Fortress for a ravishing blu-ray update this month, following hot on the heels of a similar refurbishing for Throne of Blood (1957). Long hailed as a “primary” influence on George Lucas’ Star Wars, there are indeed notable structural similarities, but they’re quite superficial, as those attracted to the title based on this tidbit alone should take note. An entertaining adventure comedy that utilized widescreen technology to breathtaking effect (and represents Kurosawa’s first time using Toho Scope), it’s an impressively structured endeavor on its own, and was actually the first substantial hit for Kurosawa since 1954’s Seven Samurai.
At its core a re-dressed version of The Prince and the Pauper, two peasants in war torn feudal Japan, Tahei (Minoru Chiaki) and Matakishi (Kamatari Fujiwara) escape as prisoners of war and attempt to make their way back home to their own province. »
- Nicholas Bell
The Moon, the opposite of the sun, hovers over us by night, the opposite of day.
And indeed, when Matahi chases after her, the moon spreads its path on the sea.
He runs and swims after her, moving faster than a normal human being, defying the laws of gravity.
Miraculously, he catches up to the boat.
Thus, he must die, sinking back into a void…
…while ghost ships linger on in the distance…
…carrying another hopeless romantic, and a moving corpse—A second Nosferatu.
The moon is absent in Murnau’s earlier film, made nearly ten years before Tabu, but it is in the one he made nearly five years after Nosferatu, when George O’Brien leaves his wife for a midnight rendezvous with another woman.
And indeed, »
- Neil Bahadur
The two most remarkable film books of last year were both about the ways – mostly craven and temporising – that the American cinema responded to the rise of Nazism: The Collaboration: Hollywood's Pact with Hitler by Ben Urwand and Hollywood and Hitler 1933-1939 by Thomas Doherty. By a useful coincidence, the first important movie history so far this year, and likely to prove one of the most memorable, is Mark Harris's Five Came Back. His complementary work picks up Urband's and Doherty's studies at that crucial point where the bombs fall on Pearl Harbor on 7 December 1941 and Hollywood rolls up its sleeves and swaps the diplomatic velvet glove for a patriotic steel fist. As in his impressive first book, Scenes from a Revolution, a long, detailed study of five 1967 movies that »
- Philip French
John Ford’s The Quiet Man is unquestionably one of Ireland most well-known films. It remains, to this day, a popular Hollywood love story as well as one of the most dominant representations of Ireland in film. A worldwide success, it won audiences over with its majestic landscapes, lighthearted dialogue, and beautiful cast. Despite its enduring appeal, it is also highly criticized by many; its depiction of exceedingly stereotypical stage-Irish characters, almost to the point of condescension, can be seen as problematic, to say the least. It is certainly not an apt portrayal of Ireland, past or present, and this lends to the reading of it being a predominantly American pastoral view of a paradise lost.
- Trish Ferris
By Lee Pfeiffer
Timeless Media have released the epic 1976 adventure film Shout at the Devil as a Blu-ray/DVD combo pack. The movie, produced by Michael Klinger and directed by Peter Hunt, is an big budget affair very much in the style of John Huston's The Man Who Would Be King, which was released the previous year. Both films follow the antics of a couple of charismatic rogues in exotic settings. The film is based on the novel by author Wilbur Smith, who also co-wrote the screenplay. The movie was shot in between Roger Moore's second and third James Bond films, The Man With the Golden Gun and The Spy Who Loved Me and boasts a "who's who" of Eon Productions talent. Peter Hunt had edited the early Bond films and directed On Her Majesty's Secret Service. Ironically, Moore and Hunt never worked on a 007 film together but in »
- firstname.lastname@example.org (Cinema Retro)
Written by Leigh Brackett
Directed by Howard Hawks
When El Dorado was first shown in 1966, the Western in its classical form was beginning to disappear from American cinema. John Ford, synonymous with the genre, released his last feature that year, and El Dorado would be the second-to-last film by its own legendary director, Howard Hawks. The Western was evolving and its old masters were giving way to modern innovators. The stylishly self-conscious films of Sergio Leone first signaled the shift (the films of his “Dollars Trilogy” came out in 1964-1966), and it was certified by the critical, ominous, and violent The Wild Bunch, directed by Sam Peckinpah in 1969. Hawks decried the slow-motion bloodletting of Peckinpah. He argued that he could kill four men, get them to the morgue, and bury them before this newcomer could get one on the ground.
With this as the context of its gestation, »
- Jeremy Carr
Westerns – the Great American Movie Genre. Yes, the Italian cinema has its Spaghetti Western - Cameriere, more Sangiovese, please! But we’re talking real, honest-to-John-Wayne American westerns here. The kind with a big, wide-open-spaces theme by somebody like Elmer Bernstein, Alfred Newman, orLerner and Loewe. Morricone magic is better served with the aforementioned grape of Chianti – and movies where the dubbed dialog doesn’t quite match up with the actors’ mouths.
The soundtrack of “The Horse Soldiers” rides in on the strains of “Dixie” and out to “When Johnny Comes Marching Home.” You not only get a western, you get a Civil War movie, too. And John Wayne’s in both of them.
Heck, you even get John Ford directing at no extra charge, and a story that was ripped from the headlines of the Vicksburg Post, circa 1863. A western? In Mississippi? That’s right, pilgrim. Mississippi was once The West. »
- Randy Fuller
It seems whenever Akira Kurosawa's The Hidden Fortress is mentioned it is invariably linked to George Lucas and Star Wars. The connection has been discussed for many years, perhaps best kept alive by an interview with Lucas discussing the film and its influence, which has first released on the 2001 Criterion DVD release. The interview is included once again on this new Blu-ray re-release of the film in which Lucas says the main influence Hidden Fortress had on Star Wars was the decision to tell the story from the perspective of the narrative's two lowliest characters. In the case of Star Wars that would be C-3Po and R2-D2, in Hidden Fortress it's a pair of bumbling and greedy peasants who stumble upon a general (Toshiro Mifune) and a princess (Misa Uehara) attempting to smuggle royal treasure across enemy lines. You could point to the use of long lenses, wipes »
- Brad Brevet
Amplify has acquired U.S. rights to the Terrence Malick-produced biopic of young Abraham Lincoln entitled "The Better Angels," starring Jason Clarke, Diane Kruger, Brit Marling, and Wes Bentley. The poetic black-and-white period drama, which marks the debut of editor-turned-filmmaker A.J. Edwards, played at the Sundance and Berlin film festivals. Amplify plans a fall release in theaters, followed by a VOD and home video release in early 2015. "The Better Angels" follows Lincoln during his formative years (remember the 1939 John Ford classic "Young Mr. Lincoln," starring Henry Fonda?). Set in the harsh wilderness of Indiana in 1817, the film explores Lincoln's complex family dynamic and the two women who guided him. Austin, Texas native Edwards has worked with his mentor Malick over the last decade, first as an editor on "The New World," then as second-unit director and editor on "The Tree of Life," "To The Wonder," and the forthcoming "Knight of Cups. »
- Anne Thompson
Episode 10 of 52 wherein Anne Marie screens all of Katharine Hepburn's films in chronological order.
In which Kate dons some regal duds.
Stick with me, folks. The next three weeks are going to be rough, but if we can get through it together, the last week in March will be Stage Door, and from there on it’s nothing but Kate classics. In the meantime, however, we’ll have to slog through three films which, if I’m totally honest, rightly earned Kate her “box office poison” moniker. But we’re jumping ahead of ourselves.
First we have to get through Mary of Scotland, a misbegotten, misdirected, miscast movie. “Misbegotten” because it dumbs down the political intrigue of Queen Mary of Scotland’s reign into a bad romance novel plot. “Misdirected” because John Ford clearly would rather have been out in Monument Valley with John Wayne and a wide angle lens. »
- Anne Marie
The deeply unsettling Australian New Wave classic Wake in Fright makes a long-awaited and welcoming return to cinemas this weekend. We recently spoke to the film’s director Ted Kotcheff about his experiences whilst making the movie in the sweltering and barren Aussie outback. The veteran filmmaker (who has worked on a number of varied and well-loved features in his career, including First Blood and Weekend at Bernie’s) talked candidly about the initial challenges faced in bring this weird, booze-drenched tale to the screen.
HeyUGuys: What drew you to the material originally? It’s not the most obvious of choices for a Us-based filmmaker.
Ted Kotcheff: I’d just done a project in the UK with a writer friend of mine named Evan Jones and we were hired by a film company over there. Evan told me of this wonderful Australian book which he thought would be right up my alley. »
- Adam Lowes
“Two women in the house – and one of them a redhead!”
The Quiet Man (1952) is one of Hollywood’s most beloved movies and you’ll have a chance to see it on the big screen at St. Louis’ fabulous Hi-Pointe Theater next weekend as part of their Classic Film Series. It’s Saturday, March 8th at 10:30am at the Hi-Pointe located at 1005 McCausland Ave., St. Louis, Mo 63117. Admission is only $5.
John Ford’s flamboyant tribute to Irish-Americans, The Quiet Man may be full of all-too-familiar Irish stereotypes, ranging from a fondness for spirits to the love of a good fight, but it’s delivered with great skill and broad humor and at its heart is a good-natured, old-fashioned romance. The action takes place in Sea Verge (Ireland), around 1933 and tells the story of “Sean Thornton” (John Wayne), “a quiet peace loving man come home from America”, He’s a »
- Tom Stockman
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