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A photograph of Samuel Fuller in "the shack."
It is always well to remember that documentaries are first of all films like other films, meaning that no less than fictional narrative movies, they too have a narrative shaped by the vision of their maker and are not only about their subjects but also are that vision and the individual elements that make it up. So, in A Fuller Life there are a number of choices that Samantha Fuller as director has made, for example to film in “the shack”—the bungalow her father kept as office and filled with his memorabilia from his days as a crime reporter, an infantryman in WWII, a writer and filmmaker; or to use her “readers” (including both actors—mostly from Fuller’s movies—and some well-chosen directors) dramatically, effectively acting their readings from Fuller’s posthumous autobiography A Third Face; or, very simply, to »
- Blake Lucas
Above: a sultry new poster for Paul Thomas Anderson's Inherent Vice. Dumb and Dumber To has opened to unsurprisingly mixed reviews, but Farrelly brothers champion R. Emmet Sweeney makes a case for the long awaited sequel for Film Comment:
"Dumb and Dumber To is about a deep, abiding friendship that can survive any indignities. After Harry and Lloyd’s journey is over, they’ve tossed away fortunes and frittered away kidneys, but they need each other to survive. As each momentary acquaintance slinks, or runs, away, it’s up to Harry and Lloyd to forget and move on. Or as is the case for Lloyd, to think about ninjas and wake up licking the grill of a big rig. Either way they can’t live without each other. And though they could never admit it, or even form the words in their desiccated cortexes, what they have is something like love. »
Paul W.S. Anderson has continued his explorations in 3D cinema with his latest film, Pompeii. It’s a simplistic love story in the vein of Titanic, two mismatched, class-divided lovers contrasted against one of history’s worst natural disasters. The story concerns a Celtic gladiator named Milo (Kit Harrington), who witnessed the slaughter of his family by the Roman Empire, under the command of Corvus (Kiefer Sutherland). Soon, after being spotted as a promising business prospect for Pompeii’s gladiator games, Milo is sent to the titular city. While on the way, he first meets Cassia (Emily Browning), the melancholic (by way of Kate Winslet in Titanic) daughter of the wealthy class. After arriving in Pompeii, Milo meets fellow slave and gladiator Atticus (Adewale Akinnuoye-Agbaje), and they soon become friends, bonded by their captivity. Corvus, now a senator, arrives in Pompeii to broker a land deal, and with all the players now arrived, »
- John Lehtonen
Los Cabos – Marcelo Tobar’s “Man by Man,” Max Zunino’s “Jumble” and Alejandra Márquez Abella’s “Easter” are among the first winners at Los Cabos, scooping three of its nine Gabriel Figueroa Film Fund grants, worth $139,000 in total.
Prizes were announced Wednesday night at the opening gala of the 3rd Los Cabos Festival, unspooling in Cabo San Lucas through Sunday, and graced by Reese Witherspoon, who presented opening night pic “Wild.”
As Hollywood’s eyes turn ever more to Mexico, with a Mexican debut, Eugenio Derbez’s “Instructions Not Included,” and Mexican Sebastian del Amo’s second feature, “Cantinflas,” rating as the highest-grossing foreign-language films in the U.S. in 2013 and 2014 – Los Cabos’ Gabriel Figueroa fund awards form one of four new talent platforms launched by Los Cabos.
- John Hopewell
Copyright: George Eastman House, Rochester, © 2014 Warner Bros Ent. All Rights Reserved.
The Retrospective of the 65th Berlin International Film Festival will celebrate the centenary of Technicolor. The Retrospective will present around 30 magnificent Technicolor films, some of which have been elaborately restored. They were made in the early years between the dawn of Technicolor and 1953 – and include six British films.
“The blazing red of Southern skies in Gone with the Wind or the ecstatic yellow of the raincoats in Singin’ in the Rain – in those days, the play of dramatically intensified colours was a sensation. The Technicolor process combined with cultural and economic trends to produce great cinematic works of art that still thrill audiences today,” says Berlinale Director Dieter Kosslick.
As of 1915, inventors Herbert T. Kalmus, Daniel Comstock and W. Burton Wescott developed the two-colour process Technicolor No. »
This year's poster for the Vienna International Film Festival is of a flame, and while around the world in other cinema-loving cities and at other cinema-loving festivals one might that that as a cue for a celluloid immolation and a move forever to digital, here in Austria cinema and film as film aren't burning up but rather are burning brightly.
The tributes and special programs in artistic director Hans Hurch's 2014 edition make this position clear: John Ford, Harun Farocki and 16mm, with new films by Tariq Teguia, Jean-Luc Godard, and Jean-Marie Straub accompanying older ones by the same directors. These aren't just retrospectives, they are revitalizing redoubts, inexhaustible fountains of flame, of sensitivity, of consciousness, and of intervention. With such a profound retrospective program, I hope you'll forgive me telling you very little of anything new at the festival; unless, that is, you like me count cinema revived as something always new. »
- Daniel Kasman
Retrospective strand to celebrate 100th anniversary of Technicolor.
The Retrospective of the 65th Berlin International Film Festival (Feb 5-15) is to celebrate the 100th anniversary of Color by Technicolor.
The strand will include around 30 Technicolor films, some of which have been restored, which were madebetween the dawn of Technicolor and 1953 – and include six British films.
Berlinale director Dieter Kosslick said: “The blazing red of Southern skies in Gone with the Wind or the ecstatic yellow of the raincoats in Singin’ in the Rain – in those days, the play of dramatically intensified colours was a sensation. The Technicolor process combined with cultural and economic trends to produce great cinematic works of art that still thrill audiences today.”
As well as those mentioned by Kosslick, titles to be screened include Richard Boleslawski’s drama The Garden of Allah (1936), George Sidney’s adventure film The Three Musketeers (1948) and Victor Fleming’s hit musical The Wizard of Oz (1939).
Other features will include »
- firstname.lastname@example.org (Michael Rosser)
Veterans Day movies on TCM: From 'The Sullivans' to 'Patton' (photo: George C. Scott in 'Patton') This evening, Turner Classic Movies is presenting five war or war-related films in celebration of Veterans Day. For those outside the United States, Veterans Day is not to be confused with Memorial Day, which takes place in late May. (Scroll down to check out TCM's Veterans Day movie schedule.) It's good to be aware that in the last century alone, the U.S. has been involved in more than a dozen armed conflicts, from World War I to the invasion of Iraq, not including direct or indirect military interventions in countries as disparate as Iran, Guatemala, and Chile. As to be expected in a society that reveres people in uniform, American war movies have almost invariably glorified American soldiers even in those rare instances when they have dared to criticize the military establishment. »
- Andre Soares
Art by Esteve Polls
Colors by Brennan Wagner
Published by Dynamite Comics
Even though historically speaking, Zorro and Django were contemporaries, they couldn’t be more different. First, there is their ages. Zorro is 95 years old whereas Django hasn’t even celebrated his second birthday as a fictional character. They come in different social classes and cultures (Mexican aristocrat and former African American slave) and are children of different genres with Zorro taking his cues from the pulp and superhero genres while Django is a product of blaxploitation and the Western. Going beyond their character differences, Django/Zorro #1 is scripted by a writer known for his work in pulp comics and plotted by one known for Pulp Fiction. However, like Django and Don Diego de la Vega, co-writers Quentin Tarantino and Matt Wagner use both the differences and similarities between their »
- Logan Dalton
Tumbleweeds will screen Friday, November 14th at Webster University’s Moore Auditorium as part of The King Baggot Tribute at the St. Louis International Film Festival. It will be preceded by a 35mm showing of the 1913 version of Ivanhoe featuring live music by The Rats and People Motion Picture Orchestra and an illustrated lecture on the life and career of King Baggot by We Are Movie Geeks own Tom Stockman. Tumbleweeds will feature live piano accompaniment by Matt Pace
William S. Hart (1864-1946) was the first great star of the movie western. Fascinated by tales of the Old West, Hart actually acquired Billy the Kid’s six-shooter and was a friend with legendary lawmen Wyatt Earp and Bat Masterson. He entered films in 1914 where, after playing supporting roles in shorts, achieved stardom as the lead in the western The Bargain. Hart was particularly interested in making his westerns realistic and »
- Tom Stockman
Ready to hear what your descent into madness will sound like? David Bowie is back with a brand new song. Described as a "demo track" on the music icon's official Facebook page, "'Tis A Pity She Was a Whore" is a song that might result “If Vorticists wrote Rock Music" (Bowie's words). Vorticism, of course (!), was a modernist art movement in early 20th century Britain that rejected the stodgy Victorian-style artwork of the period in favor of geometric shapes and bold colors. The movement was cut short by the First World War, a fact also referenced in Bowie's Facebook post along with an explication of the song's title: "The song acknowledges the shocking rawness of the First World War and the title is a play on ‘Tis Pity She's A Whore’ a John Ford Restoration play first performed in 1629 at the Cockpit Theatre in London." Now that I know more about Vorticism, »
- Chris Eggertsen
Three executives from three major television networks have joined forces to launch the Justice Network in January with help from Gannett Broadcasting, which will provide the network to homes in approximately one-third of the country. CEO Steve Schiffman, the former president of National Geographic Channels, leads a team consisting of head of distribution Barry Wallach, former president of NBCUniversal Domestic TV Distribution, head of programming John Ford, former president of Discovery Channel and COO Wendy Brown, formerly of Cse. Also read: Former Navy Seal Under Investigation for Bin Laden Disclosures Lonnie Cooper, a founder of Bounce TV, founded the network with free over-the-air multicast network. »
- Greg Gilman
The 6th Annual Governors Awards took place on Saturday, November 8, 2014 in The Ray Dolby Ballroom at Hollywood & Highland Center in Hollywood, CA.
Jean Hersholt Humanitarian Award recipient Harry Belafonte, Honorary Award recipient Hayao Miyazaki, Honorary Award recipient Jean-Claude Carrière and Honorary Award recipient Maureen O’Hara were honored by their peers during the evening.
The Honorary Award, an Oscar statuette, is given “to honor extraordinary distinction in lifetime achievement, exceptional contributions to the state of motion picture arts and sciences, or for outstanding service to the Academy.”
The Jean Hersholt Humanitarian Award, also an Oscar statuette, is given “to an individual in the motion picture industry whose humanitarian efforts have brought credit to the industry.”
Pictured (left to right): Jean Hersholt Humanitarian Award recipient Harry Belafonte, Honorary Award recipient Hayao Miyazaki, Honorary Award recipient Jean-Claude Carrière and Honorary Award recipient Maureen O’Hara
Academy President Cheryl Boone Isaacs introduces the 2014 Governors Awards
- Michelle McCue
Maureen O'Hara movies: 2014 Honorary Oscar for Hollywood legend (photo: Maureen O'Hara at the 2014 Governors Awards) In the photo above, the movies' Maureen O'Hara, 2014 Honorary Oscar recipient for her body of work, arrives with a couple of guests at the Academy of Motion Picture Arts and Sciences' 2014 Governors Awards. This year's ceremony is being held this Saturday evening, November 8, in the Ray Dolby Ballroom at Hollywood & Highland Center in Hollywood. For the last couple of years, Maureen O'Hara has been a Boise, Idaho, resident. Before that, the 94-year-old movie veteran — born Maureen FitzSimons, on August, 17, 1920, in Dublin — had been living in Ireland. Below is a brief recap of her movies. Maureen O'Hara movies: From Charles Laughton to John Wayne Following her leading-lady role in Alfred Hitchcock's British-made Jamaica Inn, starring Charles Laughton, Maureen O'Hara arrived in Hollywood in 1939 to play the gypsy Esmeralda opposite Laughton in William Dieterle's The Hunchback of Notre Dame. »
- Andre Soares
In "The Honoraries" we're looking at the careers of this year's Honorary Oscar recipients (O'Hara, Miyazaki, Carrière) and the Jean Hersholt winner (Belafonte). Here's abstew on an Irish fav...
-Maureen O'Hara 'Tis Herself
The making of John Ford's Oscar-winning film The Quiet Man was a labor of love for all involved. Despite having already won the Best Director Oscar three times, Ford found it difficult to get his passion project off the ground. As far back as 1944, John Wayne and Maureen O'Hara had agreed to star in Ford's love letter to Ireland. And it eventually found a home at the most unusual of places. B-movie studio »
The comparisons between A.J. Edwards’ “The Better Angels” and the work of its producer, Terrence Malick, are inevitable: This mesmerizing period piece, which nobly seeks to grasp the spiritual dimension of young Abraham Lincoln’s formative early years, splits its attention between heaven and earth, brushing its fingertips over tall Indiana grasses one moment, then swirling its gaze upward to consider sunlight streaming through thick forest canopies the next — just as Malick himself would have done. More telling, however, is the way it stands in stark contrast with not only traditional Lincoln biopics, but just about everything else being made today.
Shot in silvery monochrome by Matthew J. Lloyd, whose visual style is closely modeled after the look Emmanuel Lubezki brought to Malick’s last three features (waist-level, wide-angle Steadicam views of innocents at play in the natural world), “The Better Angels” forgoes a traditional biographical approach in favor of »
- Peter Debruge
Numerous filmmakers have made their influences into mentors. Paul Thomas Anderson’s ’90s films were deeply indebted to the work of Robert Altman, with whom he developed a personal friendship, and even worked as an uncredited “backup director” for The Prairie Home Companion. And the well-publicized friendships between Peter Bogdanovich and titans of classic cinema (Howard Hawks, John Ford, Orson Welles) have threatened to obscure the notable films Bogdanovich actually made as his primary contribution to the world of movies. Many filmmakers hew themselves close to those whom they give homage, either personally or aesthetically. Yet this relationship typically produces a sort of third party amongst a collision of influences, a meeting of minds and personalities that shapes films which, while heavily indebted to what came before, use the past as a platform for expressing something notable on its own. That’s what makes A.J. Edwards’ debut work, The Better Angels, such »
- Landon Palmer
The Revolutions in 16mm series at the Viennale culminated early in the festival with a night dedicated to American poet filmmaker Nathaniel Dorsky, who premiered two new works, February and Avraham, as well as showed Summer and December for the first time since their debut last spring in San Francisco's Crossroads series.
Those familiar with Dorsky's films since his notable shift in style in the mid to late 2000s (most emblematically with 2006's Song and Solitude) know that describing his films and indeed even differentiating them is a challenge so counter-intuitive that its very difficulty points at what makes these films as silent encounters in dark rooms so precious. No doubt like many, I can certainly enumerate the plenteous and beloved revelations and motifs across the films of the artist's last two decades, including these new ones: clouded suns, foliage verdant and crepuscular, a San Francisco made of dancing, »
- Daniel Kasman
Disney's "Big Hero 6" is one of the most visually astonishing movies you'll probably ever see, animated otherwise. It's set in a futuristic mash-up of Tokyo and San Francisco and concerns the adventures of a young science prodigy named Hiro (Ryan Potter) who befriends an inflatable nurse robot named Baymax (Scott Adsit) and, together, set to rid their city of evil. Based on a Marvel property but utilizing an energy and stylization that is pure Disney Animation Studios, it's also one of the more heart-tugging movies you'll see all year.
And the immense challenge of meshing the theatrics of a big screen superhero movie with the boy-meets-robot relationship dynamics of something like "Iron Giant" (or "E.T.") fell to directors Chris Williams and Don Hall. Both are Disney animation vets, with Hall having directed the beautifully, profoundly underrated "Winnie the Pooh" and Williams helming "Bolt." It's safe to say that the »
- Drew Taylor
It was a very special occasion for me to talk to Portuguese filmmaker Pedro Costa. He is one of the last rock stars in directing today, a maverick in the tradition of a craft orientated directing style but like with the great filmmakers of former times his films are still full of poetry and personality. His latest film Horse Money was screened at the Viennale and it is a beautiful work of tense tenderness and vibrating observations. As a young cinephile I could not help to imagine an interview with one of my big idols (though I only had 30 minutes before the next one came in) as my personal Peter Bogdanovich meets John Ford, François Truffaut meets Alfred Hitchcock or Olivier Assayas meets Ingmar...
[Read the whole post on twitchfilm.com...]
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