1-20 of 197 items from 2015 « Prev | Next »
Considered by many to be the architect of wuxia cinema, King Hu was to martial arts was John Ford was to the western. Beginning with his 1966 Shaw Brothers adventure Come Drink With Me, Hu took a pulp genre associated with little more than cheap entertainment and period adventures, and fashioned from it some of the industry's most revered and enduring cinematic offerings. Not just a director, Hu worked in the Hong Kong industry as an actor, screenwriter, costume designer and set designer, and as a result was able to get out of his contract with Shaw Brothers in 1966 and move to Taiwan. There he formed a partnership - and the short-lived Union Film Company - with Sha Rongfeng, and began work on Dragon Inn....
[Read the whole post on twitchfilm.com...]
Written by Dudley Nichols
“My name is John Ford and I make Westerns,” so the legendary filmmaker once declared. As has been pointed out (by Martin Scorsese among others) that statement in a sense discounts the great director’s non-genre works, like the four features for which he won Academy Awards: The Informer (1935), The Grapes of Wrath (1940), How Green Was My Valley (1941), and The Quiet Man (1952). But with more than 140 directing credits on his résumé, it also sidesteps many lesser known, though quality, Ford films, those that either fall into the middle of the road category or those that are very good, if not quite great. That’s where his 1937 romantic drama The Hurricane comes in.
Produced by Samuel Goldwyn, directed by Ford (two years after The Informer and two years before his groundbreaking Stagecoach ), and written by Dudley Nichols, himself an Oscar-winner for his writing The Informer, »
- Jeremy Carr
While J.J. Abrams namechecked Akira Kurosawa, John Ford, and Terrence Malick as influences on "Star Wars: The Force Awakens," let's not put too much emphasis on that. At the end of the day, audiences want to their heroes in action, and that's what they'll get. However, Abrams promises something a bit edgier when the lightsabers are unsheathed. Read More: Watch A New TV Spot For 'Star Wars: The Force Awakens,' Plus Soundtrack Details Released “When you look at 'Star Wars' and 'Empire [Strikes Back'], they are very different lightsaber battles, but for me they felt more powerful because they were not quite as slick," he told Empire (via Star Wars News Net), talking about the upcoming battle between Finn and Kylo Ren. "I was hoping to go for something much more primitive, aggressive and rougher, a throwback to the kind of heart-stopping lightsaber fights I remembered being so enthralled by as a kid. »
- Kevin Jagernauth
Star Wars: The Force Awakens is 21 days away from release. And as we get closer and closer to the big day, it's becoming nearly impossibly to avoid spoilers. The stars of the movie, both old and new, are starting to make the press rounds. And you can't pass a magazine rack in the grocery story without seeing a familiar face from that galaxy far, far away. Today, we have some new intel into the making of the movie direct from J.J. Abrams himself. He offers some surprising films and directors that helped inspire the look and feel of his sequel. And he opens up about why the lighsaber battles seen on screen in Star Wars 7 are different than what has come before it.
Among other things, including Saturday afternoon serials, the influence of the films of Akira Kurosawa (particularly "The Hidden Fortress") and John Ford on George Lucas' "Star Wars" saga is well established. And it looks like in preparing for his own venture to a galaxy far, far away, director J.J. Abrams looked up some of the very same kinds of pictures that inspired Lucas those many decades ago. Read More: Watch New TV Spot For 'Star Wars: The Force Awakens' Plus Soundtrack Details In the latest print edition of Empire (via Star Wars News Net), the director reveals the heavyweight filmmakers whose worked he watched as he started on "Star Wars: The Force Awakens." Here's the excerpt from the magazine: Before he started The Force Awakens, Abrams watched some movies. No, not those ones, Other ones. He looked at “the confidence” of John Ford Westerns. He took in »
- Kevin Jagernauth
One of the most promising things about the promos for "Star Wars: The Force Awakens" so far have been how spare it is. There's much more of a reliance on practical than most modern blockbusters, and the style certainly harkens back to the classic trilogy in more ways than the prequels did.
In a new feature piece for Empire (via Sw News Net), director J.J. Abrams said he looked at John Ford westerns, several Terrence Malick works, and Akira Kurosawa's classic "High and Low" to try and adopt specific qualities for the film - confidence, stillness, and choreography and composition respectively. The aim was for a spare visual style, a less-is-more quality partly seen in the original trilogy (before the Special Editions).
One of the other changes is that of the lightsaber battles. Gone is the overly choreographed dance routines of the prequel fights, instead Abrams wanted something much more down, »
- Garth Franklin
The last time someone won back-to-back Oscars for Best Director was Joseph L. Mankiewicz, who prevailed for "A Letter to Three Wives" (1949) and "All About Eve" (1950). Prior to that, John Ford had won two of his record four Oscars consecutively for helming "The Grapes of Wrath" (1940) and "How Green Was My Valley" (1941). Now, Oscar's reigning directing champ, Alejandro G. Inarritu ("Birdman"), has a heck of a chance of pulling off a repeat victory this year thanks to his visual masterpiece "The Revenant." Will Inarritu be the first helmer in 65 years to pull off a double-director Oscar whammy? -Break- Photo Gallery: Best Picture Oscar Contenders 2015 Due out on Christmas day, "The Revenant" is the true story of frontiersman Hugh Glass (Leonardo DiCaprio) who hunts down the man (Tom Hardy) who left him for dead after a bear attack in the Dakota Territory of 1823. Inar...' »
The most fervent of the detractors of the Hollywood Foreign Press Assn. prefer to obsess over the group’s Golden Globes balloting lapses, while obstinately overlooking the org’s real awards voting history.
For every Pia Zadora, there are dozens of Globes winners that consistently demonstrate a seriousness of purpose that regularly matches or surpasses the Academy’s Oscar champions.
The HFPA’s track record of rewarding edgier, more demanding achievements in the dramatic film category is ironically the benefit of the group’s recognition of comedies and musicals.
Cynics will say having both film drama and comedy/musical Golden Globes categories means more stars on the HFPA’s red carpet and awards TV broadcast and more tables sold to the producers. Those are certainly byproducts, but the more significant impact of the acknowledgement of lighter efforts is the ability to double-down on rewarding the more demanding serious fare.
- Steven Gaydos
John Ford and Samuel Goldwyn's South Seas disaster picture can boast spectacular action and compelling romance. The unjustly imprisoned Jon Hall crosses half an ocean to rejoin his beloved Dorothy Lamour under The Moon of Manakoora, before an incredible (and incredibly expensive) hurricane blows the island to smithereens. Ford's direction is flawless, as are the screenplay by Dudley Nichols and the Hollywood-exotic music score by Alfred Newman. The Hurricane Blu-ray Kl Studio Classics 1937 / B&W / 1:37 flat Academy / 110 min. / Street Date November 24, 2015 / available through Kino Lorber / 29.95 Starring Dorothy Lamour, Jon Hall, Mary Astor, C. Aubrey Smith, Thomas Mitchell, Raymond Massey, John Carradine, Jerome Cowan, Al Kikume, Kuulei De Clercq, Layne Tom Jr., Mamo Clark, Movita, Inez Courtney, Chris-Pin Martin. Cinematography Bert Glennon Film Editor Lloyd Nosler Special Effects James Basevi, Ray Binger, R.T. Layton, Lee Zavitz Original Music Alfred Newman Written by Dudley Nichols, Oliver H.P. Garrett from the »
- Glenn Erickson
Depraved convicts ! Crazy Manhattan gin parties! Society dames poaching other women's husbands! A flimflam artist scamming the uptown sophisticates! All these forbidden attractions are here and more -- including Bette Davis's epochal seduction line about impulsive kissing versus good hair care. It's a 9th collection of racy pre-Code wonders. Forbidden Hollywood Volume 9 Big City Blues, Hell's Highway, The Cabin in the Cotton, When Ladies Meet, I Sell Anything DVD-r The Warner Archive Collection 1932-1934 / B&W / 1:37 flat Academy / 63, 62, 78, 85, 70 min. / Street Date October 27, 2015 / available through the WBshop / 40.99 Starring Joan Blondell, Eric Linden, Humphrey Bogart; Richard Dix, Tom Brown; Richard Barthelmess, Bette Davis, Dorothy Jordan, Berton Churchill; Ann Harding, Robert Montgomery, Myrna Loy, Alice Brady, Frank Morgan; Pat O' Brien, Ann Dvorak, Claire Dodd, Roscoe Karns. Cinematography James Van Trees; Edward Cronjager; Barney McGill; Ray June Written by Lillie Hayward, Ward Morehouse, from his play; Samuel Ornitz, Robert Tasker, Rowland Brown »
- Glenn Erickson
Actor and theatre director best known for his many portrayals of Henry VIII
Regally tall and strong-featured, the Australian-born actor Keith Michell, who has died aged 88, made his reputation in the 1960s and 70s in classical roles, and probably played the part of King Henry VIII more than any other performer. But he also made a significant contribution to British theatre when he followed Laurence Olivier and John Clements to become artistic director of Chichester Festival Theatre. The appointment in 1974 was Michell’s first of this kind, and came as a surprise to many, since contenders for control of the huge apron stage, and the chance to experiment in a kindlier atmosphere than that of the West End in London, had included Jonathan Miller, Peter Dews and Robin Phillips, all of whom had directing experience, including plays at Chichester.
Michell had been recruited by Olivier to play the lead, Don John, »
- Dennis Barker
Few directors come to mind when you consider a large chronological scope in filmmaking. Sure, Stanley Kubrick had a great film in nearly every genre, others like John Ford are synonymous with Westerns and Woody Allen with a well-written comedy, but take someone like Paul Thomas Anderson, whose oeuvre spans the decades and lifetimes of his misanthropic characters, oftentimes creating an entirely new universe within a specific period or era. (That’s not to say Kubrick or Ford or Allen is by any means not on a par with Anderson, but you get my drift). Anderson’s characters and themes can be seen in each of his films — the importance of family, neglect, the emotional significance of a father figure, religion as an antagonist — but if edited correctly, these themes can be seen sequentially. Read More: Retrospective: The Films Of Paul Thomas Anderson In his new video essay, Jeremy Ratzlaff »
- Samantha Vacca
Adela Quested (Judy Davis) finishes A Passage to India in the same manner she started the movie: her face is deformed by a window full of drops of rain. In both cases, she is looking at something more or less out of frame, blurred or uncertain, imaginary or physical. The placement of the camera, in the beginning and in the end, is at a different location. When the film starts, we are inside of a traveling agency and Adela is walking past the panoramic window. She stops for a second and stares at a large-sized model of a ship. We can’t see the ship entirely: just some chimneys, masts and ropes. We only know this is a ship because the previous shot—the first shot of the picture, actually—showed us this model.In the end of the movie, Adela is reading a letter concerning events that we have seen. »
- Victor Bruno
The foreign-language film Oscar has introduced many significant international filmmakers to American audiences, but rarely has it alighted upon a wholly fresh talent: Only six first-time feature helmers have won the award, with Germany’s Florian Henckel von Donnersmarck (“The Lives of Others”) the most recent in 2007.
At the same time, just being in the game yields Hollywood interest for directors such as Baltasar Kormakur, who is in the awards conversation this year with Universal release “Everest,” and “Kon-Tiki” helmers Espen Sandberg and Joachim Ronning who are in post on Disney’s “Pirates of the Caribbean: Dead Men Tell No Tales.”
This year, 27 of the 81 foreign-language submissions are from debut directors, including some of the most heavily buzzed festival sensations in the field.
Hungary’s Laszlo Nemes stunned Cannes auds with his visceral first-person Auschwitz odyssey “Son of Saul,” (pictured) walking away with the fest’s Grand Jury Prize. Nemes, »
- Guy Lodge
Chis Marker's Chat écoutant la musiqueThere are dog people and there are cat people, this we know, and there are even people who claim to be of both—though latent sympathies remain unspoken, like with a parent and which child is their favorite. With the Vienna Film Festival welcoming me with a tumbling collection of dog and cat short films spanning cinema's history—the Austrian Film Museum, an essential destination each year collaborating with the Viennale, is hosting a “a brief zoology of cinema” throughout the festivities—it is clear that filmmakers, too, have their preference. Silent cinema decidedly prefers the more easily trained and exhibited canine, with 1907’s surreal favorite Les chiens savants as a certain kind of cruel pinnacle. For the cats, Chris Marker, already the presiding figure over so much in 20th century art, I think we can easily claim is the cine-laureate. One need not know »
- Daniel Kasman
Mar Del Plata – A name helmer, and part of Latin America’s build in distaff directors, Chile’s Dominga Sotomayor (“Thursday Till Sunday,” “Mar”) is set to produce Felipe Galvez’s historical drama“Los colonos” (“The Settlers”), one of the most ambitious film projects presented over the last three days at Mar del Plata’s inaugural LoboLab co-production forum and its eventual winner. Matias Hernandez will also produce for Cinestacion.
“The Settlers” won first prize in October at the Valdivia Fest’s 3rd Feature Development Competition.
Made under the strong influence of John Ford’s “The Searchers,” Galvez said at LoboLab, “The Settlers,” which is set in 1905, lifts the lid on the slaughter of Chile’s indigenous population by European emigrants of humble origin.
“This is the unknown history of Chile. It’s not in the history books. We’re really interested in showing violence, but going back before Pinochet’s dictatorship, »
- John Hopewell
Defining something as classical or old fashioned can often times come as a death sentence in today’s world, where filmmakers strive to break ground from storytelling to the aesthetic they use to tell these stories. However, in the case of John Crowley’s new film, Brooklyn, there is true beauty in this classical story of love, family and what it means to be home.
Based on the Colm Toibin novel of the same name, Crowley’s film follows the story of Eilis Lacey (played by Saoirse Ronan), an Irish woman who heads to Brooklyn out of hopes to find her calling, or at the very least a job off which to start her life. With the help of an Irish priest (Jim Broadbent), Eilis she makes her way to New York, all the while overcoming seasickness, and trying her best to beat the homesickness that cripples her during her first few moments there. »
- Joshua Brunsting
Mar Del Plata– Javier Zeballos and Francisco d’Eufemia decided to face down a bold challenge for their feature debut, “Escape from Patagonia.” They shot an actioner in the wilds of Patagonia region.
Helming duo pitched “Patagonia,” screening a teaser on Nov. 5 at Mar del Plata’s Work in Progress sidebar, gunning for a prize to complete postproduction. Sidebar comprises 17 projects.
As Zeballos and d’Eufemia like to say, “Escape” is a “gaucho Western.” Pic has classic Western elements and will be deeply rooted in Argentinean history and idiosyncrasy.
Perito Moreno is not just a notorious Patagonia glacier of near 100 square miles. Moreno was an Argentine explorer and scientist who campaigned, during the late nineteenth century Conquest of the Desert, in favor of dialogue with the indigenous desert people.
‘Escape’ is a survival story based on the diaries of Moreno himself. In the midst of the Conquest of the Desert, »
- Emilio Mayorga
Even when its manipulations segue from button-pushing to two-fisted button-mashing, “Brooklyn” weaves an old-fashioned tale that’s well nigh impossible to resist. As the child of immigrants myself, I could feel my strings being plucked by this tale of a fair Colleen from Ireland finding love and fulfillment in the New World, and it’s certainly a compliment to director John Crowley (“Boy A”) and screenwriter Nick Hornby (adapting the novel by Colm Tóibín) that the film calls to mind Steven Spielberg and even John Ford in its willingness to commit to the grand gesture. This is sweet, sentimental filmmaking of the old. »
- Alonso Duralde
Maureen O'Hara: Queen of Technicolor. Maureen O'Hara movies: TCM tribute Veteran actress and Honorary Oscar recipient Maureen O'Hara, who died at age 95 on Oct. 24, '15, in Boise, Idaho, will be remembered by Turner Classic Movies with a 24-hour film tribute on Friday, Nov. 20. At one point known as “The Queen of Technicolor” – alongside “Eastern” star Maria Montez – the red-headed O'Hara (born Maureen FitzSimons on Aug. 17, 1920, in Ranelagh, County Dublin) was featured in more than 50 movies from 1938 to 1971 – in addition to one brief 1991 comeback (Chris Columbus' Only the Lonely). Maureen O'Hara and John Wayne Setting any hint of modesty aside, Maureen O'Hara wrote in her 2004 autobiography (with John Nicoletti), 'Tis Herself, that “I was the only leading lady big enough and tough enough for John Wayne.” Wayne, for his part, once said (as quoted in 'Tis Herself): There's only one woman who has been my friend over the »
- Andre Soares
1-20 of 197 items from 2015 « Prev | Next »
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners