1-20 of 32 items from 2017 « Prev | Next »
I’ve been playing games for over 30 years, from my very first home computer back in the mid-80, the ZX81, to my current consoles, the PS4 and Nintendo Switch, and in all that time, like may other gamers, I’ve come to know what games I’m good at and what games I’m not. And more importantly, what games I love and what games I hate. If all those years of gaming have taught me anything, its that I absolutely Adore platform games, fighting games, shmups and side-scrolling beat ‘em-ups. I have a vast collection of games from those particular genres ranging across a wide variety of consoles old and new…
And, despite the growing catalogue of new games I have to play, and often to review, I still constantly revisit those titles that shaped my love of those genres. And when it comes to side-scrolling beat ‘em-ups that includes games like Final Fight, »
- Phil Wheat
The one and only Pam Grier will be honored by Cinema St. Louis with a ‘Women in Film Award’ when she’s in town for this year’s St. Louis International Film Festival. Pam’s iconic movie career began when she moved to Los Angeles in the late ‘60s from her native North Carolina at age 18. After a tiny role in Russ Meyer’s Beyond The Valley Of The Dolls (1970), she landed a job as a receptionist for American International Pictures where she was discovered by Jack Hill, an Aip director who cast her in a pair of women’s prison films: The Big Doll House (1971) and The Big Bird Cage (1972). Soon she was known as the “Queen of Blaxploitation” at a time when film roles for African-American women were, as Grier puts it, “practically invisible, or painfully stereotypical”.
Sliff, which runs Nov. 2nd-12th will kick off with »
- Tom Stockman
Cinema St. Louis has unveiled the narrative and documentary features that comprise the 26th Annual Whitaker St. Louis International Film Festival, to be held Nov. 2-12, Among the highlights are such St. Louis-related works as “Atomic Homefront,” opening-night film “Bad Grandmas,” and “For Ahkeem” and such festival buzz films as “Call Me by Your Name,” “Dahmer,” “Darkest Hour,” “Film Stars Don’t Die in Liverpool,” “Last Flag Flying,” “The Leisure Seeker,” “Thoroughbreds,” and “Walking Out.”
For a complete list of the films, go Here
The fest will honor Pam Grier (“Bad Grandmas” and “Jackie Brown”) with a Women in Film Award; Sam Pollard (“Sammy Davis, Jr.: I’ve Gotta Be Me” and “Acorn and the Firestorm”) with a Lifetime Achievement Award; Marco Williams (“Tell Them We Are Rising”) with a Contemporary Cinema Award; and Washington U. grad Dan Mirvish (the Jules Feiffer-written “Bernard »
- Tom Stockman
Tom Jolliffe on the 1970s and why it is the best era in cinema history…
There will always be a great deal of debate about the best era for cinema. For my two cents I’ll say with a great deal of assurance that the best period in cinema history was the 1970’s. There was most certainly a transition through that decade which saw the gritty cinema of the late 60’s onward, into the birth of the blockbuster as we know it today.
You could almost split the 70’s into two categories, although I will make some mention of sub-categories like the Blaxploitation period too. On one hand directors were beginning to really move as far from the traditional classic Hollywood production code as they could. Boundaries were being pushed and optimism was being replaced with deeply pessimistic work. It wasn’t all happy endings. Things were getting dark, reflecting »
- Tom Jolliffe
“All the films in this book share an air of disreputability… I have tried to avoid using the word art about the movies in this book, not just because I didn’t want to inflate my claims for them, but because the word is used far too often to shut down discussion rather than open it up. If something has been acclaimed as art, it’s not just beyond criticism but often seen as above the mere mortals for whom its presumably been made. It’s a sealed artifact that offers no way in. It is as much a lie to claim we can be moved only by what has been given the imprimatur of art as it would be to deny that there are, in these scruffy movies, the very things we expect from art: avenues into human emotion and psychology, or into the character and texture of the time the films were made, »
- Dennis Cozzalio
Dozens of movies are hitting Netflix during the dog days of summer (click here for a complete list), but the sheer variety of new titles can be daunting. Movies are long, time is short, and indecision is brutal, so — in the hopes of helping you out — here are the seven best films that are coming to Netflix in August.
7. “Practical Magic” (1998)
Okay, so “Practical Magic” isn’t a “good movie” in the traditional sense…or in any other sense, for that matter. But it’s a perfect Netflix movie, which is another beast entirely. An incredible time capsule — and bottomless gif resource — from an ancient epoch that historians refer to as “1998,” this essential relic tells the story of sisters Sally (Sandra Bullock) and Gillian (Nicole Kidman) Owens, twin witches who are effectively cursed to remain single forever.
Did I mention that it was directed by Griffin Dunne? Did I mention that it was nominated for a Blockbuster Entertainment Award for including a Faith Hill song on the soundtrack? Did I mention that it features a scene in which Dianne Wiest and Stockard Channing use their secret powers to blend alcoholic drinks in order to lubricate a singalong set to Harry Nilsson’s “Put the Lime in the Coconut”? “Practical Magic” was kind of a blip when it first opened, but it would shake our culture to its skeleton if it came out today. A remake feels inevitable, but in the meantime, the original makes for perfect streaming on a lazy August afternoon. Better yet, add it to your queue and swing back once Halloween rolls around.
Begins streaming August 1st.
6. “The Bomb” (2016)
“the bomb” was one of the most exciting, unclassifiable experiences on the festival circuit last year, but the sheer magnitude of the project made it unclear where it might live once it had finished traveling the world, or if it would be possible for the public to see it. Fortunately, the answers to those questions turned out to be “everywhere” and “very.” Here’s IndieWire’s Steve Greene on the 59-minute film into which this enormous piece of experimental art has been newly reshaped:
Read More‘the bomb’ Review: New Doc on Netflix Is a Surreal Music Video About the End of the World
Directed by Kevin Ford, Smriti Keshari, and Eric Schlosser, this experimental, sensory history of the nuclear bomb is a staggering look at the world’s most destructive weapon and the lessons of almost eight decades that some still choose to ignore. Threading together modern-day news footage, Cold War era safety videos and grainy archival peeks into the construction process, “the bomb” looks at nuclear weapons in their myriad historic forms. Foregoing the usual talking head interviews or explanatory narration, the one piece of connective tissue throughout the film, besides the subject itself, is the film’s score, from Los Angeles electronic minimalist outfit The Acid. Throughout a harrowing parade of images and fleeting moments of whimsy, the droning, pulsating music underneath brings an alternating sense of dread and power.
Begins streaming August 1st.
5. “Cloud Atlas” (2012)
It’s easy to make fun of “Cloud Atlas,” and not just because one of the six characters that Tom Hanks plays is pretty much a live-action Jar Jar Binks. Tom Tykwer and the Wachowskis’ cosmically ambitious sci-fi epic is — in its own delirious way — one of the most earnest movies ever made. Adapted from David Mitchell’s novel of the same name, and now something of an obvious precursor to the Wachowskis’ Netflix series “Sense 8,” this symphonic story of spiritual connection spans from 1849 to 2321 in a go-for-broke attempt to crystallize the effects that one life can have on countless others.
Controversially casting individual actors in multiple roles (with many of the film’s most famous stars disguising themselves as different races and genders), “Cloud Atlas” fearlessly envisions our world as a place where bodies are temporary, but love is eternal. It’s a lot to swallow, but our collective cynicism only makes the movie more valuable, and more important to have on hand.
Begins streaming August 1st.
4. “Donald Cried” (2016)
Kris Avedisian flew under the radar when “Donald Cried” made the rounds last year — his self-directed turn as the most deeply committed man-child since “Clifford” may have been just a bit too raw and cringe-inducing for any major traction — but it’s only a matter of time before people discover one of the most fearless performances in recent memory. Here’s IndieWire’s Eric Kohn on a future dark comedy classic:
The obnoxious man-child is a common trope in American comedies, but few recent examples can match the hilariously unsettling presence of Donald Treebeck, the obnoxious central figure played by writer-director Kris Avedisian in his effective black comedy “Donald Cried.” While the story technically unfolds from the perspective of his old teen pal Peter (Jesse Wakeman), who returns to their Rhode Island suburbs from his Wall Street career after his grandmother dies, Donald welcomes his reluctant friend back to their world and won’t leave him alone. Avedisian gives Danny McBride a run for his money in this pitch-perfect embodiment of a wannabe charmer all too eager to remain the center of attention. Hardly reinventing the wheel, “Donald Cried” nevertheless spins it faster than usual, taking cues from its memorably irritating protagonist. Beneath its entertainment value, the movie also hints at the tragedy of aimless adulthood.
Begins streaming August 15th.
3. “The Matrix” (1999)
At this point, “The Matrix” has effectively become immune to any sort of qualitative criticism; there’s no use arguing that it’s “good” or “bad” or somewhere in between, it simply is. Less a movie than a cornerstone of contemporary pop culture (for better or worse), the Wachowskis’ absurdly influential orgy of mind-blowing action and high school philosophy arrived at the tail end of the 20th century in order to help define the 21st. Its aesthetic impact on the current breed of blockbusters is self-evident, but its more profound contributions have been largely off-screen, as the film brought futurism to the masses in a way that’s only possible to trace through its most unfortunate side effects (e.g. the diseased misogyny of “red pill” thinking).
Of course, “No can be told what the Matrix is. You have to see it for yourself.” Now that it’s on Netflix, it couldn’t be easier to do just that.
Begins streaming August 1st.
2. “Jackie Brown” (1997)
Every hardcore Tarantino fan’s favorite Tarantino film, “Jackie Brown” is more than just an homage to blaxploitation or the best Elmore Leonard adaptation ever made (sorry, “Out of Sight”), it’s also something of a tribute to all of the crime writer’s work and the scuzzy but soulful ethos that bound it together. To this day, “Jackie Brown” remains a major outlier for Qt. For one thing, it’s based on pre-existing material. For another, it’s got a bonafide sex scene. Last but not least, it’s about recognizably human characters who have genuine depth, who have real lives that feel as though they continue beyond the confines of a movie screen (no disrespect to the cartoonish avatars who populate Tarantino’s later, more solipsistic work — they serve their purpose to perfection).
Pam Grier is spectacular in the title role of a flight attendant with a drug smuggling side hustle. Robert Forster is heartbreaking as lovelorn bondsman Max Cherry. Hell, even Robert De Niro is phenomenal, the iconic actor beautifully playing against his legend by inhabiting the film’s most pathetic and disposable character. For anyone put off by the blockbuster scale of Tarantino’s recent work, “Jackie Brown” is a rock-solid reminder of his genius for elevating fevered pastiche into singular pathos. And the soundtrack owns.
Begins streaming August 1st.
1. “All These Sleepless Nights” (2016)
It would be reductive and unfair to say that Michal Marczak’s “All These Sleepless Nights” is the film that Terrence Malick has been trying to make for the last 10 years, but it certainly feels that way while you’re watching it. A mesmeric, free-floating odyssey that wends its way through a hazy year in the molten lives of two Polish twentysomethings, this unclassifiable wonder obscures the divide between fiction and documentary until the distinction is ultimately irrelevant.
Read MoreReview: ‘All These Sleepless Nights’ Is the Movie That Terrence Malick Has Been Trying to Make
Unfolding like a plotless reality show that was shot by Emmanuel Lubezki, this lucid dream of a movie paints an unmoored portrait of a city in the throes of an orgastic reawakening. From the opening images of fireworks exploding over downtown Warsaw, to the stunning final glimpse of Marczak’s main subject — Krzysztof Baginski (playing himself, as everyone does), who looks and moves like a young Baryshnikov — twirling between an endless row of stopped cars during the middle of a massive traffic jam, the film is high on the spirit of liberation. More than just a hypnotically hyper-real distillation of what it means to be young, “All These Sleepless Nights” is a haunted vision of what it means to have been young.
Begins streaming August 15th.
Sign Up Stay on top of the latest film and TV news! Sign up for our film and TV email newsletter here.
Related stories'American Vandal' Trailer: Netflix's Dick Joke Docuseries is Either Their Best Idea Ever or Their Worst'Narcos' Trailer: Season 3 Swaps Out One Drug Kingpin for Four More'First They Killed My Father' Trailer: Angelina Jolie Remembers the Horrors of the Cambodian Genocide »
- David Ehrlich
A reboot of classic cop drama “Miami Vice” is in the works at NBC, Variety has learned.
The project hails from the team behind the “The Fast and the Furious” franchise with Vin Diesel’s production company, One Race Television, teaming up with Chris Morgan Productions, which headed by Chris Morgan. Morgan has written six of the “Fast & Furious” films to date. However, no executive producers have been locked in yet, as deals are still being hammered out.
Peter Macmanus will write the script, based on the original series. While executive producers haven’t been set, it’s more than likely Macmanus, Morgan, and Diesel will all serve as EPs, along with more staffers from One Race TV.
- Joe Otterson
Tom Jolliffe on female action heroes…
With the impending UK release of Atomic Blonde, it now seems a good time to consider the female action hero. You may think this ‘phenomena’ only stretches back to around the time Sigourney Weaver donned a mecha-suit, but it goes back further. There has certainly been a significant rise in the last two decades in female lead action movies, but still, particularly on the big screen, they remain the exception to the rule. For whatever reason I suppose they’ve generally not sold as successfully as the male counterparts. Maybe the atypical grunting, stoic action caveman suits the male species more, but perhaps there’s still an inherent sexism. Indeed, when the ladies have it their own action piece there tends to be a level of exploitation (Atomic Blonde has all the hallmarks of an explo film going by the trailers, but in a »
- Amie Cranswick
Don't mess with nurses. In Atomic Blonde -- read our review here -- Charlize Theron proves herself to be quite deadly as an MI5 undercover agent during the Cold War. In Coffy, released in June 1973, Pam Grier proved herself to be the most deadly nurse ever. Introduced as a seductive junkie in the back seat of a limousine, Coffin (Grier), known as Coffy, is the type of woman who gets right down to business. Just a few minutes into the movie, she's already blown a drug dealer's head off and pinned it on his henchman, to whom she's given a lethal dose of heroin. Call it poetic justice, call it whatever you like, but Coffy is angry and doesn't have time for any pretty...
[Read the whole post on screenanarchy.com...] »
Netflix may have cancelled the Wachowski’s cult hit “Sense 8,” but its adding two of their defining works to its streaming library next month. All three entries in “The Matrix” trilogy are heading to Netflix, as is the ambitious “Cloud Atlas,” which means you’ll be able to bring summer to an end by bingeing mind-melting science fiction.
Read More: Netflix Is Not the Problem: Why Bad Theatrical Presentations Are Destroying the Experience
Other titles joining the streaming service include underrated gems from Quentin Tarantino and Michael Haneke, plus two of the year’s most exciting documentary films. Check out a complete list of all the new movies joining Netflix in August 2017 below, including our 7 must-binge choices.
“The Matrix” Trilogy (August 1)
- Zack Sharf
The music choice is beyond on the nose, but fans of blaxploitation goddesses like Pam Grier and Tamara Dobson will still find something to get excited about in the trailer for Proud Mary. Starring the inimitable Taraji P. Henson as Mary, a deadly hitwoman in a blonde wig and head-to-toe black leather ensemble, the film is an unabashed ’70s throwback—or early ’80s, in the case of the Gloria-inspired storyline about a young boy who, in the words of the film’s official description, “completely turn[s Mary’s life] around” when they cross paths after a hit gone bad.
London Has Fallen’s Babak Najafi directs, which doesn’t exactly inspire confidence in the film. But frankly, we’d watch Henson in just about anything, especially if gunplay and ultra-cool ’70s style are involved. Proud Mary co-stars Danny Glover and is set to hit theaters on January 12 »
- Katie Rife
The L Words is officially coming back. Deadline reports Showtime is developing a sequel to the landmark TV series.The drama premiered in 2004 and centered on a group of lesbians living in Los Angeles. The show ran for six seasons before ending in 2009. The cast included Jennifer Beals, Erin Daniels, Leisha Hailey, Laurel Holloman, Marlee Matlin, Eric Lively, Eric Mabius, and Pam Grier.Read More… »
Less than a decade after The L Word completed its original run in 2009, the groundbreaking Showtime series is staging a comeback in the form of a sequel – with a few familiar faces in the mix.
According to The Hollywood Reporter, Jennifer Beals (Bette), Kate Moennig (Shane) and Leisha Hailey (Alice), three of the series' original stars, will return for the revival project both in front of and behind the camera (all three will exec produce).
Series creator Ilene Chaiken will also lend a hand in the vision of the new series as an executive producer, »
“The L Word” could be coming back to television.
Sources tell Variety that Showtime is developing a sequel series to the show that aired from 2004 to 2009. Many original cast members are attached to the reboot in producing and acting roles.
Based on the original series, the reboot of “The L Word” would center around a new ensemble of women, following their lives, loves and tribulations. However, if the project is greenlit, stars Jennifer Beals, Kate Moennig and Leisha Hailey are expected to serve as executive producers and appear in the series with their characters as a point of connection from the prior series to the new one. Other characters from the original series may also appear in the new version.
Showtime declined to comment.
- Elizabeth Wagmeister
Austin-based Alamo Drafthouse, which has gone from one theater to 28 locations since 1997, is unveiling a series of commemorative events to celebrate its 20th anniversary, Variety has learned exclusively.
“There is no better way for us to celebrate two decades of existence than sharing and celebrating movies we love,” said Tim League, Alamo Drafthouse founder and CEO. “That’s what our company is all about, and that’s what Alamo20 is all about.”
The original Alamo Drafthouse was a single-screen theater showing second-run titles that had been converted from an old warehouse. The promise to patrons was “good food, good beer and good film, all at the same place.”
Alamo Drafthouse, Kodak Partner on 35Mm Film Celebration (Exclusive)
The location gained notice quickly with Austin players such as “Dazed and Confused” director Richard Linklater and Harry Knowles of Ain’t It Cool News. Within its first year the venue was playing host to film premieres and hosting »
- Dave McNary
A trailer has arrived online for writer-director Srikant Chellappa’s upcoming comedy Bad Grandmas which stars Florence Henderson, Pam Grier, Judge Reinhold, Randall Batnikoff, Susie Wall, and Sally Eaton; check it out below…
Four grandmothers accidentally kill a conman and, to cover it up, they get rid of the body. When the conman’s partner shows up, things go south.
Bad Grandmas is set for release on October 6th. »
- Amie Cranswick
“Even for criminals you’re just a particularly poor reflection on womanhood.”
Who doesn’t love a good Women’s prison film? – Chained Heat, Hellhole, Ilsa She Wolf Of The SS, The Big Bird Cage, The Big Doll House, Reform School Girls, and The Concrete Jungle all sit proudly on my Wip (Women in Prison) DVD shelf. One of the very best of this beloved subgenre is Caged Heat (1974), a wonderful exploitation masterpiece and the directing debut of Oscar-winner Jonathan Demme, that has everything you could possibly hope for in a Women-In-Prison movie: nudity, shower catfights, lesbian coupling, race wars, murder, chain-swinging, switch-blade slashing, and shock therapy!
- Tom Stockman
In the history of black filmmaking, “Stir Crazy” is rarely cited as a groundbreaker or an enduring high point. However, Sidney Poitier’s 1980 comedy sold more tickets in North America than “The Fate of the Furious,” or any other film by a black director.
Poitier’s career has included multiple breakout moments. He was the first black lead acting Oscar winner with “Guess Who’s Coming To Dinner;” he starred in two blockbuster films in 1967 with “To Sir With Love” (over $300 million, adjusted gross) and “In the Heat of the Night” ($177 million, adjusted gross). He was, more than even Denzel Washington or any other black actor-turned-director, an icon of cinema when he made “Stir Crazy.” And it was this film, more than any other, that found access to all domestic audiences.
That said, it’s a film that doesn’t have the resonance of other historical blockbusters like “Gone With the Wind, »
- Tom Brueggemann
Author: Andy Furlong
When Guardians of the Galaxy was first released in 2014 for all its quirk and swagger the thing that really separated it from the rest of the Marvel pack was its use of music. Director James Gunn revealed that the film’s composer, Tyler Bates, had written large chunks of the score first so that they could film to the actual music. In many ways the film’s personality is its score, and with the release of the sequel Guardians of the Galaxy Vol. 2 in cinemas this week audiences can expect more of the same.
Music is probably the most important thing in cinema for instantly establishing mood, tone and visual cues. From the menacing piano keys of John Williams’ memorable score in Jaws to the sheer elation of Alan Silvestri’s triumphant overture in Back to the Future, a film’s accompanying score is often as unforgettable as the movie itself. »
- Andy Furlong
Doing for Hong Kong screen veteran Kara Wai roughly what Tarantino did for Pam Grier in “Jackie Brown” (albeit with a lot less talking), Malaysian writer-director Ho Yuhang’s “Mrs K” is a stylish action movie whose light touch persuades us to accept still-lethal potential of a nearly 60-year-old heroine. Equal parts “Taken”-style thriller and old-school marital-arts/triad-meller homage, it’s expertly crafted good fun that should appeal to genre fans across many borders.
Wai (Aka Kara Hui and Wai Ying Hung) was still a teenager when she found fame via a slew of Shaw Brothers kung-fu epics starting in 1976. Since then she’s gone on to play a wide range of roles on the big and small screens, including an award-winning turn as an alcoholic divorcée in Ho’s own 2009 “At the End of Daybreak.” As the titular figure here, she gets to straddle both a dignified latter-day »
- Dennis Harvey
1-20 of 32 items from 2017 « 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