3 items from 2015
Since making his movie debut as Harrison Ford's doomed sidekick in Raiders of the Lost Ark, Alfred Molina has appeared in everything from critically-acclaimed dramas like Prick Up Your Ears to Hollywood blockbusters ranging from Species to Spider-Man 2.
His latest film, Love Is Strange, centres on a long-term gay couple who are forced to live apart while they search for a new home. It opens on February 13, a canny piece of counter-programming to the omnipresent Fifty Shades of Grey. To mark the occasion, Digital Spy took a trip down memory lane with Molina to speak to him about the roles that defined his career.
Raiders of the Lost Ark (1981) - Satipo
"My very first time in front of a camera! I knew nothing, the only thing I knew about filmmaking was the fact that films got made at all. I knew nothing about the technique of film; I was very, »
Lochlyn Munro may not be an immediately recognisable name but the Canadian actor has certainly been a prominent face in mainstream media since his breakout in the late 90s. You’ll know him best for his comedic appearances in A Night At The Roxbury, Scary Movie and White Chicks but the talented star has also featured in 21 Jump Street, Charmed, Smallville, Castle and Arrow.
To celebrate the release of the new crime-thriller Badge Of Honor, we were fortunate enough to speak to Munro about the film, his past roles and his brilliantly diverse career.
Lochlyn: Hello, this is Lochlyn.
Thn: Hello Lochlyn, this is The Hollywood News. It’s a pleasure to be talking with you, I’m a huge fan!
Lochlyn: Oh well thanks, thanks! It must be a bit late for you out there, huh?
Thn: Yes, it’s actually 1 am here but I’m a bit of a night owl! »
- Ben Read
Writing on John Carpenter’s cinema usually adheres to a few safe subjects: his pulsating synth scores, his ingenious use of negative space, his signature 2.35:1 frame, (specious) comparisons to Howard Hawks, etc. Ideally, his oeuvre is ripe for analysis, so formally and tonally consistent is his cinema, so rigorous the progression of his favorite themes and subjects. Phases begin and end, roughly. Experiments can be recognized, one-offs noted, dozens of through lines traced. And yet Carpenter, among the most coherent of filmmakers in a variety of contexts, is seldom subject to thoughtful criticism, and if so, is largely marginalized to a handful of admittedly excellent but overly-canonized and under-representative works.
If clung to for bruising, relentless films like Halloween (1978), The Thing (1982), Assault on Precinct 13 (1976), Prince of Darkness, and They Live (1988), Carpenter comes off rather severe, even despairing. One cannot deny this element in his work, a powerful vein »
- John Lehtonen
3 items from 2015
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