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The history of the PG-13 rating is well-known by the majority of movie fans. In 1984, Gremlins and Indiana Jones and the Temple of Doom were both released with traditional PG ratings. Both became hits, but both became targets for criticism from parents who were surprised to see rather explicit scenes in both films (hearts being pulled out of chests, small creatures blowing up in microwaves, etc).
Parents and conservative folk alike demanded a new movie rating to keep up with the times. In response, the Motion Picture Association of America (MPAA) concocted the PG-13, which “strongly cautioned” parents if they were considering allowing youngsters under the age of 13 to see a film bearing the new rating.
So, you would think that with this new rating that nudity on-screen would be reserved for Nc-17 and R-rated films right? Well, not exactly. Back in the early days of the rating, »
- Jesse Gumbarge
As everyone knows, Paul Verhoeven’s Robocop is a science fiction classic, but after two terrible sequels and a middle-of-the-road reboot, the character hasn’t had much success outside the initial film. Thankfully things may be changing with Boom! Studios’ new ongoing Robocop series by writer Joshua Williamson and artist Carlos Magno.
Taking place directly after the events of the original film and ignoring everything else that came after, the series’ first arc revolves around a newly released convict named Killian, who reenters the dilapidated Detroit to find everyone’s favorite cyborg cop battling the city’s worst. Killian is not a run-of-the-mill criminal, though. He is smart and cunning and his first plan of action is to turn the public against Robocop, who is still relatively new to the world.
What Williamson gets so right in the first two issues of the comic is the voice and tone of the original film. »
- Max Molinaro
Have you ever wondered what are the films that inspire the next generation of visionary filmmakers? As part of our monthly Ioncinephile profile, we ask the filmmaker the incredibly arduous task of identifying their top ten favorite films of all time. Currently filming his debut narrative feature One & Two, Andrew Droz Palermo (read here) took some time out to unveil the films that make up that list as of August 2014. Andrew’s Rich Hill gets released theatrically (Aug.1st) via The Orchard. Here are his top ten in his own words.:
“What can I possibly add that hasn’t already been said? It’s a masterpiece.”
“Eerie. Heartbreaking. Surreal. Just amazing control of tone. Dying for Kino Lorber to release a Blu-ray.”
George Washington – David Gordon Green (2000)
“Rich Hill” gets compared to this film pretty often. I definitely take that as a compliment. »
- Eric Lavallee
There are certain eternal questions in life that I doubt we’ll ever find an answer to. Who was Jack The Ripper? What happened on the Mary Celeste? How have there been five Resident Evil movies? And the question we’re going to look at now, why do they make kids' cartoons out of very adult movies?
In some ways it makes sense. As a kid, there are very few moments more exciting than watching an ultra-gory action film or a dodgy sex comedy that you know you’re not supposed to be watching. Everyone knows this, the studios especially. But surely they can’t be that blatant about it? You can’t make a show for kids based on RoboCop! Have you seen RoboCop? Won’t somebody please think of the children?
Earlier this year, MGM admirably tried to reboot their "RoboCop" franchise to middling results. It wasn't exactly terrible, but it missed the edge and black humor of Paul Verhoeven's original. And it says something that 27 years later — the film was released today in 1987 — Verhoeven's movie still stands tall and holds up remarkably well. In fact, at one point, The Criterion Collection managed to get "RoboCop" into their lineup, first on laserdisc and then on DVD. It has long been out of print, but thankfully the commentary with Verhoeven, writer Ed Neumeier and producer Jon Davison has made it subsequent releases...or you can just listen below. After that check out the vintage "Siskel & Ebert" review of the movie, and spoiler alert, they really liked it. »
- Kevin Jagernauth
It's safe to say I was not a fan of "The Purge." James DeMonaco, who wrote and directed the first film, is back to do both jobs again this time, and I think he's made leaps and bounds in terms of making use of his big idea. My biggest problem with the original film was that the scale of the story being told was a financial consideration, not a creative one, and it felt like it wasted the basic idea of a governmental decision to sanction 12 hours per year where anyone can kill anyone for any reason. Now, what you think of that idea will go a long way to your overall reaction to "The Purge: Anarchy," but what is clear is that DeMonaco set out to make pretty much the opposite of the first film, telling a story that allows us to get a glimpse at the Purge as a whole. »
- Drew McWeeny
Bible movies, they’re the hottest thing in Hollywood right now. Tinseltown has figured out—though many of them haven’t even come out yet—that Bible stories are public domain and therefore it's a “franchise” they can exploit. In 2014 alone, we’ve already had three Biblical-themed movies; Darren Aronofsky’s "Noah," and two very successful indies in “Son of God,” and "Heaven Is For Real" (the latter being less “biblical” but still built for the Bible Belt crowd). Meanwhile, Steven Spielberg was interested in a Moses movie (more on that in a second), Will Smith was once reportedly eyeing the story of Cain & Abel, Paul Verhoeven is developing a Jc biopic and Warner Bros. scooped up a Pontius Pilate script last year that even interested Brad Pitt. And now there’s a King David movie in the works. And yes, it’s the King David who started from the »
- Edward Davis
"In the future, everyone will be world-famous for 15 minutes," it's claimed Andy Warhol once said. Some stars shine much brighter than others, though, and in the case of Hollywood we often see actors hit big early before disappearing without trace.
Brandon Routh, who delivered a sensitive and assured turn as the Man of Steel in 2006's Superman Returns, is one such example. Routh never quite got the breaks he deserved after landing that life-changing role, so it's nice to see him back in the superhero game with an upcoming role as Atom in Arrow.
Digital Spy takes a look back at a handful of stars who couldn't escape their one big role.
Plucked from relative obscurity to lead Bryan Singer's lavish Superman sequel, Routh impressively channelled Christopher Reeve on his big screen debut but found leading man roles difficult to come by in the aftermath.
Parts in »
I think we have a pretty great Tuesday episode for you as we play fast and loose with the topics ranging from the World Cup and the future of soccer in the U.S., new DVDs and Blu-rays, talk of Nymphomaniac and Tammy, a little more Transformers: Age of Extinction chatter, games, your questions and much more. Plus, take a moment to vote for the next audio commentary Laremy and I release: poll id="358" If you are on Twitter, we have a Twitter account dedicated to the podcast at @bnlpod. Give us a follow won'tchac I want to remind you that you can call in and leave us your comments, thoughts, questions, etc. directly on our Google Voice account, which you can call and leave a message for us at (925) 526-5763, which may be even easier to remember at (925) 5-bnl-pod. Just call, leave us a voice mail and we'll add »
- Brad Brevet
Two films into the Expendables franchise, fans eagerly await the arrival of the third instalment. Thus far we have come to expect certain things. Firstly of course, lots of stuff gets blown up. That’s a given considering the cast which is a group of 80’s and 90’s action Gods. Then there’s the referential humour, that in the second film in particular was almost non-stop. Did the first two films entertain? For many yes. Did they fully deliver on the promise? Not really. The balance has never quite been right. The scripts always felt a bit jumpy and in many cases some key cast members felt wasted (namely Mr Van Damme in number 2).
Now, expectation and the end result can often be two very different beasts. Many felt upon the first announcement of the original Expendables film that this »
- Gary Collinson
For almost 40 years, director David Cronenberg has remained firmly outside the Hollywood studios system, and instead forged ahead with his own line in shocking, bizarre and philosophically troubling films. Cronenberg's had his hits - not least The Fly and A History Of Violence - but his successes have always been made away from the glare of executives and test screenings.
But in a Q&A with the equally wayward filmmaker John Waters at the Provincetown Film Festival, Cronenberg revealed that he recently had the opportunity to make a decidedly mainstream film: the remake of Total Recall.
Today on Trailers from Hell, Dan Ireland looks back at Paul Verhoeven's schlocky-fun 1992 thriller "Basic Instinct," made famous by chilly blonde Sharon Stone's crotch shot for the ages. In the early eighties Hollywood was glutted with so-called "erotic thrillers" combining soft-core sex and hardcore violence that usually went straight to cable and video. In 1992, Paul Verhoeven took that same trashy template and directed "Basic Instinct," a big-budget exploitation film which didn't stint on its garishly amusing scenes of sex and violence, in fact it's probably even more provocative than its low budget forebears. Michael Douglas stars as the teeth-gritting cop who jumps into an ill-advised affair with a possibly murderous psychologist played with Hitchcockian flair by blonde ice-goddess Sharon Stone. »
- Trailers From Hell
As we continue with the list, we still see a lot of World War II, but throw in some World War I and Persian Gulf War, too. While some of the films in this portion of the list spin the war film into something a little more ingenious, it doesn’t completely rule out the idea of a patriotic call to arms film. We also see a few more foreign language films on the list, as well as some Oscar winners for their work. Without further ado, let’s light this candle.
courtesy of toutlecine.com
30. Black Book (2006)
Directed by: Paul Verhoeven
Conflict: World War II
In 2008, the Dutch public named it the greatest Dutch film ever made. Who am I to argue? A surprisingly complete film from a director who has Showgirls and Hollow Man under his belt (and Starship Troopers and Robocop…I can’t be too hard »
- Joshua Gaul
In the early eighties Hollywood was glutted with so-called "erotic thrillers" combining soft-core sex and hard core violence that usually went straight to cable and video. In 1992, Paul Verhoeven took that same trashy template and directed Basic Instinct, a big-budget exploitation film which didn't stint on its garishly amusing scenes of sex and violence, in fact it's probably even more provocative than its low budget forebears. Michael Douglas stars as the teeth-gritting cop who jumps into an ill-advised affair with a possibly murderous psychologist played with Hitchcockian flair by blonde ice-goddess Sharon Stone.
The post Basic Instinct appeared first on Trailers From Hell.
- TFH Team
★★☆☆☆In a modern world increasingly dependent on technology, you'd think a remake of Paul Verhoeven's RoboCop (2014) wouldn't necessitate the same near-future landscape of its predecessor. Surely in an age where drone warfare is legally waged, ubiquitous advertising is the norm and 24-hour news coverage plentiful, there couldn't be a better time for a revival of Verhoeven's cybernetic cop. The inaugural RoboCop was a cheap but endearing mash-up of violence and stop-motion effects. It felt trashy, but the film's sardonic tone and razor-sharp wit prevailed. In José Padilha's glossy revision, the aesthetic flaws have been ironed out but so too have the complex layers of socioeconomic criticism.
- CineVue UK
Paul Verhoeven’s Showgirls has a well-earned reputation as one of the campiest movies in cinematic history. From the cheesy dialogue, the terrible acting and the painfully awful screenplay, it’s a monument to ineptitude – yet it’s oddly watchable, if only to marvel at how Elizabeth Berkley went from a good girl on Saved by the Bell to a topless dancer. We’re not sure who decided that editing Showgirls for mainstream television was a good idea – because chopping out all the profanity and hilariously choreographed sex scenes sort of defeats the purpose of watching Showgirls in the first place – but we’re glad someone did, because the results are actually every bit as entertainingly awful as the unedited version of the film. To make...
- Mike Bracken
This is what happens when you mix morals with a desire for the smallest amount of profit possible. You get the Showgirls television edit, apparently prepared for Logo. Why Showgirls would be worthy of a television edit is anyone's guess . there are a lot of cable channels, and they can't show original programming forever. And somehow, Logo's gay fanbase is absolutely gaga for Paul Verhoeven's bad taste trashterpiece. But, Logo is guessing, they just aren't fans of all those nipples. Which is why, in addition to the terrible dubbing, we have the innovation that is the "digital bra," created by computer animators covering up every instance of bare breasts. Which is hilarious, because Logo doesn't have that massive a viewership. Was it really worth the cash to purchase the rights to air an Nc-17 movie that flopped in theaters, and then hire computer animators to dab something weirdly inhuman »
This month Detroit was supposed to unveil their statue of the cyborg crime fighter RoboCop, based on the original version of the character played by Peter Well in the Paul Verhoeven film. However, they were forced to delay the event for some reason, saying, "Please be advised, RoboCop’s Prime Directives have changed and today’s scheduled presentation and statue announcement at the Detroit Police Department has been cancelled." He still threw out the pitch at a baseball game (though it was the remake version), but this month's real tribute to RoboCop comes from two new Mondo pieces from Tom Whalen and Kevin Tong. Here's Tom Whalen's Mondo poster for RoboCop (via SlashFilm): »
- Ethan Anderton
Killer bug and insect invasion films are some of the most challenging to really nail in a memorable manner. I honestly believe that’s why so few directors and production companies will even entertain the idea of approaching the critters.
They’re typically goofy flicks, and most who would consider themselves “serious” filmmakers (whatever that is) probably wouldn’t waste a scoff at the thought of creating one. But every once in a while something special arrives and leaves its mark on our psyche.
Perhaps it’s an over-the-top exploitation piece that happens to piece the puzzle together properly. Maybe it’s a film so astonishingly complex and multi-layered that one cannot avoid the intrigue of a grand mind fuck. It doesn’t matter why bug flicks work or how bug flicks work. What matters is that when the truly innovative minds out there set out to make a film of this nature, »
- Matt Molgaard
Almost twenty years on, there's still a lot of love for the camp classic that is Paul Verhoeven's Nc-17 rated "Showgirls". A critical and box-office bomb, the film has still managed to earn a huge cult following on video and cable showings over the years as audiences enjoy one of the most textbook examples of subversively brilliant high camp trash produced by Hollywood.
At one point, someone decided to recut the film so it could be aired on basic cable. That meant swearing and suggestive dialogue had to be dubbed, some scenes scored sharp edits (bye bye epileptic seizure pool sex), and more frightening is that rather primitive digital bras, smoke and other effects were added to the scenes to cover the nudity.
The Playlist has discovered a seven minute reel which edits together the highlights of this 'Digital Bra TV Cut'. You can watch the key scenes of »
- Garth Franklin
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