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Susan Bee: Doomed to Win/Paintings from the 1980s A.I.R Gallery Through April 27, 2014
Most paintings, the instant you see them, they become familiar and then it's too late.- William Gaddis, The Recognitions
Life is a series of random events. We are in different rooms, with different people, at different times…in art, this is called having different "styles." - Dr. Hope Ardizonne, Anatomy of Art's Murder
To be Modern was, sooner or later, to become kitsch -- that is, familiar, a cliché, an agreed-upon collective meaning. Clement Greenberg despised kitsch, yet all the most avant-garde of movements, from the Impressionists to the Pop Artists, eventually ended up, to some degree, kitsch decorations. To be "Post-Modern," especially in the 1980s, was a high-wire act, walking a tightrope between aesthetic »
Directed by Billy Wilder
The past few weeks have been good for Humphrey Bogart on Blu-ray. The Maltese Falcon, Casablanca, The Treasure of the Sierra Madre, and The African Queen were recently rereleased and assembled for the Best of Bogart Collection, and now, Sabrina, one of the legendary star’s final films, has received its first American appearance on the format. Perhaps more importantly, if total number of titles available on Blu-ray is the basis for judgment, Sabrina also marks one of disappointingly few Billy Wilder titles available in the remastered form. That the film also stars the radiant Audrey Hepburn and the remarkably versatile William Holden confirms that the release is worth commending.
- Jeremy Carr
Moviefone's Top DVD of the Week
What's It About? Judi Dench stars as an Irish woman who wants to find the son she gave birth to as a teen sent to live in a convent; Steve Coogan co-stars as the posh journalist who wants to write a story about her journey.
Why We're In: Based on a true story about Philomena Lee's travels to find her long-lost son, this is a sweet drama with moments of levity, thanks to the chemistry between Coogan and Dench.
Moviefone's Top Blu-ray of the Week
What's It About? Ah, yes. Another tale by Lars von Trier about tormented love, sex, and religion! Stellan Skarsgård and Emily Watson play newlyweds who are forced into some rather extreme circumstances after he's paralyzed while working on an oil rig.
Why We're In: This tragic tale gets the full Criterion treatment, including select »
- Jenni Miller
Chicago – The actor Greg Kinnear has been known for his neat and tidy image, but never has he portrayed a religious leader. His role as Todd Burpo – a pastor of a church and the father whose son believes “Heaven Is for Real” – brings the energy of spirituality to the movies just in time for the Easter holiday.
Born in small town Logansport, Indiana, Greg Kinnear was the son of a career diplomat, and moved around quite a bit as a child, even living overseas. He is a veteran actor who first came into prominence when he hosted the first version of “Talk Soup” on the E! Network in 1991. Four years later, he made a splashy film debut as David Larrabee in the 1995 remake of Billy Wilder’s “Sabrina,” directed by Sydney Pollack.
Photo credit: TriStar Pictures
A couple years later, »
- firstname.lastname@example.org (Adam Fendelman)
Moviefone's Top DVD of the Week
What's It About? Bilbo (Martin Freeman), Gandalf (Ian McKellen), and the dwarves are back for the second film in this Tolkien cycle. Bilbo goes toe to scaly toe with Smaug, a dragon voiced by Freeman's "Sherlock" co-star Benedict Cumberbatch.
Why We're In: Even if you don't spring for the fancy Blu-ray set, you'll still get some goodies in this 2-disc package -- including the option to press pause while you take a bathroom break.
Moviefone's Top Blu-ray of the Week
What's It About? Nicolas Cage and Laura Dern are Sailor and Lula, two crazy, star-crossed lovers in David Lynch's tribute to "The Wizard of Oz," Elvis, road movies, and much more. Sleazy, crazy, and sexy.
Why We're In: This Blu-ray is packed with extras that are sure to please everyone who's wild at heart. »
- Jenni Miller
Richard Ayoade turns an unpromising Dostoevsky story into a quick-witted, elegant and genuinely unsettling film
For this follow-up to his debut feature Submarine, Richard Ayoade has picked a demanding and in some ways unpromising subject: a new adaptation of Dostoevsky's novella The Double, about a drab loser who discovers that he has a doppelgänger in the workplace an exact replica of him, but aggressively successful, charming and upwardly mobile. Ayoade translates this to a creepy and crumbling nightmare-world: his unhappy protagonist is a data-input manager in a dreary warren, stuffed with clunky, retro 80s computer equipment and office furniture, and he lives in a similarly grim flat. The only entertainment on offer for inhabitants of this terrible universe appears to be a cheapo Blakes-7-type drama continuously playing on TV sets mounted on wall brackets. All this could have been a tiresome film-school venture in someone else's hands, but it is brilliant: quick-witted, »
- Peter Bradshaw
Screwball comedy movies, rare screenings of epic box office disaster: Library of Congress’ Packard Theater in April 2014 (photo: Cary Grant and Irene Dunne in ‘The Awful Truth’) In April 2014, the Library of Congress’ Packard Campus Theater in Culpeper, Virginia, will celebrate Hollywood screwball comedy movies, from the Marx Brothers’ antics to Peter Bogdanovich’s early ’70s homage What’s Up, Doc?, a box office blockbuster starring Barbra Streisand and Ryan O’Neal. Additionally, the Packard Theater will present a couple of rarities, including an epoch-making box office disaster that led to the demise of a major studio. Among Packard’s April 2014 screwball comedies are the following: Leo McCarey’s Duck Soup (Saturday, April 5) — actually more zany, wacky, and totally insane than merely "screwball" — in which Groucho Marx stars as the recently (un)elected dictator of Freedonia, abetted by siblings Harpo Marx and Chico Marx, in addition to Groucho’s perennial foil, »
- Andre Soares
The Film Society of Lincoln Center has unveiled its initial list of presenters set for the upcoming 41st Chaplin Award Gala honoring Rob Reiner, on April 28. Martin Scorsese will present the big award to Reiner; leading up to that will be film and interview clips, plus appearances by Billy Crystal, Michael Douglas, Michael McKean, and Robin Wright. Plus, classic Reiner-directed films "A Few Good Men," "Misery," "The Princess Bride" and "Stand by Me" will screen on April 27 and 28, in advance of the gala.The Film Society’s annual gal began in 1972, honoring Charlie Chaplin, who returned to the Us from exile to be part of the ceremony. Other past honorees include the likes of Alfred Hitchcock, Billy Wilder, Laurence Olivier, Federico Fellini, Elizabeth Taylor, Bette Davis, James Stewart, Robert Altman, Scorsese, Diane Keaton, Meryl Streep, Tom Hanks, Michael Douglas, Sidney Poitier, Catherine Deneuve, and, last year’s honoree Barbra Streisand. »
- Beth Hanna
The end of the road. The scripts that should be studied, dissected, and taught for their quality, their timeliness, and their impact on the film industry as a whole. Some were perfect for their time and place. Some were ahead of their time. Some defined their generation. And one still rules all, forty years after it was written.
courtesy of hollywood.com
10. Bonnie and Clyde (1967)
You’re just like your brother. Ignorant, uneducated hillbilly, except the only special thing about you is your peculiar ideas about love-making, which is no love-making at all.
Nothing spices up a movie theater better than a little sex and violence; Arthur Penn’s 1967 film broke new ground on that front. Fictionalizing the partnership of famous gangsters Bonnie Parker and Clyde Barrow, the film starred Faye Dunaway and Warren Beatty as the title criminals, while »
- Joshua Gaul
Bertrand Tavernier's The French Minister (Quai D’Orsay) starring Thierry Lhermitte, Raphaël Personnaz, Niels Arestrup and Anaïs Demoustier, with Jane Birkin impersonating a version of Toni Morrison and Julie Gayet as a potent advisor, is the closing night film of New York's Rendez-Vous with French Cinema.
We discussed the importance of rhythm for his film, how Billy Wilder and Jacques Becker set a mood, the working relationship with writers Christophe Blain and Cultural Counselor to the French Embassy Antonin Baudry, Arestrup's dedication, and the decision to not watch films when making one. Tavernier also gave me insight into how he created the unequaled complexity of character with Philippe Noiret and Isabelle Huppert in Coup De Torchon.
"A fool »
- Anne-Katrin Titze
Book review: Edgar G. Ulmer: A Filmmaker at the Margins by Noah Isenberg (University of California Press)Edgar Ulmer is one of the great curiosities of Hollywood history. He collaborated with Billy Wilder, Curt and Robert Siodmak, Eugen Shüfftan and Fred Zinnemann on the celebrated German silent film People on Sunday but never achieved anything like their great success in America. His most prominent picture, The Black Cat (1934) with Boris Karloff and Bela Lugosi, turned out to be his only mainstream studio picture. Why? What happened that relegated Ulmer to the fringes of American cinema?Ulmer barely eked out a living making B Westerns, Yiddish-language features, health-care...
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- Leonard Maltin
There are few directors who polarise audiences quite like Wes Anderson. While there are many who love and admire the work of the American auteur, there are also those who aren’t quite as enamoured by his whimsical, creative approach to filmmaking. However his latest production, The Grand Budapest Hotel, may just a defining piece for him, as though certainly faithful to his cinematic fervour, and full of the quirks and nuances that make him so popular – it’s an emotionally driven piece, and perhaps somewhat more tender than we’ve ever seen before.
When in Berlin, where this picture opened the prestigious film festival, we had the distinct pleasure of sitting down with Anderson to discuss his latest piece. Just upon walking into the room, instantly you see the man behind the camera, as there’s a sophistication and elegance to his well-kept appearance, matching that of the hand-crafted universe that he creates. »
- Stefan Pape
There’s no two ways about it — a set of finely sculpted abs or a proclivity for crashing expensive cars can go a long way in making people forget that every once in a while, an action star is actually a legitimate actor in his or her own right. Sure, right now you can only see them firing off guns and one-liners with alarming alacrity, but that’s just something they fell into. Maybe they went to acting school. They do Shakespeare in between blockbusters. They insist that someday they’d really like to direct, citing their affinity for Billy Wilder or King Vidor.
Today’s action films require so little from their stars in terms of acting. Oftentimes an intensive workout regimen, a willingness to do stunt work, and a certain steely-eyed glare will do the trick. So it’s easy to forget that these high octane action stars »
- Audrey Fox
Before our very early screening of "Mr. Peabody and Sherman," the new 3D adaptation of the Jay Ward characters that originated on "The Rocky & Bullwinkle Show," director Rob Minkoff addressed the audience (comprised mostly of children). He told us that we were one of the first audiences to see the movie, then told a rambling story about the time he met Billy Wilder in the airport. At some point he revealed that this was his first animated feature since directing "The Lion King" for Disney in the early nineties. It was about the only time in his intro that the kids in the audience actually reacted. And once the movie started, one thing became very clear: "Mr. Peabody and Sherman" is no "Lion King."The basics from the "Peabody's Improbable History" sections of the beloved sixties cartoon are here, with Mr. Peabody (here voiced by sitcom star Ty Burell, who replaced Robert Downey, »
- Drew Taylor
French women filmmakers may be under-represented in the competition lineup of Cannes Film Festival, but they’re surely gaining ground in recent years, accessing high-profile casts and delivering singular, often emotional films that spark international critics’ enthusiasm.
For its annual Rendez-Vous in New York, French promo org UniFrance has chosen to turn the spotlight on these up-and-coming helmers standing on the frontline of this new wave.
“These new filmmakers are showing international audiences that French cinema isn’t limited to a few directors and actors’ names: They dare to portray every aspect of our society in a modern and creative way and tackle serious topics,” says Isabelle Giordano, UniFrance’s managing director.
“The films of this latest French new wave are notable for their freewheeling energy and immediacy, and for their willingness to tackle head-on the complexities and contradictions of 21st-century France,” says Dennis Lim, Lincoln Center Film Society head of programming. »
- Elsa Keslassy
• How the night unfolded
• Gravity pulls all night
• Full list of winners
• 10 things we learned
This year's Academy Awards was a very good year, pretty well a vintage year in fact, with excellent films of very different genres being recognised. For a critic it is gratifying to see them rewarded, though baffling in other ways to watch the spectacle of so many others being ignored. Well, that is what happens in this quasi-Superbowl. As ever, the Oscars revealed themselves to be purely enjoyable only for the observers, the journalists and the big winners with the majority of the actual participants undergoing what I suspect is a terrible ordeal and the majority going away under a cloud of disappointment. »
- Peter Bradshaw
Did you know that only one other Oscar ceremony has ever been held on a March 2nd? That'd be March 2nd, 1944 which crowned Casablanca 1943's best picture. Let's hope Oscar chooses as well tonight.
May your favorites lose tonight ... if they're different than mine! Kisses.
Though Casablanca is one of those rare pictures that virtually everyone loves, it actually only won three of its eight Oscar nominations that night: Picture, Director (Michael Curtiz), and Screenplay. Only Hitchcock's Rebecca (1940) won fewer Oscars among the Best Pictures of the 1940s with just two statues. So I don't wanna see any online snarking if 12 Years a Slave goes home with only a 2 or 3 statues including the big one. Spreading the wealth is not a new thing and i'd argue it's a healthier thing for the movies, too.
- NATHANIEL R
One of the most critically-aclaimed French helmers of all time, Resnais directed such arthouse masterpieces as “Hiroshima Mon Amour,”a flagship pic of the New Wave, which earned writer Marguerite Duras an Oscar nom for original screenplay in 1961, and “Last Year at Marienbad,” a major influence on such directors as David Lynch.
Resnais, who began his career with a number of art documentaries and then broke through with the gripping 1955 “Night and Fog,” about the Jewish Holocaust in WWII, was one of the more intellectually rigorous members of the new wave of filmmakers who overturned the French film industry in the late ’50s.
The French cinema world is mourning Resnais today as critics, industryites, festivals’ toppers and fans pay him homage.
- Elsa Keslassy
The writer, director and actor Harold Ramis, who has died aged 69 from complications of autoimmune inflammatory vasculitis, was responsible for one masterpiece and several influential smash-hits. In each of his creative capacities, he was the eternal quiet man. In front of the camera, his blithe and undemanding presence often disguised his comic skill or made it appear effortless; he seemed happy to hang back and surrender the limelight to more demonstrative and dynamic collaborators, such as his Ghostbusters co-stars Bill Murray and Dan Aykroyd. In his writing and directing he was adept at capitalising on an audience's love of coarseness without resorting to cruelty or sacrificing his compassion.
- Ryan Gilbey
Blu-ray & DVD Release Date: May 4, 2014
Price: Blu-ray/DVD Combo $39.95
Kirk Douglas (Paths of Glory) gives the fiercest performance of his career as Chuck Tatum, an amoral newspaper reporter who washes up in dead-end Albuquerque, happens upon the scoop of a lifetime, and will do anything to keep getting the lurid headlines.
Also starring Jan Sterling and Bob Arthur, Wilder’s follow-up to his ominously alluring Sunset Boulevard is an even darker vision, a no-holds-barred exposé of the American media’s appetite for sensation that has gotten only more relevant with time.
Criterion’s Blu-ray/DVD Combo edition of the movie contains the following features, the bulk of them ported over from »
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