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How the Real Battle of the Sexes Match Broke TV Records and Inspired Trump

How the Real Battle of the Sexes Match Broke TV Records and Inspired Trump
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It was the first and only tennis match to attract a Super Bowl-sized audience. Billie Jean King and Bobby Riggs' match on Sept. 20, 1973, drew nearly the same number of U.S. television viewers as the Miami Dolphins-Minnesota Vikings matchup four months later. Still, few remember the football game. Everybody remembers the Battle of the Sexes.

More than a TV event, it was a giant cultural "happening." Such stars as Glen Campbell, George Foreman and Jim Brown were in attendance at the Houston Astrodome, as was a live pig (King's pre-match gift to Riggs) and a human-sized Sugar Daddy...
See full article at The Hollywood Reporter - Movie News »

Bernie Casey, ‘Revenge of the Nerds’ Actor and Former NFL Player, Dies at 78

Bernie Casey, ‘Revenge of the Nerds’ Actor and Former NFL Player, Dies at 78
Bernie Casey, the former NFL star known for his work in the films “Boxcar Bertha” and “Revenge of the Nerds,” died on Tuesday in Los Angeles after a brief illness, Variety has confirmed. He was 78.

Casey made his film debut in the 1969 sequel “Guns of the Magnificent Seven.” He then acted alongside fellow former NFL star Jim Brown in the crime dramas “…tick…tick…tick…” and “Black Gunn.” He played the title role in the 1972 science fiction TV film “Gargoyles,” and then portrayed Tamara Dobson’s love interest in 1973’s “Cleopatra Jones.”

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Casey wrote, directed, produced, and starred in “The Dinner,” a 1997 film centering on three black men who discuss slavery, black self-loathing, and homophobia. That same year, he loosely portrayed a version George Jackson, a member of the Black Panther Party who was killed, in the drama “Brothers.”

In Martin Scorsese’s “Boxcar Bertha,” he
See full article at Variety - Film News »

John Heyman, Distinguished Financier and Producer, Dies at 84

Film producer and financier John Heyman, who founded influential British agency International Artists and the World Group Companies, died Friday in New York, his family told Variety via statement. He was 84.

John Heyman passed away in his sleep today, Friday the 9th of June,” the statement read.

His son, David Heyman, is the producer of the Harry Potter films, among many others.

Heyman’s World Film Sales pioneered the foreign pre-sales of films on a territory by territory basis.

John Heyman produced films including “The Go-Between” (1971), family sci-fi film “D.A.R.Y.L.” (1985) and “The Jesus Film” (1979). He was also an uncredited executive producer on David Lean’s 1984 E.M. Forster adaptation “A Passage to India.”

Over the course of his career he arranged financing of more than $3 billion to co-finance films including “Awakenings” and “The Odessa File” (at Columbia), “Edward Scissorhands,” “Home Alone” and “The Rocky Horror Picture Show” (Fox), “Victor/Victoria” and
See full article at Variety - Film News »

Win The Dirty Dozen on Blu-ray

Author: Competitions

To mark the release of The Dirty Dozen on 5th June, we’ve been given 2 copies to give away on Blu-ray.

They are convicts, psychos, lunkheads, losers – and champs at the box office and in action movie lore. Lee Marvin portrays a tough-as-nails major volunteered in the Army way to command a squad of misfits on a suicide mission against Nazi brass.

Charles Bronson, Jim Brown, John Cassavetes, Trini Lopez, Telly Savalas, Donald Sutherland and Clint Walker are among the 12 jailbirds who will earn their freedom if they survive. And Robert Aldrich (The Longest Yard) directs, blending anti authority gibes with explosive excitement. Nominated for four Academy Awards, The Dirty Dozen won for Best Sound Effects.

Please note: This competition is open to UK residents only

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The Small Print

Open to UK residents only The competition will close 8th June 2017 at 23.59 GMT The winner will
See full article at HeyUGuys »

Showtime Developing Muhammad Ali Civil-Rights Movement Limited Series

Showtime Developing Muhammad Ali Civil-Rights Movement Limited Series
Showtime is developing “The Ali Summit,” a civil-rights limited series about Muhammad Ali objecting to the Vietnam War draft, Variety has learned.

“The Ali Summit” captures a seminal moment in the civil-rights movement: the gathering of 12 of the nation’s top black intellectuals and athletes to first vet and then ultimately support Ali’s conscientious objection to the Vietnam War draft, 50 years ago in 1967. The series will explore the intersection of civil rights and sports that continues to resonate today, and tracks the FBI’s crusade against Ali, Jim Brown and other black leaders in the lead-up to Ali’s arrest for draft evasion at the peak of his boxing career.

Brown will serve as an executive producer on the project.

Jeff and Michael Zimbalist will serve as writers and directors on the limited series. They will also serve as executive producers, along with Brown, Monique Brown, Jeff Kirschenbaum and Joe Roth.

The
See full article at Variety - TV News »

Dark of the Sun

Elite commandos Rod Taylor and Jim Brown, mercenaries on a Congo strike mission, tangle with murderous rebels while seeking a fortune in hidden diamonds in Jack Cardiff’s ultra-violent action classic. A Tarantino favorite. For years this has been hard to see in its original form but is now available in a new widescreen transfer with every bullet hit and body blow intact. Released overseas as The Mercenaries.
See full article at Trailers from Hell »

100 Rifles

A big, loud, lusty western battle movie with sexy stars and zero brains, this was a big hit back in ’69, just before The Wild Bunch rebooted the entire genre. Jim Brown, Raquel Welch and Burt Reynolds burn up the screen with action, even though the actual acting is on the weak side.

100 Rifles

Blu-ray

Kl Studio Classics

1969 / Color / 1:85 widescreen / 110 min. / Street Date November 29, 2016 / available through Kino Lorber / 29.95

Starring Jim Brown, Raquel Welch, Burt Reynolds, Fernando Lamas, Dan O’Herlihy, Eric Braeden, Michael Forest, Aldo Sambrell, Soledad Miranda.

Cinematography Cecilio Paniagua

Film Editor Robert Simpson

Original Music Jerry Goldsmith

Second Unit Director Chuck Roberson

Written by Clair Huffaker, Tom Gries from a novel by Robert MacLeod

Produced by Marvin Schwartz

Directed by Tom Gries

Reviewed by Glenn Erickson

The Italian western phenomenon hit Europe in 1964 with Sergio Leone’s first blockbuster, but the wave didn’t strike America for several years,
See full article at Trailers from Hell »

A Fine Pair And The Limits Of Claudia Love

This fall semester I started taking an Italian language class two evenings a week with my daughter, and Thursday night I was looking to decompress after our first big quiz. (Scores haven’t been revealed yet, but I think we did just fine.) So I started rummaging through my shelves and came across the Warner Archives DVD of Francesco Maselli’s A Fine Pair (1968), an ostensibly breezy romantic caper comedy which reteams Rock Hudson and Claudia Cardinale, a pairing their public was presumably clamoring for after their previous outing together in Blindfold (1965), a Universal programmer written and directed by Phillip Dunne, the screenwriter of, among many other notable movies, How Green Was My Valley. I’ve had a mad crush on Claudia ever since I first saw her in Circus World (1964) with John Wayne when I was but a youngster, and I always welcome the chance to visit movies of
See full article at Trailers from Hell »

O.J: Made In America

In one of those strange confluences of life, death and documentary art, last week the world lost Muhammad Ali, humanitarian, devout Muslim and near inarguably the greatest boxer of all time (even if that assignation was initially self-proclaimed), just at the moment when the discussion about the life of yet another celebrity athlete, O.J. Simpson, is about to heat up yet again. Tonight ABC airs the first of the five-part documentary O.J.: Made in America, a seven-and-a-half hour undertaking commissioned for Espn’s 30-For-30 series that truly fulfills the expansive definition of an epic, and filmmaker Ezra Edelman makes every one of his documentary’s 450 minutes count.

The first two hours of O.J.: Made in America are devoted not just to Simpson’s formative life in the San Francisco projects and his rise to football stardom at USC, but also to painting a vivid picture of African-American life in Los Angeles in the days leading up to the Watts Riots of 1965, a detailed, frustrating and often agonizing portrait of a racial history that provides one aspect of the vast context in which the persona of O.J. Simpson was shaped. Edelman illuminates a crucial contrast between Simpson, the popular USC running back living it up on a primarily white, moneyed campus, and the reality of the more typical African-American experience in Los Angeles in the 1960s which was taking place only a few blocks from where Simpson was being groomed for NFL stardom. Economic and racial prejudice, police brutality during the William H. Parker era of the Los Angeles Police Department, and the scramble simply to maintain a modicum of dignity in the face of a dominant white social structure which regularly, violently insisted that none was deserved, was the reality faced by those who couldn’t gracefully scramble down a field and rack up record yardage for a storied university football program. (One of the saddest threads that emerges early on in the film is in accounting the degree to which African-Americans eagerly moved from strife-plagued areas of the South in the ‘50s and ‘60s to Los Angeles in search of the sort of racial and economic equanimity that eluded them in their home states, and how quickly that optimism was snuffed out.)

Yet O.J. Simpson emerged from being surrounded by it all (and deftly protected from it all), early on largely achieving acceptance in (white) world of celebrity. He was the first African-American advertising spokesman for a major company—Hertz rental cars—who was perceived as being effective not just with blacks but across the racial board. And he was liked by just about everybody he encountered, black or white, all of which was, of course, the underlying presumptive goal of his personal socio-philosophic mantra: “I’m not black, I’m not white. I’m O.J.” One of the most unsettling accounts of Simpson’s perspective occurs early on in the film, recalled on camera by New York Times sports reporter Robert Lipsyte, who remembers Simpson, not yet 22 and waiting to sign his rookie pro contract after leaving USC, hanging out in a Manhattan bar waiting to meet up with one of its owners, Joe Namath, the hero of the most recent Super Bowl. Lipsyte was one of a large entourage surrounding Simpson that night and talked to Simpson about his plans, including his negotiations with the Buffalo Bills, his upcoming entrance into the advertising world and his hopes for the TV and movie roles that would come as a result of his career as a football pro. At one point, in talking about the things he’d so far achieved in his young career, Simpson offered up with pride, “I was at a wedding, my wife and a few friends were the only Negroes there, and I overheard a lady say, ‘Look, there’s O.J. Simpson and some niggers.’” Lipsyte takes a breath on camera and says, “I knew right then he was fucked.”

The early sections of O.J.: Made in America make it clear just how separate Simpson intended to be from the black community which took such pride in his acceptance and achievements, and that separation went beyond securing a life of fame and riches with Hollywood always foremost in mind. Muhammad Ali’s refusal to be conscripted into the Vietnam War, and the nimbly articulated reasoning he offered, which was grounded deeply in not only his racial but also his religious experience (“The real enemy of my people is right here. I will not disgrace my religion, my people or myself by becoming a tool to enslave those who are fighting for their own justice, freedom and equality”), provides an illuminating contrast to Simpson’s refusal to politicize his image. While Ali took his controversial stand, which resulted in his arrest and conviction for draft evasion, the rescinding of his Olympic gold medal, the stripping of the heavyweight title he won by defeating Sonny Liston in 1964 and a three-year ban from professional fighting, Simpson refused to join other black athletes such as Bill Russell, Kareem Abdul-Jabbar and Jim Brown in public support of Ali’s decision. While he professed to understand the importance of Ali’s position and the need to provide support for everyone in the black community, Simpson continued to make it clear that their fight was not necessarily his fight: “What I’m doing is not for principles or for black people. I’m dealing first for O.J. Simpson, his wife and his baby.”

That, having heard such a philosophy expressed openly, blacks could have remained as supportive of O.J. Simpson as his life took an infamously surreal turn into ugly violence in Brentwood, California in June 1994, is one aspect of the mystery of O.J. Simpson upon which Edelman’s film, with its grounding in the racial inequity and violence at the hands of the Los Angeles Police Department, sheds plenty of welcome light. However obvious the evidence may have been against him, however bungled by prosecution the apparently slam-dunk case ended up being, the Simpson verdict was perceived by many blacks across the nation, according to the evidence and testimony accrued in Edelman’s film, as a huge emotional release, payback to a system that repeatedly failed to provide justice for the likes of Eula Love and Rodney King.

[caption id="attachment_25791" align="aligncenter" width="629"] Defendant Oj Simpson wearing one the blood stained gloves found by Los Angeles Police./caption]

And it’s to Edelman’s credit that a conclusion like that one has its place in the context of the larger conversation O.J.: Made in America engenders, neither summarily dismissed nor thoughtlessly endorsed but instead woven into the expressive, reverberating fabric of this unusually evocative, angering and enlightening work. If the movie never finds as much room for contextualizing Nicole Brown Simpson as someone other than a victim of an inevitable tide of domestic abuse in the way that Los Angeles’ racial history does for Simpson himself, then the humanizing empathy Edelman displays for her certainly suffices. (The awful finality of her fate and that of Ronald Goldman is displayed here in horrific crime scene photographs I’d spent 22 years avoiding.) O.J.: Made in America unfolds with masterful certainty and illuminating power, delineating the mind-boggling path toward a third act in the life of a man who many, even some of his staunchest supporters and friends, now believe must have commit those heinous murders, a third act which surreally nose-dives into Vegas decadence, petty crime and, yes, even perhaps one more dose of payback for crimes left unpunished.

[caption id="attachment_25790" align="aligncenter" width="640"] Nevada Department of Corrections via AP/caption]

Though it was conceived as a TV series, with the remaining four parts airing on Espn after tonight’s bow on ABC, I think of O.J.: Made in America as a movie because that’s the way I saw it. I was lucky enough to be able to attend the very last theatrical screening of a week-long, Oscar-qualifying engagement in Santa Monica a couple of weeks ago, and seeing it that way was one of the great movie-going experiences I’ve ever had. The auditorium where I saw it, with a capacity of 27 people, was about half full, and during the film’s two intermissions there was a palpable need for us all—the 14 or so of us in attendance were pretty closely divided between black and white-- to turn to each other and discuss what it was we were absorbing. (By the end of the movie’s second section, that screening had begun to take on the quality of a very lively town hall meeting.) Sometime during the first hour, immersed in the sort of rich detail and intelligent commentary that would be a hallmark of Edelman’s film, I felt energized, excited, relieved to be in the hands of a documentary so dedicated to taking its time and creating the proper context for understanding how the phenomenon, and then the tragedy of O.J. Simpson could have happened in the first place. Seeing it in one go in a theater was not unlike the way people now routinely binge-watch programming, documentary or otherwise, on Netflix or DVD in the media-saturated 21st century, only with fresh popcorn and the company of strangers, which definitely helped ameliorate the desperate sense of a hopelessly fragmented society that the film pointedly examines. If you can stand the wait and have the technology available, I recommend recording the entirety of the series over the next couple of weeks and saving it for a weekend afternoon when you can watch it all at once. But either taken all in one sitting or seen in segments, O.J.: Made in America is made to overwhelm you and invigorate you. It’s going to be hard to top this one for movie of the year, in whatever form it is seen.
See full article at Trailers from Hell »

'O.J.: Made in America': The O.J. Simpson Saga Is Still Riveting Television

Who knew that by the time we were this deep into the current and rapidly evolving Golden Age of TV, O.J. Simpson would suddenly re-emerge -- arguably now in his third cycle -- as one of the preeminent, and perpetually relevant, figures in television history.

Yet here we are, with -- this time around -- irrefutable evidence. First it was compellingly dramatized, and now it's been exquisitely documented in "O.J.: Made in America."

As I was pondering how I could kick off this debut television column for Moviefone, just as fresh episodes of many of the most popular series of the moment have gone or are about to go on hiatus, I got my first glimpse at this powerful, impressive, and affecting documentary that prompted me to consider just how crucial TV was, and has been, and very likely will be in the perceptions we have about O.J. Simpson.
See full article at Moviefone »

'The Craft': 10 Things You (Probably) Didn't Know About One of Your Favorite '90s Movies

Twenty years ago this week, four teenage girls dabbled in magic powers and unleashed forces more powerful than they could have imagined. We're not just talking about the plot of "The Craft" (released on May 3, 1996), but also the wave it launched of pretty-young-magical-gal stories on the big and small screens (from "Practical Magic" to "Charmed").

For all its influence and popularity, there's still much you may not know about "The Craft." Here are some of the secrets behind the beloved teen-witch cautionary tale.

1. Star Robin Tunney (center), who plays Sarah, wore a wig throughout the film, having recently shaved her head for her role in "Empire Records."

2. How did director Andrew Fleming do so well in understanding the mindset of his teen-girl heroines -- not only in "The Craft," but also in "Dick" and "Nancy Drew"? According to Fleming, "Dick" co-star Michelle Williams figured out the answer. "Michelle said that,
See full article at Moviefone »

Rare Screening of Blaxploitation Classic 'Slaughter's Big Rip-Off' in Chicago (Some Backstory...)

I've said it a 100 times before on this site that I love blaxploitation movies. They are the films that made me for, better or worse (and mainly for worse). Nothing can beat watching strong, virile, masculine black men going up against deranged racist villains and laying them to waste. Can't get enough of it! And when it comes to the glory that once was the blaxploitation genre, I've always felt that American International's 1973 "Slaughter's Big Rip-Off," toplined by Jim Brown, is one of true great movies of the genre. It was a somewhat rushed sequel to the successful "Slaughter," which came out the previous year, in which the hero ventures to Mexico to...
See full article at ShadowAndAct »

‘The Dick Cavett Show’ Returns on CBS’ Decades Digital Channel

‘The Dick Cavett Show’ Returns on CBS’ Decades Digital Channel
The wit and wisdom of Dick Cavett will be back on TV starting next month as the CBS-owned digital channel Decades has set a deal for full-length episodes from the long run of “The Dick Cavett Show.”

Decades is a digital multicast network that CBS launched via its O&O stations last May in partnership with Chicago-based Weigel Broadcasting. The channel features vintage TV series, movies and news programming curated to reflect current events, notable anniversaries and pop culture trends.

Dick Cavett Show” episodes will included in the mix of the six-hour “time capsule” program block that airs each weekday on Decades. Decades programmers will reach into the Cavett vault when there’s a show with a guest or topic that fits the day’s theme.

Resurrecting full episodes of classic yakkers has become a cottage industry for digital multicast networks. Tribune Media’s Antenna TV has made a splash
See full article at Variety - TV News »

Jim Brown Classic 'Slaughter' Coming Out on Blu-Ray in Sept

Jim Brown is The Man. Period. No ifs or buts about it. I am an unabashed Jim Brown fan, as I have said before. Brown was the greatest representation of hard black masculinity on the screen ever. After he stopped making films, everything went soft. Jim Brown was the real deal. Which is why you can't make movies like his 1972 film, "Slaughter," today. It would be impossible to cast. Yes sure there are those who try to be all tough and hard, but they don't quite cut it - especially those rappers-turned-actors. They look like they're faking. And let's be honest here. When it comes to real black masculinity on the screen today, pickings are very very slim. Who really could play...
See full article at ShadowAndAct »

The Forgotten: Jack Cardiff's "Dark of the Sun" (1968)

  • MUBI
Commemorating Rod Taylor, we turn to Dark of the Sun, routinely dismissed as a nasty slice of thick-ear but admired by Scorsese for its unflinching brutality and lean, efficient technique: possibly the best film directed by great cinematographer Jack Cardiff, who otherwise could be said to have squandered years on dreck like Girl on a Motorcycle (lovely to look at, inane and obnoxious) and The Mutations (ugly to look at, inaner and obnoxiouser). It's always a bit of a crime when a great specialist becomes an undistinguished all-rounder, and Cardiff's belated return to cinematography was, on the whole, a happy day. His admired first film in the director's chair, Sons and Lovers, looks magnificent, but screenwriter Gavin Lambert felt Cardiff didn't really understand the material.

Well, in a sense the strength of Dark of the Sun, superficially an action/adventure yarn set in the Congo during revolution, is its simplicity:
See full article at MUBI »

Movie Review – I Am Ali (2014)

I Am Ali, 2014.

Directed by Clare Lewins.

Starring Muhammad Ali, Hana Ali, Maryum Ali, Jim Brown, George Foreman.

Synopsis:

The story of Ali’s life told through interviews with family and friends as well as audio tapes Ali made throughout his life with his children.

The most interesting aspect of I Am Ali is the amount of control Muhammad Ali had over the contents of the film. Ali is not interviewed by Lewins in the documentary that spans all but the last few decades of his life. The backbone of the documentary is audio recordings Ali made a point of recording and saving with his children and publicity video footage of Ali throughout his career. In that aspect Ali almost deserves a co-director credit for the film.

While the access to the audio recordings gives viewers an initial sense of being a fly on the wall of the private Ali,
See full article at Flickeringmyth »

Arnold Schwarzenegger May Return for 'Running Man 2'

Arnold Schwarzenegger May Return for 'Running Man 2'
Since his return to acting, Arnold Schwarzenegger has split his time equally between starring in a handful of original action movies and planning sequels to some of his biggest hits. With Terminator Genisys the first sequel to officially be wrapped, awaiting its release next summer, the legendary muscle man may be turning his attention to another long-awaited follow-up, a sequel to The Running Man.

During a Q&A in England over the weekend, Arnold Schwarzenegger hinted that a Running Man 2 may very well be happening sometime in the near future. He told the crowd in attendance:

"It's an honor to be asked back after all these years, back to the franchise. This is really wild... They're doing a Twins sequel, to be called 'Triplets' I've read the first draft. There's rumblings of a new 'Running Man' movie, so it's a great honor to be asked back... [Getting in shape for these sequels] comes back to bodybuilding,
See full article at MovieWeb »

Horrible Bosses Go All Day And A Night To Produce Prison Comedy

Jonathan Goldstein and John Francis Daley, who co-wrote 2011′s breakout black comedy Horrible Bosses, are teaming up again to produce All Day and a Night, a prison-set action-comedy scribed by Paul Ruehl and the late Lester Lewis from an idea by Goldstein and Daley.

As per The Hollywood Reporter, All Day and a Night (which is prison slang for a life sentence without possibility of parole) will follow “a TV news crew that heads to prison to chronicle the life of two guards. But when a violent prison riot breaks out, the crew becomes stranded inside with the guards.” No cast has yet been set for the comedy, but Relativity Studios is attached to produce, finance and distribute.

Ruehl was a writer and co-producer for MTV’s raunchy high school comedy series The Hard Times of Rj Berger, while Lewis, who died in March of last year, worked as a
See full article at We Got This Covered »

Badass Grandpas: ‘The Expendables 3′ and 12 More Seasoned Stars

Badass Grandpas: ‘The Expendables 3′ and 12 More Seasoned Stars
When Bette Davis coined the phrase “Old age is no place for sissies,” she may as well have been describing the plot of “The Expendables 3.” Written by and starring Sylvester Stallone, the ensemble film features a cast of mature action vets who aren’t about to trade in their bullets for bifocals just yet. As the third entry in the popular franchise explodes into theaters on August 15, here’s a look at 12 films starring some of the toughest seniors in cinema.

Non-Stop

Continuing his late-career reinvention as a post-middle aged action hero, Liam Neeson plays a federal air marshal who receives a series of threatening texts during a transatlantic flight. Trapping the 62-year old star in a confined location proved a wise decision as the modestly-budgeted thriller opened at No. 1 in the U.S. and earned over $200 million worldwide.

The Equalizer

Arriving on September 26, this feature adaptation of the
See full article at Variety - Film News »

The Definitive War Movies: 30-21

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
See full article at SoundOnSight »
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