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AFI Fest top brass have announced the remaining films that will screen in the World Cinema, Breakthrough, Midnight and Cinema’s Legacy sections.
Among the 29 World Cinema selections are Andrey Zvyagintsev’s Leviathan (Russia), Yann Demange’s Belfast-set Troubles thriller ‘71 (UK), Mia Hansen-Løve’s Eden (France); and Diao Yinan’s Berlin grand jury prize-winner Black Coal, Thin Ice (China-Hong Kong).
The four Midnight entries are: Fabrice Du Welz’s Alleluia (France-Belgium), David Robert Mitchell’s It Follows (Us); Taika Waititi and Jemaine Clement’s What We Do In The Shadows (New Zealand); and A Hard Day (South Korea) by Kim Soeng-hun.
The four Breakthrough films are: Zeynep Dadak and Merve Kayan’s The Blue Wave (Turkey-Germany-Netherlands-Greece); Fish & Cat (Iran) by Shahram Mokri; Abd Al Malik’s May Allah Bless France! (France): and The Midnight Swim (Us) by Sarah Adina Smith.
- firstname.lastname@example.org (Jeremy Kay)
The Blair Witch Project celebrates its 15th anniversary in the UK today (October 22).
The Blair Witch Project 15 years on: The horror movie that changed everything
It became the first of its kind in Hollywood due to its commercial success and viral online campaign, which was created to make the production look like a real documentary. The Blair Witch website with details on the made-up mythology still exists.
And the clever campaign worked on some gullible and vulnerable viewers. We remember witnessing real tears of fear being shed by some audience members in the cinema (and definitely not ours...).
It purports to be a documentary shot by three inquisitive, daring, and at times daft students investigating the local Blair Witch legend in the Maryland forest. »
Directed by Roman Polanski
United States, 1968
Roman Polanski’s first foray into real, genre horror is a classic of mostly unseen dread.
Featuring a closely-coiffed Mia Farrow as the soft-spoken, childlike Rosemary Woodhouse, potential mother to the devil; John Cassavetes, post-Shadows, and just about to truly kick off his great directorial run; and the inimitable Ruth Gordan as a sort of Grace Zabriskie-precursor: the creepy neighbor next door, heavily made-up and eerily meddlesome, Rosemary’s Baby picks up the paranoid thread of 1965’s Repulsion. The film also anticipates the similarly – though more political – claustrophobic suspicion of Alan Pakula’s 1970’s films.
Like Repulsion Polanski puts a slender, nymph-like female at the center of the narrative, though Rosemary is endowed with more power than Catherine Deneuve’s Carol. Unlike his earlier film, Polanski externalizes the baleful forces and makes them realer. The strength of Rosemary’s »
- Neal Dhand
Gena Rowlands has been the named the recipient of this year's Los Angeles Film Critics Association (Lafca) career achievement award.
The Hollywood legend will be honoured next year on January 10.
Lafca announced the news yesterday (October 18) on Twitter.
Gena Rowlands is set to receive a major honor. The Los Angeles Film Critics Association has chosen the 84-year-old actress for its annual Career Achievement award. Rowlands will be feted at an event held Jan. 15. The actress is best known for collaborating with her husband, director John Cassavetes. She appeared in ten of his films, earning Academy Award nominations for two of them: Gloria and A Woman Under the Influence. She has won two Golden Globe awards and four Emmys. Watch more 'Dark Knight Rises' Meets 'The Notebook' in Mashup Rowlands has appeared more recently in films like The Notebook
- THR Staff
Oscar-nominated actress Gena Rowlands will receive the La Film Critics Association’s Career Achievement kudos this winter, the org announced today. In an acclaimed career that’s spanned six decades, Rowlands nabbed Academy Award nominations for her iconic roles in two of her ten films for filmmaker/husband John Cassavetes, Gloria and A Woman Under the Influence. She won the Golden Globe for the latter and snagged three Emmy wins on the small screen.
Rowlands’ films include Faces and Minnie and Moskowitz for Cassavetes, Another Woman for Woody Allen, Lonely Are The Brave with Kirk Douglas, Night On Earth for Jim Jarmusch, Unhook the Stars, The Notebook, and Yellow for son Nick Cassavetes, and Broken English for daughter Zoe Cassavetes. Career Achievement honorees who were voted on by members of Lafca in recent years include Richard Lester, Frederick Wiseman, and Doris Day.
- The Deadline Team
The stage, TV and screen actress is best known for her stellar work on ten films directed by her husband John Cassavetes which started with “A Child Is Waiting” (1963), “Shadows” (1959) and “Faces” (1968) and continued through two Oscar-nominated performances in "Woman Under the Influence" (pictured, 1975) and "Gloria" (1981); their last film together was “Love Streams” (1984). The Lafca gave Cassavetes the career achievement award in 1986--this is the first husband and wife team to be so rewarded in the group's 40 year history. Rowlands began her career on the New York stage in the mid-1950s and moved to television, marryingCassavetes in 1954 and made 10 films with him, from Rowlands won four Emmys --“The Betty Ford Story” (1987), “Face of a Stranger” (1991), “Hysterical Blindness” (2003) and “The Incredible Mrs. Ritchie” (2004)--and two Golden Globes (“The Betty Ford Story” and “A Woman Under the Influence."). »
- Anne Thompson
The Los Angeles Film Critics Assn. will present Gena Rowlands with its career achievement award, the group announced on Saturday.
An 84-year-old veteran of film, TV and theater, Rowlands is particularly celebrated for helping to usher in a bold new commitment to realism in American screen acting in the 1960s and ’70s, never more so than in her grittily layered, emotionally fearless performances for the writer-director John Cassavetes. Their 10-picture collaboration, which included such films as “Shadows” (1959) and “Faces” (1968), earned Rowlands two Oscar nominations for best actress, in “A Woman Under the Influence” (1975) and “Gloria” (1981).
Cassavetes received the L.A. critics’ career achievement award in 1986, making him and Rowlands the first husband-and-wife duo to be so honored in the group’s nearly 40-year history.
- Justin Chang
The Los Angeles Film Critics Association has named actress Gena Rowlands winner of the organization's 2014 Career Achievement Award, Lafca announced on Saturday. Rowlands has won four Emmys and two Golden Globes in a 60-year career that included Oscar nominations for her roles in “Gloria” and “A Woman Under the Influence” , both of which were directed by her late husband, John Cassavetes. Also read: Mark Duplass, Elisabeth Moss on Life in Their 20s: Cassavetes, Bad Facial Hair and Sandals She began her career on Broadway in the mid-1950s and appeared on dozens of television programs throughout the '50s and. »
- Steve Pond
Lyon – In a deal involving two key players in the two key markets for classic film, Charles S. Cohen’s New York-based Cohen Media Group has acquired North American rights to eight films from Gallic mini-major Gaumont for release via the Cohen Film Collection.
The deal was closed at the Lyon Lumière Festival’s Classic Film Market (Mfc), which wrapped Friday in France’s Lyon, by Tim Lanza, VP of Cohen Film Collection, and Virginie Royer, Gaumont international sales manager.
Titles will be released via Cmg’s Cohen Film Collection, created by Cmg’s acquisition in 2012 of the 700-plus Rohauer Film Collection. Twinned with Cmg’s purchase, concluded August, of New York’s four-screen Quad Cinema arthouse, and its upcoming renovation and technical upgrade, »
- John Hopewell
If you consider yourself a film fan, chances are that you’ve owned a Criterion Collection release at some point. It’s an ever-increasing catalog of world-class cinema that counts many renowned filmmakers among its fans, and on occasion one of these notable fans gets the chance to visit the boutique label’s closet full of their releases, which is actually a big room, and choose a few to take home while talking about the choices. The latest guest to Criterion’s closet is none other than William Friedkin. Lasting nearly five minutes, the video (via Rope Of Silicon) finds Friedkin in his typical loquacious mood talking about his favorite subject, cinema. We don’t want to spoil too much of the iconic director’s choices – both John Cassavetes and Fritz Lang’s work get mentioned – but we will say that we hope to be just as in love with »
- Cain Rodriguez
Directed by: Damien Chazelle
Running Time: 1 hr 40 mins
Release Date: October 17, 2014 (Chicago)
Plot: A jazz drummer (Teller) encounters an abusive conductor (Simmons) on his path to becoming the best.
Who’S It For? Movie fans who like exhilarating films.
The enemy of our potential is the fear of failure. It lingers on the blank papers or canvases that stare back at us, and restrains us to the what ifs of our goals. In Damien Chazelle’s jazz drumming thriller Whiplash, this horror is personified in the fortissimo presence of conductor Fletcher (J.K. Simmons), who invests his entire being into mercilessly challenging the ambition of his students. Chazelle’s previous work as screenwriter, Grand Piano, featured John Cusack as a sniper who threatened to kill a pianist if he played one false »
- Nick Allen
Philip A. Dick: Perry’s Literary Minds Stuck In a Lonely Place
Following up his dark hearted homage to road trip cinema with 2011’s The Color Wheel, Alex Ross Perry’s third film, Listen Up Philip arrives with an equally unpleasant set of main characters as it explores the hyper intellectual worldview of self-important authors wallowing in their emotional ennui. But the self-involved narcissists occupying Perry’s arena also happen to be impressively fleshed out compelling characters that makes this triptych of their miserable emotional periods so engrossing. Sprawling, unkempt, and often unlikeable, it’s one of the most impressively written and astutely performed films you’ll see this year.
We meet Philip (Jason Schwartzman) as he meets up with an ex-girlfriend for lunch, basically to gloat over his looming success as an author, celebrating the publication of his first novel. An omniscient narrator (Eric Bogosnian) begins to guide us through Philip’s (and eventually, »
- Nicholas Bell
In recent years, the fall festival season has turned fiercely competitive not just between the films themselves, but also among the fest directors selecting them — as the pressure to get first dibs on the newest, newsiest premieres has necessitated cutthroat programming politics. One way out of that minefield is to look back rather than forward — and it’s a dedicated focus on classic cinema that makes France’s Festival Lumiere-Grand Lyon one of the calmer cinematic congregations on the circuit.
Overseen by veteran auteur Bertrand Tavernier — president of film preservation body the Lumiere Institute — and curated by Cannes artistic chief Thierry Fremaux, the Lyon-based fest runs Oct. 13-19 and boasts a plethora of restorations, reissues and homages. Kicking off with a screening of Arthur Penn’s 47-year-old landmark “Bonnie and Clyde” (part of a three-film tribute to Faye Dunaway), this year’s decidedly catholic program runs the gamut from Frank Capra »
- Guy Lodge
Rosemary’s Scabies: Leonetti Does His Best James Wan Impression
Sure to take its place on future lists of cinematographer’s unfortunate attempts at directing, John R. Leonetti’s Annabelle, a sort-of prequel to a subplot from 2013’s The Conjuring, is technically assured though lacking in anything innately original or insidiously creepy. Basically another bargain basement housewife-in-peril horror film, Gary Dauberman’s script plays like another cheap Rosemary’s Baby knock-off, attempting to prove that a Los Angeles apartment complex is just as spooky as anything you’ll encounter in Manhattan. With no time wasted on comic relief as it takes itself surprisingly seriously (you can forget about all those Marlon Wayans shenanigans with ‘Abigail’ from A Haunted House 2), Leonetti leaves most of the heavy lifting to our own familiarity with the basic material and our lowered expectations with carbon copy.
It’s Southern California in the 1970s and »
- Nicholas Bell
Yes – Annabelle for all intents and purposes is a spinoff of last year’s surprise success The Conjuring, taking that film’s stand-out side character (the eponymous creepy doll) and placing an entire film around it/her; but what the marketing and previews have failed to fully reveal – is that Annabelle, at heart, is much less a cash-grab Conjuring offshoot but more so an extended homage to early era Polanski, in particular Rosemary’s Baby & Repulsion. Annabelle Wallis and Ward Horton star as Mia & John, a couple coping through the repercussions of a vicious attack. The newfound family (she having just given birth to a daughter) move into an apartment complex wherein in her husband’s absence (he’s much too busy with his burgeoning medical career), she begins to experience violent supernatural forces all seemingly stemming from that good-for-nothing doll. You don’t even have to look at the »
- Tommy Cook
You don’t necessarily associate a filmmaker like John Cassavetes with the likes of Cannon Films, who are more known for a slew of schlocky, low-budget action films from the 1980s than anything that resembles art. Still, studio heads Menahem Golan and Yoram Globus are the folks who bankrolled the “Faces” director’s 1984 drama “Love Streams,” and we have two short glimpses at the film and what went into bringing it to movie screens. The film stars Cassavetes and his wife Gena Rowlands as a brother and sister who care for one another as their lives and relationships crumble around them. More than anything (except maybe money), Golan and Globus wanted critical acclaim, awards and industry respect (read our review of “Electric Boogaloo: The Wild Untold Story of Cannon Films” for a glimpse into their collective psyche), which they hoped working with an auteur like Cassavetes could provide. To record the proceedings for posterity, »
- Brent McKnight
Exclusive: Mia Hansen Love, Francois Ozon dramas and Cannon Films doc among Toronto haul.
UK distributor Metrodome has secured UK and Ireland rights to a trio of films that played at this year’s Toronto International Film Festival (Sept 4-14): Mia Hansen Love’s well-received drama Eden, Francois Ozon’s The New Girlfriend and documentary Electric Boogaloo: The Wild, Untold Story of Cannon Films.
All three will play at the London Film Festival (Oct 8-19).
Directed by French auteur Mia Hansen Love and starring Felix De Givry, Pauline Etienne and Greta Gerwig, Eden charts the rise and fall of one of the DJs who pioneered the French electro music scene in the 1990s.
- email@example.com (Andreas Wiseman)
Devil in Disguise: McCarthy’s Latest an Unnerving Indie Horror Film
Every now and then, a horror film comes along that’s reminiscent of a certain heyday in the genre, when understated supernatural elements were used to unnerving effect and not overwhelmed by comedic flourishes or found footage gimmickry. With his sophomore film, At the Devil’s Door (initially titled Home at its premiere at the 2014 SXSW Film Festival), Nicholas McCarthy manages to create an unsettling environment that’s most startling for a certain level of unpredictability. While some uneven plotting and awkward moments in character development mar the process, this is an illustrative example of how capably creepy independent American horror films still have the potential to be.
A teenage girl (Ashley Rickards) is convinced by her new boyfriend to sell her soul, which she seems to do willingly, not quite sure her visit to a remote trailer where »
- Nicholas Bell
For the second time in a year, the meteoric rise and ignominious demise of 1980s schlock juggernaut Cannon Films comes to the screen in feature-length documentary form. But where Cannon is concerned, a twice-told tale is no vexation for the weary cinephile’s ear. Faster, sleeker and more out-of-control (in a good way) than its Cannes-premiered predecessor (Israeli director Hila Medalia’s “The Go-Go Boys”), Mark Hartley’s “Electric Boogaloo” — actors, writers, directors, editors and studio execs who, if anything, seem emboldened by the lack of Golan and Globus’s official participation in the project. Sure to be a fest favorite, Hartley’s docu should also spur much Cannon revivalism on the repertory and cinematheque circuits.
Cannon is irresistible fodder for Hartley, whose previous cinephile docus “Not Quite Hollywood” (2008) and “Machete Maidens Unleashed!” (2010) showed he was drawn to exploitation movies like Charles Bronson to a pack of street thugs. Like those films, »
- Scott Foundas
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