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The period drama premiered at last year’s Venice Film Festival, where Corbet took home the awards for Best Debut Feature and Best Director, and is being released Friday through IFC Films’ Sundance Selects label. Corbet co-wrote the screenplay for the film with his partner Mona Fastvold.
A dark, post-World War I tale about the seven-year-old son of an American diplomat in France, the film’s largely European cast includes Bérénice Bejo (“The Artist”), Liam Cunningham (“Game of Thrones”) and Stacy Martin (“Nymphomaniac”). Robert Pattinson has a small but deceptively important role in the movie, which focuses on the young, manipulative »
- Graham Winfrey
Following years of unfilled curiosity, I had the fortune of finally seeing John Cassavetes‘ Gloria at Metrograph this past weekend. Many things that made the experience a surprise, and none were as strong as one-time child actor John Adames, whose central role was written as a rather precocious young child who almost exclusively speaks like an adult — a typically nauseating archetype that, when paired with a prime Gena Rowlands turn and placed under Cassavetes’ careful eye, works perfectly. Although I almost immediately knew something was different about this iteration of the type and could certainly sense something deeper at play, Gloria moves at so quick a clip that you might only be able to collect its pieces hours and days after.
Enter Adrian Martin and Cristina Álvarez López, who took to studying the film’s adult-child relationships, Cassavetes’ manipulation of perspective, and how “the mother-son figure is at once questioned, »
- Nick Newman
Georges Simenon, Charles Laughton in Burgess Meredith's The Man On The Eiffel Tower, Cédric Kahn's Red Lights (Feux Rouges) with Carole Bouquet and Jean-Pierre Darroussin, The Day The Clown Cried, Jerry Lewis, Rainer Werner Fassbinder's In A Year With 13 Moons (In Einem Jahr Mit 13 Monden), Christian Petzold's Phoenix, John Cassavetes' A Woman Under The Influence, Kurt Weill, Brian Wilson and Moonriders were unearthed in my For the Plasma conversation with co-director Kyle Molzan.
Helen (Rosalie Lowe) having a meal
Keiichi Suzuki's score informs how we meander through the landscapes filmed dream-like by Christopher Messina (Dear Renzo). Charlie (Anabelle LeMieux) arrives at a house in Maine where a pal from the past, Helen (Rosalie Lowe), has a job monitoring forest fires and where she also miraculously predicts shifts in global finance. »
- Anne-Katrin Titze
It is either my gift or my curse — maybe both; how you end up feeling about this piece will do a lot to decide — that I have been tasked with assessing one of the Brian De Palma films towards which few feel any need to express a strong, set opinion. (The director offered this ringing assessment in Noah Baumbach and Jake Paltrow’s documentary: “You know, it wouldn’t necessarily be your first choice.”) “Be your own man!” you might say, which is just the thing: for as much as I enjoy his 1978 telekinesis-espionage actioner The Fury, and no matter the fact that I consider a handful of its sequences some of the very best in his oeuvre, the thing can take a bit of time to get there. But there exists a chance — a fine chance, in fact — that we may extract from its stop-start, hot-cold rhythm a further »
- Nick Newman
Operating outside the studio system, the husband and wife team created indelible portraits of working-class strivers and small-timers in such films as “A Woman Under the Influence,” “Gloria” and “Faces.” Those works, as well as seven others, will screen as part of a retrospective at New York’s Metrograph theater from July 15-25. The career appreciation will include such Cassavetes and Rowlands pairings as “Love Streams” and “Opening Night,” along with films that Cassavetes directed without his wife and muse, such as “A Child is Waiting” and “Husbands.”
Cassavetes died in 1989, but Rowlands has remained active, appearing on the big and small screen in the likes of “The Notebook,” “Hysterical Blindness” and “Unhook the Stars.” She spoke with Variety about Cassavetes’ legacy, how roles improved for actresses and why she loves Bette Davis.
Why do your husband’s films endure? »
- Brent Lang
1978 cast a long shadow in the world of horror. From Dawn of the Dead to Halloween, the landscape was abundant with everything from the socially relevant to the singularly terrifying, from superior remakes (Invasion of the Body Snatchers) to quirky haunted houses (The Evil). And then there’s the red headed stepchild that no one talks about: Brian DePalma’s The Fury. Frenetic, action packed, and gruesome, The Fury never gets the love from even most DePalma fanatics. What a shame – it’s never less than entertaining, and at its best showcases the director’s mesmerizing visual touch.
Released in March by Twentieth Century Fox, The Fury made $24 million against its $5.5 million budget. That’s good green, folks, and DePalma received favorable reviews, still basking in a critical glow left over from his previous effort, Carrie (’76). So why is it so easily dismissed, ranked along the lines of efforts like Wise Guys, »
- Scott Drebit
James Victor, the actor best known for portraying the buffoonish Sgt. Jaime Mendoza on the popular 1990s Family Channel action-adventure series Zorro, has died. He was 76. Victor, a protege of famed independent auteur John Cassavetes, had heart disease and died June 20 in his apartment in Hollywood, his longtime friend Joe Perez told The Hollywood Reporter. Duncan Regehr starred as Don Diego de la Vega/Zorro on the Family Channel adaptation of Zorro, which aired in several countries and for three seasons (1990-93) in the U.S. At first, Victor's Mendoza, who always enjoyed a good meal, tried
- Mike Barnes
When it comes to telekinesis and gory visual effects, the movie that generally springs to mind is David Cronenberg’s 1981 exploding head opus, Scanners. But years before that, American director Brian De Palma was liberally dowsing the screen with claret in his 1976 adaptation of Carrie - still rightly regarded as one of the best Stephen King adaptations made so far. A less widely remembered supernatural film from De Palma came two years after: De Palma’s supernatural thriller, The Fury.
The Fury was made with a more generous budget than Carrie, had a starrier cast (Kirk Douglas in the lead, John Cassavetes playing the villain), and it even did pretty well in financial terms. Yet The Fury had the misfortune of being caught in a kind of pincer movement between Carrie, »
The cast includes Ricki Lake, Greta Lee (“Girls”), Michelle Forbes (“The Killing”), Nelson Franklin (“Veep”), Reeve Carney (“Penny Dreadful”), Jessica Parker Kennedy (“Black Sails”) and James Ransone (“Tangerine”). Plot details are under wraps.
ICM Partners is representing domestic rights.
“Gemini” is Katz’s fifth feature as a writer-director. He previously co-wrote and co-directed “Land Ho!” with Martha Stephens, which premiered at Sundance 2014, was released by Sony Pictures Classics and won the 2015 Independent Spirit John Cassavetes Award. Katz also directed “Cold Weather,” “Quiet City” and “Dance Party, USA.”
- Dave McNary
Photo by Lawrence Irvine
The folks at Janus Films and the Criterion Collection have just sent out the announcement that they’ll screen a restored print of John Waters’ 1970 film Multiple Maniacs at the Provincetown Film Festival on June 17th, with a national roll-out this August.
We saw John Waters stop by the Criterion offices back on November 18th, 2015.
The moment we've all been waiting for.
A photo posted by Criterion Collection (@criterioncollection) on Nov 18, 2015 at 12:16pm Pst
First Preview at the Provincetown Film Festival
Theatrical Premiere in NY August 5 at the IFC Center
National Release To Follow
Provincetown Int’L Ff Screening:
Fri. 6/17 at 10:00pm – Art House 2
214 Commercial Street
John Waters’s gloriously grotesque and extremely hard to see second feature comes to theaters at long last, »
- Ryan Gallagher
June 6, 1944. Today marks the 72nd anniversary of D-Day.
On June 7th, Paramount Home Media Distribution will release director Michael Bay’s remarkable 13 Hours: The Secret Soldiers Of Benghazi.
Hailed as “powerful” (Kyle Smith, New York Post), “engrossing” (Soren Andersen, Seattle Times) and “full of explosive action” (Dan Casey, Nerdist), the film arrives on Blu-ray Combo Pack, DVD and On Demand this Tuesday. (Review)
13 Hours: The Secret Soldiers Of Benghazi tells the incredible true story of six elite ex-military operators who fought to protect the CIA against overwhelming odds when terrorists attacked a U.S. diplomatic compound on September 11, 2012. The film stars John Krasinski (TV’s “The Office”), James Badge Dale (World War Z) and Pablo Schreiber (TV’s “Orange is the New Black”), and is based on the nonfiction novel 13 Hours: The Inside Account of What Really Happened in Benghazi by New York Times best-selling author Mitchell Zuckoff with »
- Movie Geeks
Here’s a trippy short video found via the Vintage Los Angeles Facebook page, an excerpt from the 1968 French documentary, Cineaste de notre temps (1968). Shot three years earlier, it’s just John Cassavetes driving home as a French interviewer peppers him with questions he mostly nonchalantly (and most likely post-synced) answers. Not enough people in L.A. — “living by appointment,” he says. He also announces a project: Crime and Punishment as a musical. The Beach Boys play on the soundtrack. »
- Scott Macaulay
Director Shane Black certainly has a lot on his plate these days. Not only is his latest film, The Nice Guys, set to hit theater soon, but he already has two big properties ready to follow that one up. The first is The Predator, a film that's set to revitalize the long-dormant franchise. Also on the horizon is a film chronicling the adventures of the decades-old pulp hero, Doc Savage.
Here's what Black had to say about The Predator when asked if the sort of "macho" culture that it came out of was still relevant in todays' world.
"I think that the only thing that the 1980s macho context really has to add is that back then, the actors tended to be more… I think more 'men,' and less 'boys.' For instance, back in the day, the ones who filled my head as I grew up: Lee Marvin, »
- Joseph Medina
At the 21 Club tea, honoring Nichols' Midnight Special, hosted by Michael Shannon with Kirsten Dunst (Cannes jury member) and Jaeden Lieberher, The Place Beyond The Pines director Derek Cianfrance spoke to me about Steven Spielberg's "pile of stuff" at Dreamworks, Ryan Gosling and Ben Mendelsohn, childhood memories of Martin Scorsese, John Cassavetes, Pier Paolo Pasolini and George Romero films, Shannon Plumb's Towheads and The Narcissist, but not Virginia Woolf's To The Lighthouse. Erin Benach, Nicolas Winding Refn's The Neon Demon costume designer, will be dressing the stars in Cianfrance's latest. She also worked with »
- Anne-Katrin Titze
Comedy can sometimes be the only route to honesty, and it’s often the instrument that softens sharp truths. In Toni Erdmann, the latest from Maren Ade, humor of all sorts – broad, satirical and witty – is the foundation of the director’s humanist vision. This is the best film to premiere in competition so far at Cannes and one of the best comedies, if not the best, of the decade so far.
Ade is as inspired by the films of John Cassavetes as Saturday Night Live, but these are just two of the complimentary, not contradictory, points of reference. Both inclinations – art and populist – are perfectly homogenized in Toni Erdmann’s fresh worldview. This isn’t just any character study like most realist indies. Toni Erdmann is essentially three hours of comic sketches, while somewhat in line with dress-up comedies like Mrs. Doubtfire. The “one joke” here is that Winfried Conradi, »
- Josh Cabrita
A family beset by autism, bulimia, alcoholism and extramarital canoodling squares off against the world-ending prophecies of Anasazi canyon-dwellers in “The Darkness,” a kitchen-sink horror movie so over-the-top that even the actual kitchen faucet runs mysteriously. At some point in the production process, co-writer/director Greg McLean must have believed he was making John Cassavetes’ “Poltergeist,” but this odd fusion of psychodrama and supernatural hokum gets away from him. Though better cast and considerably more ambitious than a typical PG-13 frightfest, “The Darkness” succumbs to the bloodless shocks and assaultive sound effects that plague its generic peers. The film may siphon a few million indiscriminate dollars on opening weekend, but will recede into the shadows quickly thereafter.
Literally and metaphorically, “The Darkness” is half a world away from the barebones ferocity of “Wolf Creek,” McLean’s debut feature from a decade ago, a tense and grisly thriller set in the Australian Outback. »
- Scott Tobias
Above: 1929 Swedish poster for The Hound Of The Baskervilles (Richard Oswald, Germany, 1929). Designer uncredited.It’s time once again for my countdown of the most popular (the most “liked” and “reblogged”) posters on my Movie Poster of the Day Tumblr over the past three months. The most popular by far, and deservedly so, was this extraordinary 1920s Swedish poster for an adaptation of Conan Doyle’s The Hound of the Baskervilles, which looks like some modern Mondo marvel. I had never seen it before it showed up on Heritage Auctions in March, where it sold for over $5000 (a steal). I’m not sure how Heritage dated the poster or divined which version of Hound of the Baskervilles this was for, since there are no acting or directing credits on the poster. They claim it for Richard Oswald’s 1929 German version though IMDb has a variant of the poster attached to a 1914 German adaptation. »
Featured in today's roundup are an interview with Alejandro Jodorowsky, whose Endless Poetry premieres in Cannes on Saturday, Jonathan Rosenbaum on John Cassavetes, new pieces in Bright Lights on Béla Tarr, Wim Wenders and Jim Jarmusch as well as on Alex Proyas’s I, Robot and Howard Hawks's The Big Sleep, an Otto Preminger series in New York, work by the late Antonia Bird in London, Joanna Hogg in Cambridge, a video essay on Jacques Rivette, an interview with Whit Stillman—and remembering Isao Tomita. » - David Hudson »
The thirteenth entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin. Mubi will be showing John Cassavetes' Gloria (1980) March 23 - April 22 in the United Kingdom.You can tell a lot about filmmakers and their attitudes from the way they choose to frame a child—especially when there is also an adult in the same scene. To whom does the scene pay attention at any given moment? Whose viewpoint is covered? Who is privileged in the scene? Whose position is occupied by the camera? Shall we go the conventional shot/reverse shot route of looking down at the child from a high-angle (i.e., the senior Pov), and gazing up from a low-angle at the adult?John Cassavetes’s Gloria (1980) offers a veritable treatise on these questions—and its response is quite unlike any other film that centers on a roughly similar relationship, from »
- Cristina Álvarez López & Adrian Martin
Mubi is exclusively showing two new, brilliant and unconventional films from Spain: Luis López Carrasco's El Futuro (April 11 - May 10) and Ion de Sosa's Androids Dream (April 12 - May 11). We asked the two filmmakers—friends and collaborators—a few questions about their work. For an in-depth exploration of the two films, we recommend Michael Pattison's article, Back to the Future: Androids Dream and El Futuro.Spanish directors Ion de Sosa (front left) and Luis López Carrasco (back right).Notebook: How did you each manage to bring your projects to life?Luis LÓPEZ Carrasco: After living in Berlin for a few months through a scholarship program, I came back to Spain in 2010 fully energized with the aim to set up a production company, finance my own projects and support friends whose work I deeply admire. The international success of Los Hijos Collective led me to believe »
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