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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 »
Fourteen films will have their Australian premiere as part of the brand new Essential Independents: American Cinema Now festival at Palace Cinemas in May.
The two-week festival will showcase American independent cinema and feature 32 films, including narrative features and documentaries as well as a retrospective of first films from major filmmakers.
The program is curated by artistic director Richard Sowada, the festival director at Perth's Revelation International Film Festival.
"Each film holds hands with the next and so there.s a real sense of cohesiveness and a feeling of discovery", Sowada said.
- Staff Writer
Chicago – The “Canuck Girls” have hit town, and they brought a lively, passionate and super fun musical about relationships and the environment to CIMMFest! Toronto-based writer/musician/actor/director Jude Klassen created “Love in the Sixth,” and it plays out at the 2016 festival on Sunday, April 17th (3:45p) at the Logan Theatre in Chicago. Click here for complete details.
The film explores relationships, in the post modern mode of Woody Allen, plus has amazing song breaks in the style of Motown, Punk, The Beatles and even “Grease” (if Grease would have had a song called “F**king Love”). The cinematic freedom of Jude Klassen’s director influence is woven throughout the work, as she portrays a rocker Mom named Dani, who is raising a Hunger-Games-loving-environmentally-conscious 12 year-old named Kat (Mika Kay, in a memorable performance).
Dani’s relationship with Sid (T.C. Folkpunk) is complicated, and gets in the way of »
- email@example.com (Adam Fendelman)
Mubi in the United Kingdom will be showing four films by John Cassavetes beginning with Too Late Blues (March 9 - April 8), followed by Husbands (March 16 - April 15), Gloria (March 23 - April 22), and Love Streams (March 29 - April 28). “Life is a series of suicides, divorces, promises broken, children smashed, whatever.” — Robert, Love Streams“Love is a stream. It’s continuous. It doesn’t stop.” — Sarah, Love Streams I love a good punch. Not the kind Robert Mitchum could land, or the kind Errol Flynn once received, though the mythmaking breeziness of another era’s gossip columns ensures even these retain an ageless charm. I mean the verbal kind, the hit-you-in-the-belly kind. A gut punch. Putdowns are an art: cadence is a weapon, pithiness a bullet. Brevity bruises: it’s not so much what is said as everything that isn’t. The best knocks hurt precisely because, no matter how brutal they get, »
- Michael Pattison
Taking cues from the best of John Cassavetes, the Trey Edward Shults-helmed Krisha is a film that is able to transport you to the darkest of family get-togethers. Focusing on a Thanksgiving in which the decade-absent Krisha returns in hopes of reconnecting with a son she abandoned, a sister who has many unresolved issues with her and various other family members walking on egg shells around the title character (played so effectively by Krisha Fairchild), Shults carries his ability to turn his audience and the film into a fly on the wall, experiencing true dysfunction and leaving you devastated yet happy to have seen the film.
What makes Krisha so enthralling, is how we as audience members, are given the opportunity to experience authentic feeling moments, with everything from guys wrestling outside, sit down talks and gossip and we experience it not through the typical audience viewpoint, but that of Krisha. »
- Jerry Smith
Kathleen Collins' name made a big cultural rebound with a single review in The New Yorker -- of an independent movie she wrote and directed in 1982. It's a confluence of important black theater and filmmaking talent -- Collins, Bill Gunn, Duane Jones, Billie Allen and, in the background, William Greaves and the history of film generated by African-Americans. Losing Ground Blu-ray The Milestone Cinematheque 1982 / Color / 1:37 Academy / 86 min. / Available at Milestone Films / Street Date April 5, 2016 / 39.99 Starring Seret Scott, Bill Gunn, Duane Jones, Billie Allen, Maritza Rivera, Noberto Kerner, Gary Bolling, Michelle Mais. Cinematography Ronald K. Gray Film Editor Ronald K. Gray, Kathleen Collins Original Music Michael Minard Produced by Kathleen Collins, Ronald K. Gray Written and Directed by Kathleen Collins
Reviewed by Glenn Erickson
Quick, name five film directors that are black women. Well, after seeing the glowing review for Losing Ground late last year in The New Yorker, »
- Glenn Erickson
Movies about family dysfunction and holidays are about as cliché as pumpkin pie on Thanksgiving. But “Krisha,” writer-director Trey Edward Shults’ first feature — and winner of the John Cassavetes Award at this year’s Independent Spirit Awards — is an explosive, stomach-knotting debut that’s more “Leaving Las Vegas” than “Four Christmases.” It also has a distinctive attribute: Many of the actors playing family are related in real life. For example, Krisha Fairchild, who stars in the title role, is joined by three other Fairchilds: her sisters Victoria and Robyn, as her sisters Vicky and Robyn, and her mother, Billie, as her mother. »
- Tricia Olszewski
Film Independent, the nonprofit arts organization that produces the Spirit Awards, the La Film Festival and Film Independent at Lacma, handed out top honors to Spotlight, Beasts of No Nation and Room at this afternoon's 31st Film Independent Spirit Awards. Carol, The Diary of a Teenage Girl, Krisha, The Look of Silence, Son of Saul and Tangerine also received awards at the ceremony, which was held in a tent on the beach in Santa Monica. Spotlight received the Robert Altman Award. In addition to being the celebration that honors artist-driven films made with an economy of means by filmmakers whose films embody diversity, innovation and uniqueness of vision, the Spirit Awards is the primary fundraiser for Film Independent's year-round programs. The ceremony aired live today on IFC and a rebroadcast will air later this evening; please check your local listings for times. Clips from the ceremony will be available on »
Yay! My favorite film of 2015 was the big winner at the recently concluded Film Independent Spirit Awards taking home the best feature, director (Tom McCarthy), screenplay, and editing. It was previously announced that the film was the winner of the prestigious Robert Altman Award (ensemble) as well.
Oh and kudos to the Film Independent Spirit Awards for bestowing their Best Supporting Actress Award to Mya Taylor for "Tangerine!" Taylor becomes the first transgender performer to receive major acting award! See her acceptance speech right here.
Let's see if this will continue with tonight's Oscars. See my full Oscar predictions right here.
Here's the complete list of winners of the Film Independent Spirit Awards:
Award given to the Producer; Executive Producers are not awarded.
*** "Spotlight" (Winner)
Film Independent's 2016 Spirit Awards ceremony took place last night in Los Angeles, marking the 31st edition of the awards show that celebrates the best of independent film. Spirit Awards were given out in the following categories: Best Feature, Best First Feature, Best First Screenplay, Best Director, Best Screenplay, John Cassavetes Award (given to the best feature made for a budget under $500,000), Best Male Lead, Best Female Lead, Best Supporting Male, Best Supporting Female, Best Cinematography, Best International Film, Best Documentary and Best Editing. The Filmmaker Awards include the Piaget Producers Award, the Truer Than Fiction Award and the Kiehl’s Someone to Watch »
- Tambay A. Obenson
Ahead of tonight’s Academy Awards, Film Independent hosted the 31st annual Spirit Awards yesterday in Los Angeles, with Tom McCarthy’s Spotlight the big winner, collecting Best Picture, Best Director, Best Screenplay and Best Editing, along with the Robert Altman Award, which recognises a film’s director, casting director and ensemble cast.
On the acting front, there were awards for Beasts of No Nation’s Abraham Attah (Best Actor) and Idris Elba (Best Supporting Actor), along with Room’s Brie Larson (Best Actress) and Tangerine’s Mya Taylor (Best Supporting Actress). Check out a full list of the winners below, hightlighted in red…
- Gary Collinson
The 31st Independent Spirt Awards took place this Saturday, February 27 with the fiendishly talented and hilarious Kate McKinnon & Kumail Nanjiani co-hosting the event. Take a look at their parody of one of this year’s best films Room below. The show, as in years past, aligned with the Academy Awards in some moments, but also served to do what the Oscars can’t, or won’t in others. Perhaps that’s just as it should be. Brie Larson won for Best Female Lead for Room, and is very likely to win the Academy Award for Best Actress tomorrow night. However, Spotlight, which won Best Feature, Director, and Screenplay at the Spirit Awards is in a three way race with The Revenant and The Big Short for the top prize at the Oscars. Though it’s likely to take Best Screenplay there as well. Typically, the Academy favors flashier films, so »
- Roth Cornet
The Spirit Awards took place on Saturday, and the show known as the indie Oscars is handing out accolades for 2015 films. To make things interesting, many of this year's nominees have also received Oscar nominations, and a win here historically bodes well for the Academy Awards ceremony. We kept up with the winners, so check out who took home the gold! Best Feature Spotlight Best First Feature The Diary of a Teenage Girl John Cassavetes Award Krisha Best Director Tom McCarthy, Spotlight Best Screenplay Tom McCarthy and Josh Singer, Spotlight Best First Screenplay Emma Donoghue, Room Best Female Lead Brie Larson, Room Best Male Lead Abraham Attah, Beasts of No Nation Best Supporting Female Mya Taylor, Tangerine Best Supporting Male Idris Elba, Beasts of No Nation Best Cinematography Carol Best Film Editing Spotlight Best Documentary The Look of Silence Best International Film Son of Saul Robert Altman Award Spotlight 18th »
- Shannon Vestal Robson
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