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As you wish. The classic fantasy romance, The Princess Bride, celebrates its 30th Anniversary by returning to cinemas nationwide for one day on the 23rd October alongside an anniversary edition Blu-ray and DVD. To celebrate we have 3 copies on Blu-ray to giveaway.
Directed by Rob Reiner and with an all-star cast including Cary Elwes, Robin Wright, Fred Savage, Billy Crystal, Peter Falk, Mandy Patinkin, Christopher Guest, Mel Smith & Peter Cook, and written by Academy Award® winning screenwriter William Goldman, The Princess Bride is a classic fairy tale; full of swashbuckling swordplay, giants, pirates, an evil prince and a beautiful princess… all woven into the love story to end all love stories.
To be in with a chance of winning, simply answer this question:
Cary Elwes’ character Westley goes by what other name?
Your Answer Dead Pirate PetersDread Pirate RobertsRed Pirate Roberts
UK entries only. One entry per person. Competition closes 17th November. »
- Roobla Team
Although it might be hard to believe now, when The Princess Bride first hit theaters 30 years ago, audiences just didn't respond. Rob Reiner's 1987 movie adaptation of William Goldman's beloved novel had everything: fantasy, adventure, a gorgeous love story, pirates, princesses, and one of the most quotable vendettas of all time. And still, it just didn't click. "I think we were all disappointed that it didn't quite get the traction we wanted, since we put a lot of hard work into it and thought it was a lovely movie," Cary Elwes, who starred as the dreamy Westley, revealed on a recent phone call with me in light of the film's anniversary this year. "Luckily for us, the invention of the Vcr breathed new life into our movie. The Princess Bride had been dead for 10 years, so we were so grateful for that invention, because that's when the movie found its audience. »
- Quinn Keaney
While “The Princess Bride” seems like the kind of movie that couldn’t get made now, it’s a miracle it got made back then. It took nearly two decades for William Goldman‘s 1973 novel (which is pretty damn great on its own) to find its way to the big screen, but when it finally did, the mix of ingredients was absolutely perfect.
Directed by Rob Reiner, and featuring a terrific ensemble cast — Cary Elwes, Robin Wright, Wallace Shawn, Andre The Giant, Christopher Guest, Peter Falk, Fred Savage — who couldn’t be better, the meta and arch bedtime story is endlessly hilarious, charming, and romantic.
- Kevin Jagernauth
“Hello, my name is Inigo Montoya. You killed my father. Prepare to die!”
Oh, wait. You don’t have six fingers on your right hand? Sorry, our mistake.
A classic tale of true love and high adventure, The Princess Bride invaded theatres on October 9, 1987 and has been romancing audiences ever since. After all, true love is the greatest thing in the world! Well, except for a nice Mlt.
Based on William Goldman’s 1973 fantasy-romance novel, the film was directed by the legendary Rob Reiner (This Is Spinal Tap, When Harry Met Sally…) and features a swashbuckling cast, including Robin Wright, Mandy Patinkin, Wallace Shawn, and André the Giant. After earning a modest $30.8M at the box office upon its release, the »
- Kurt Anthony
Neil Calloway looks at why so few sequels are better than the films that precede them…
With the advance word on Blade Runner 2049 good, with some saying it’s at least the equal of the original (read our review here), it’s got me thinking why so few sequels surpass the first film.
In theory, it should be simple; you don’t have to introduce the characters, their relationships and the setting of the movie. In place of exposition, you should have excitement. It rarely works like that, of course. You might not have to introduce all the characters, but the equilibrium reached at the end of the first film has to be disrupted, and more often than not a sequel does it in an unnatural, unbelievable way.
When a second film is greenlit, it faces an uphill struggle; given that the original film was so good it demanded »
- Neil Calloway
You want to stay on Annie Wilkes' good side... especially if you're on bed rest. This November, Scream Factory will release Rob Reiner's adaptation of Stephen King's Misery on a 4K restoration Blu-ray, and Scream Factory recently revealed the impressive special features for the release:
From Scream Factory: "The extras on our upcoming Collector's Edition of Stephen King’s iconic film Misery are now finally settled and can be officially revealed today! Official release date is November 28th but if you order directly from us you'll get it two weeks early plus receive a limited-edition rolled 18" x 24" poster ofthe newly-commissioned artwork (while supplies last). Pre-order now @ https://www.shoutfactory.com/pr…/misery-collector-s-edition…
• New 4K Restoration From The Original Film Elements
• New Interview With Director Rob Reiner
• New Interview With Special Makeup Effects Artist Greg Nicotero
• Audio Commentary With Rob Reiner
• Audio Commentary With Screenwriter William Goldman
• “Misery Loves Company” Featurette. »
- Derek Anderson
There are a couple of fantastic collector’s editions headed your way, and they both have new bonuses adding to the value of the remastered films.
With Stephen King on everyone’s radar these days, it might be the perfect time to revisit one of the best film’s based on his work.
Take a look at all the info on these releases below and mark your calendars for November 7th and 28th.
Paul Sheldon used to write for a living. Now he’s writing to stay alive. On November 28, 2017, Scream Factory proudly presents the iconic thriller Misery in its definitive home video release. The 2-disc Collector’s Edition Blu-ray comes complete with a new 4K restoration from the original film elements and hours of bonus features, »
- Marc Eastman
On September 25th, 1987, The Princess Bride hit theaters and although it was not a box office smash upon arrival, it has become one of the most beloved cult movies in history and now the cast and crew are looking back at 30 years of the romantic fantasy adventure-comedy. Rob Reiner directed the movie off of William Goldman's adaptation from his 1973 novel, The Princess Bride, and the movie has gone on to become a cultural touchstone for generations to pass down. The stars of the movie continue to have quotes recited to them on an almost daily basis and the movie may or may not have saved someone's life.
Rob Reiner recently shared a story about the cult favorite movie saving a woman's life. Reiner recounted a story where a woman came up to him at a restaurant and shared that she had been trapped in an avalanche while skiing along »
It’s no secret “The Princess Bride” was not a box office success when it opened in 1987. And it’s also no secret that thanks to home video, cable, DVD, and now Blu-ray, the charmingly funny fractured fairy tale directed by Rob Reiner and adapted by William Goldman from his 1973 novel, has become part of the cultural landscape.
Stars Chris Sarandon, Cary Elwes, and Wallace Shawn once did a Q&A after a screening for an audience of 5,000 people. Rabid fans approached the stars reciting their lines — especially Mandy Patinkin’s “Hello, my name is Inigo Montoya. You killed my father. Prepare to die,” and Shawn’s “Inconceivable.” Even Ted Cruz reenacted the hilarious scene featuring Billy Crystal as Miracle Max and Carol Kane as his wife Valerie during the 2016 presidential campaign.
But did you know the film once saved a woman’s life?
“Honestly, I’m not making this up,” said Reiner. »
- Susan King
25 September 2017 7:00 AM, PDT | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »
Released on Sept. 25, 1987, Rob Reiner's The Princess Bride is a unique fairytale equipped with action, romance, comedy and more. The Princess Bride seems to have it all — a star-studded cast, loveable characters and iconic moments — and is revered as a cult classic among film lovers.
The film is based on the 1973 novel of the same name by William Goldman. It grossed nearly $31 million domestically ($70 million adjusted for inflation).
- Sydney Odman
Hollywood power is in flux, as traditional broadcast and cable networks, which for decades shaped popular culture, try to keep up with technology companies
In Hollywood, the screenwriter William Goldman once observed, nobody knows anything. But that was before technology companies rolled in sure of one thing: to conquer television you have to spend, spend, spend.
The geeks are raiding their digital vaults to transform themselves into lords of entertainment – or at least owners of content – and in the process shape what we watch and how we watch.
Related: Emmys 2017: our predictions – who will win and who should win
That billion-dollar number is a very clear signal that Apple is a lot more serious about original content
Related: From handsets to Hollywood: Apple joins the dash for content
Continue reading »
- Rory Carroll in Los Angeles
Many of you remember reading “Lord of the Flies” by William Goldman in high school, only to be shown the 1963 movie and then ask your teacher, “So why did you make me read a book?” Classic as the film may be, the version this younger generation may see in schools will be far different than the one we saw, as Warner Bros. is gearing up for a new adaptation of the beloved... Read More »
- Matt Rooney
on this day in history as it relates to showbiz
How to honor this day: play with someone's snake. In the absence of a suitable one, wink at someone as saucily as Liz
How to honor this day: Let it all out like Bette in that performance that's pure »
- NATHANIEL R
A generic spy story becomes an inspired light comedy with the application of great talent led by the star-power of Walter Matthau. Matthau’s CIA spook hooks up with old flame Glenda Jackson to retaliate against his insufferable CIA boss (Ned Beatty) with a humiliating tell-all book about the agency’s dirty tricks history. Matthau’s sloppy, slouchy master agent is a comic delight; Ronald Neame’s stylishly assured direction makes a deadly spy chase into a wholly pleasant romp.
The Criterion Collection 163
1980 / Color / 2:39 widescreen / 105 min. / available through The Criterion Collection / Street Date August 15, 2017 / 39.95
Production Designer: William J. Creber
Film Editor: Carl Kress
Original Music: Ian Fraser
- Glenn Erickson
While movie stars continue to fade at the box office, directors are having their day in the sun. “Dunkirk’s” $50 million opening weekend is just the latest indication that the spotlight may be shifting from actors to filmmakers, even for blockbusters and summer popcorn fare.
Star-driven films like Will Ferrell and Amy Poehler’s “The House,” Scarlett Johansson’s “Rough Night,” Tom Cruise’s “The Mummy,” Johnny Depp’s “Pirates of the Caribbean: Dead Men Tell No Tales,” and Charlie Hunnam’s “King Arthur” all failed to deliver audiences to movie theaters. The directors were the focus of the buzz on Jordan Peele’s “Get Out” earlier this year, and more recently for Edgar Wright’s “Baby Driver” and Christopher Nolan’s “Dunkirk.” Even comic book tentpoles and sequels like “Spider-Man: Homecoming,” directed by Jon Watts, and Patty Jenkins’ “Wonder Woman” succeeded with lesser-known leads taking on properties with troubled pasts, thanks »
- Justin Kroll
24 July 2017 6:30 AM, PDT | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »
In the mid-1970s, William Goldman took on what seemed like an insurmountable challenge: how to turn the richly detailed manuscript of All the President’s Men, which Robert Redford had just optioned from Watergate reporters Bob Woodward and Carl Bernstein, into a movie.
The celebrated screenwriter had faced other such challenges: transforming the meandering story of two turn-of-the-century bandits into 1969’s Butch Cassidy and the Sundance Kid; figuring out how to terrify us with a Nazi fugitive on the loose in contemporary Manhattan, in 1974’s Marathon Man. (Will a dental visit ever be the same again?) In each case, he succeeded, winning an Oscar »
- Stephen Galloway
Rebecca Lea Jul 31, 2017
The film: Paul Sheldon (James Caan) has just finished a new book, his first since he decided to end his bestselling Misery Chastain series by killing off his eponymous heroine. On his way to deliver the manuscript, he crashes his car and is severely injured. He’s rescued by local resident Annie Wilkes (Kathy Bates), who just happens to be his “number one fan”. However, when Annie finds out that the author has killed off her favourite character, Paul’s recovery turns into a nightmare.
See related American Horror Story renewed for seasons 8 and 9 American Horror Story: Roanoke might be its best season yet American Horror Story season 6: Roanoke Chapter 10 Ryan Murphy: celebrating a showrunner who never holds back
The classical western exists as an ideal sandbox for stories of heroism, in which white hats can immediately separate our protagonists from the black-hatted antagonists. Occasionally, though, we have a revisionist western that questions and defies the well-trodden patriarchal confines of the genre, as if looking at an old image from a tilted perspective and finding something new.
Sometimes, the characters don’t fit into the dusty old boxes occupied by so many western heroes and heroines. The hero robs and kills to stay alive, frightened and overwhelmed by this strange, new frontier. Other times, the stereotypical Western landscape disappears, blanketed in snow. Horses drive their hooves through ice-covered puddles. Wind screams past bone-thin trees — manifest destiny frozen over, encasing the American dream in ice.
In the case of Sofia Coppola’s newest, The Beguiled, gender and power roles reverse: an injured Union soldier (Colin Farrell) turns up at a girl’s school, an arrival which breeds intense sexual tension and rivalry among the women (Nicole Kidman, Kirsten Dunst and Elle Fanning). According to our review, the movie is “primarily based on the 1966 book by Thomas Cullinan,” and “appears, at first glance, to be a remake of Don Siegel’s 1971 film adaptation rather than any sort of new reading of the original text. Coppola, of course, is far too clever for that.”
In celebration of The Beguiled, we’ve decided to take a look at the finest examples of the revisionist western. Enjoy, and please include your own favorites in the comments.
Robert Ford (Casey Affleck) idolized the legendary outlaw Jesse James (Brad Pitt), growing up hearing campfire stories about the man. Ford loved James so much that he eventually willed himself into the man’s life story. You cannot tell James’s story without also telling Ford’s. These two tragic lives are irrevocably linked by Ford’s betrayal. The film’s dryly antiseptic voiceover narration confides that Ford grew to regret his violent ways. The same goes for James, who at one point beats a child and then weeps into his horse’s neck, unable to live with his own deeds. While James’ propensity for violence is a deeply cut character flaw, Pitt plays the outlaw like an emotionally wounded teenager. His jovial sense of humor cloaks a vindictive and self-loathing interior. Whether Jesse James hurts himself or someone else, there is always a witness looking on with wide eyes. After James’ murder, Ford became a celebrity, touring the country reenacting the shooting. But Ford gained his prominence by killing a beloved folk hero. And so, one day, a man named Edward Kelly walked into Ford’s saloon with a shotgun and took revenge for James’s murder. Unlike the aftermath of Ford’s deed, people leapt to Kelly’s defense, collecting over 7000 signatures for a petition, leading to his pardon. America hated Robert Ford because he killed Jesse James. They loved Edward Kelly because he killed Robert Ford.
Robert Altman’s largely forgotten and often funny western about egotistical showman Buffalo Bill Cody (Paul Newman) treats its lead without respect, eagerly mocking him at every opportunity. Known across America as they best tracker of man and animals alive, Cody runs Buffalo Bill’s Wild West Show, a rodeo-like performance of cowboy-feats, ranging from simple rope tricks to the trick-shots of the legendary Annie Oakley. However, Cody is a fraud, a walking accumulation of lies and tall-tales. When Cody gets the chance to hire Chief Sitting Bull, the man who defeated General Custer at Little Big Horn, he’s thrilled, until Sitting Bull refuses to participate in his offensive show. Contrasted with phony Buffalo Bill Cody, Sitting Bull drips with dignified authenticity, totally uninterested in living up to the ignorant public’s racist image of his people. While the manufactured “reality” of Cody’s shows gets applause from white audiences, the stoic realness of Sitting Bull initially receives jeers, until something occurs to the crowd: this isn’t showmanship; this is the real thing. Later, when Cody and his gang form a posse, he hastily removes his show attire and searches through his wardrobe, cursing: “Where’s my real jacket?” So utterly consumed by his own public image, Cody can no longer locate his true self. Altman’s film is a rare western with a lead character who never succeeds, changes, or learns from his mistakes, always remaining a hopelessly pompous horse’s ass.
As we meet the legendary Butch Cassidy (Paul Newman) he’s scoping out a bank, recently renovated to include heavy iron bars over every window and bolted-locks on every door. He asks the guard what happened to the old bank, which displayed such architectural beauty. “People kept robbing it,” the guard says. “Small price to pay for beauty,” Butch replies. It’s a running theme in revisionist westerns to reveal the truth behind the legend. The changing times had rendered bandits on horseback obsolete. But Butch Cassidy and his partner, the Sundance Kid (Robert Redford) didn’t see the end coming until the future was already upon them. After barely evading a super-posse (to use a term coined by screenwriter William Goldman) led by a ruthless bounty hunter, they escape to Bolivia with Etta (Katherine Ross) Sundance’s girl, where their criminal ways are similarly received. What began as a vacation away from their troubles slowly becomes a permanent getaway run, sowing seeds of inevitable tragedy. Etta sees what Butch and Sundance cannot: the end. “We’re not going home anymore, are we?” Etta tearfully asks Sundance, informing him that she has no plans to stick around to watch them die. George Roy Hill’s Butch Cassidy and the Sundance Kid is a tearful celebration of a pair of old dogs too foolish to learn new tricks.
Dead Man (Jim Jarmusch)
The gorgeous and haunting Dead Man opens with a soot-faced Crispin Glover trilling as he points out the window of a train: “They’re shooting buffalo,” he cries. “Government said, it killed a million of them last year alone.” The American machine greedily consumes the landscape, leaving smoldering devastation in its path, while a stone-faced accountant named William Blake (Johnny Depp) travels to the hellish town of Machine, where he’s promised a job. Unfortunately, there’s no job at the end of the line for this seemingly educated man, blissfully unaware of his namesake, the poet William Blake. After taking a bullet to the chest, Blake wanders this dying western landscape as if in a dream, guided by Nobody (Gary Farmer) a Native American raised in England after getting kidnapped and paraded around as a sideshow attraction for whites. At one point, Blake stumbles upon three hunters by a camp fire, one of which, played by Iggy Pop, wears a muddy dress and bonnet like a twisted schoolmarm. Writer-director Jim Jarmusch’s twist on the western (accompanied by Robby Müller’s flawless cinematography) hums with textured period detail and vivid costume design, the accumulation of which achieves an eerily stylized tone.
The spirit of Quentin Tarantino’s Django Unchained is in the sequence scored by Jim Croce’s “I’ve Got a Name.” Django (Jamie Foxx), now a free man, removes the old saddle from his horse’s back, a saddle originally procured by a white slaver, the animal’s previous owner. He then mounts in its place, his own saddle personalized with an embroidered D. His freedom is still new and unfamiliar but, Django is more than willing to grasp those reigns. What works best about the film is how Tarantino’s screenplay embraces the politics of the Antebellum South in a fashion carefully ignored by every other western of its time. The dialogue, Tarantino’s most applauded talent, wheels a careful turn between a sly comedy-of-manners and a bluntly provocative historical indictment, always landing on a shameless exploitation cinema influenced need for violent catharsis. Tarantino’s channeling of Spaghetti Western violence, with the gore cranked up to a level far beyond that of even Sergio Corbucci’s bloodiest work, delivers tenfold on that catharsis, splattering the pristine white walls of Candyland plantation bright red.
Dripping with transgressive and bizarre imagery, El Topo embraces every taboo imaginable with a breathless zeal. Existing somewhere between Midnight Movie oddity and art-house epic, Alejandro Jodorowsky’s second feature envisions the west as an unknowable landscape, dotted with peculiar and grotesque characters, such as a legless gunfighter who rides around on the back of an armless man. Describing the film in narrative terms, beat by beat, would be pointless, although we follow a rider in black, the titular El Topo (which means The Mole) who crosses the desert with a naked boy on the saddle. Though we spend more time with El Topo, his son is the heart of the film, this warped and subversive pseudo-fable exploring the cyclical nature of life. Jodorowsky’s painterly eye for composition lends individual shots with arresting and breathtaking resonance. With less than subtle biblical imagery scattered throughout, including a marvelous sequence involving a religion based around the game of Russian Roulette, Jodorowsky’s film feels at times like a twisted celebration of mysticism, sampling notes from Catholicism, Christianity, Hinduism and Buddhism. It’s ending, a chaotic, dream-like burst of violence, adds a scathing gut-punch to an already overwhelming experience. There is no other western quite like El Topo, to say the least.
Continue >> »
- Tony Hinds
June 17 marks the 45th anniversary of the Watergate break-in, a seemingly low-profile incident that quickly ballooned into an international incident and exposed a huge web of deceit. Among the many results was the eventual resignation of President Richard M. Nixon.
Five men were arrested while breaking into the Democratic National Committee headquarters in the Watergate complex in 1972. The Carl Bernstein-Bob Woodward book, “All the President’s Men,” came out only two years later, and in 1976, Warner Bros. released the acclaimed film from director Alan Pakula, writer William Goldman, and starring Robert Redford and Dustin Hoffman.
Redford was a driving force behind the film, which is remarkable for the speed of its completion. Most ripped-from-the-headlines projects end up as quickie TV movies, or else they languish in studio development for years.
11 Best Newspaper Movies
The Watergate events electrified the world and people became addicted to the TV coverage, »
- Tim Gray
Resolve, strength, practicality, vulnerability. It’s all there in her eyes, her jaw, her smile. It’s what makes her so compelling
My love of movies and television is matched only by my love of books, so nothing makes me happier than when screen and page collide. The other week, I found myself rereading one of my favourite books-turned-movies, William Goldman’s The Princess Bride. I adore the film, which I watched as a child, as much as I adore the novel, which I discovered as a teen. And even though she is underwritten, I’ve always loved the character of Buttercup. I suspect that was down to the actor who played her on screen, the luminous Robin Wright.
Today, the adjectives Wright conjures are earthy: flinty, stony, rocky. At 51, she looks as if she was carved from marble. But when I first saw her in The Princess Bride, she »
- Bim Adewunmi
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