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Universal is still set on remaking Scarface again. While the first redo starring Al Pacino didn't arrive until 51 years after the Howard Hawks original, the next will come out only 35 years later. If the studio can get the project going on time for its August 10, 2018, release date, that is. Although they have a script and star in place, as well as a sure-thing title, they're still currently without a director. Let's look at a timeline to remind us what's been going on: April 1932: The first Scarface hits theaters with Paul Muni in the lead as "Tony Camonte" and a story inspired by the life of Al Capone. December 1983: Brian De Palma's remake, written by Oliver Stone, opens with Pacino playing Cuban refugee turned gangster...
- Christopher Campbell
Tony Sokol May 22, 2017
Suicide Squad director David Ayer is in early talks to direct and write Universal’s new take on the gangster classic Scarface. Ayer steps in for Antoine Fuqua, who couldn’t fit the film into his schedule, given his current commitment to making The Equalizer 2.
Scarface will follow the rise and fall of a Mexican gangster. It will star Diego Luna, who played Cassian Andor in Rogue One: A Star Wars Story, as the bad immigrant made worse. It will be set in the El Sereno area of South Los Angeles
Ayer has form in the genre. Before Suicide Squad he directed the gritty crime films End Of Watch, Hard Times and Street Kings. He also wrote the screenplay for Training Day. Right now, he's currently directing and producing Bright, which will also star Will Smith, »
The long-rumored Scarface reboot has officially been placed on the fast track over at Universal, no thanks to the appointment of Joel and Ethan Coen, and it seems the studio is wasting no time in its search for a director.
Deadline is reporting today that David Ayer, director of Fury, Suicide Squad and Netflix’s upcoming fantasy flick Bright, has entered talks to take point at the helm. Negotiations are ongoing, but this revelation means Ayer is now the first filmmaker to be linked with the project ever since Antoine Fuqua departed due to issues with scheduling. But there was some good news to counter the disappointment of losing the Training Day director: Rogue One‘s Diego Luna had climbed aboard to headline.
Luna is still involved in Universal’s long-gestating redo, thank the heavens, and assuming David Ayer and the Powers That Be at Universal reach some form of agreement over the coming weeks, »
- Michael Briers
Late summer is all about reflection over at The Criterion Collection, as the library is spending August offering up a handful of unsung classics and new look at some longtime favorites.
Michael Curitz’s “The Breaking Point,” a mostly overlooked Hemingway adaptation, starring John Garfield and Patricia Neal, will be available on Blu-ray for the first time, while Sacha Guitry’s “La poison” arrives on home video for the first time ever. Elsewhere, Mike Leigh’s revelatory “Meantime” is getting a 2K restoration, all the better to enjoy the early work of Tim Roth and Gary Oldman. That’s not all for Oldman fans, however, as Alex Cox’s “Sid & Nancy” hits the collection with a brand new 4K digital restoration. Finally, Walter Matthau stars in the charming comedy “Hopscotch,” also available on Blu-ray in a 2K digital restoration.
Below is the complete list of August additions, with descriptions provided by Criterion. »
- Kate Erbland
The Cannes Film Festival is gearing up for tomorrow's opening night screening of Arnaud Desplechin's Ismael’s Ghosts (Les Fantômes D'Ismaël) starring Mathieu Amalric, Charlotte Gainsbourg and Marion Cotillard with Louis Garrel and Alba Rohrwacher, and a score by Grégoire Hetzel. Claude Lelouch with Un Homme Et Une Femme, starring Anouk Aimée and Jean-Louis Trintignant, in 1966 had won Palme d'Or honours and with Pierre Uytterhoeven, a Best Screenplay Oscar.
Mr and Mrs Gallois (Charles Denner and Judith Magre) with Simon (Jean‑Louis Trintignant) in Le Voyou: "One must learn how to detect cheaters."
- Anne-Katrin Titze
It takes a lot to stand out when you’re standing between Robert Mitchum and John Wayne. And it surely isn’t easy when you’re also standing in front of the venerable Howard Hawks. But this was the position 25-year-old James Caan found himself in when he took on the role of Alan Bourdillon Traherne, otherwise known as Mississippi, in Hawks’ 1967 Western, El Dorado. Though Hawks was nearing the end of his filmmaking career (this would be his penultimate movie) and Caan was just at the start of his (following two features and about five years of extensive television work), they were each entering the project under similar circumstances. Indeed, it was their shared experience on the disappointing Red Line 7000 (1965) that left them both wanting. It may have been a personal letdown for Caan, but that film’s poor reception wasn’t a deal-breaker as far as his prospects were likely to continue. »
Close-Up is a column that spotlights films now playing on Mubi. John Carpenter's Christine (1983) is showing May 4 - June 3 and Starman (1984) is showing May 5 - June 4, 2017 in the United Kingdom.ChristineWas it too dark? Too bleak? Too gory? Did it have the misfortune of opening when American moviegoers were flocking to E.T.? Either way, when John Carpenter's The Thing landed in the summer of 1982, with an apocalyptic cliffhanger and the most surreally grotesque, tactile, gooey monster effects you never realized could be put on film, it fizzled. "It was hated," Carpenter later recalled at a screening in Los Angeles. "Hated by fans. I lost a job. People hated me. They thought I was this horrible, violent—" He trailed off and joked, "And I was." The audience laughed, because by now The Thing's exalted place in movie geek culture is secure: an exquisitely paranoid horror classic and arguably the crown »
Directed by Thomas Napper.
Boxer Jimmy McCabe (Johnny Harris) has hit rock bottom. A former youth boxing champion he agrees to an unlicensed fight up north, much to the disapproval of former friends Bill (Ray Winstone) and Eddie (Michael Smiley). When he begins training at Bill’s boxing club, Eddie reluctantly agrees to accompany Jimmy north to the fight and be his corner-man.
Together with The Pyramid Texts, The Happiest Day in the Life of Olli Maki and Jawbone cast the fighter of the squared ring has a rejuvenated figure, at least in the square frame of the screen. Unlike the black and white aesthetic of its compatriots, Jawbone is vivid for its colour, in as much as it refuses to pull its punches in the violence unleashed between the ropes.
Howard Hawks lamented the fact that one shouldn »
- Gary Collinson
Kirk Douglas grits his teeth and goes full macho, wrasslin’ with that beautiful Sioux up in the high country — the Sioux miss in question being the Italian model Elsa Martinelli in her screen debut. Kirk can’t decide if he wants to stay with Elsa, or lead what must be the most shameful bunch of pioneer bigots ever to cross the plains. Walter Matthau and Diana Douglas are standouts in this vigorous action western directed by André de Toth.
Kl Studio Classics
1955 / Color / 2:35 widescreen / 88 min. / Street Date May 9, 2017 / available through Kino Lorber / 29.95
Starring: Kirk Douglas, Elsa Martinelli, Walter Matthau, Diana Douglas, Walter Abel, Lon Chaney Jr., Eduard Franz, Alan Hale Jr., Elisha Cook Jr., Ray Teal, Frank Cady, Michael Winkelman, William Phipps.
Cinematography: Wilfrid M. Cline
Art Direction: Wiard Ihnen
Film Editor: Richard Cahoon
Written by Robert L. Richards, »
- Glenn Erickson
Mark Harrison May 19, 2017
If you haven't caught up yet, Their Finest is currently playing in UK cinemas and it's a gorgeous little love letter to perseverance through storytelling, set against the backdrop of a film production office at the British Ministry of Information during the Second World War. Based on Lissa Evans' novel, Gemma Arterton and Bill Nighy play characters whose access to the film industry has been contingent on the global crisis that takes other young men away from such trifling matters, and it's a real joy to watch.
Among other things, the film got us thinking about other films about making films. We're not talking about documentaries, even though Hearts Of Darkness, the documentary about the making of Apocalypse Now, may be the greatest film about »
I was 12 years old in 1968. One of my favorite places was the library, in those days the closest library to us was the Tesson Ferry Branch in South St. Louis County. My most prized possession was my library card.
My Mother used to drop me off there on a Saturday or a summer weekday and I would spend the whole day reading. One of those days I pulled a book off the shelf called Hitchcock/Truffaut and sat down to read it. I knew who Alfred Hitchcock was from his television show, and from his monthly Mystery Magazine as well as anthologies that I was reading avidly, Tales That Frightened Even Me, More Tales for the Nervous and, my favorite, Stories to be Read After Dark.
- Sam Moffitt
We recommend titles that influenced Ben Wheatley and more.
With his sixth feature, Ben Wheatley finally has a wide release in America. Free Fire might be his most accessible movie yet, consisting a single location and pretty much just one long action sequence. It’s basically a 90-minute third act without the first two acts getting in the way. Also it features Oscar winner Brie Larson, and who doesn’t like watching her act?
If you like what you see, then you’ll want to discover Wheatley’s other work, starting with the small crime film Down Terrace, which kicked off his career. I also recommend the following dozen movies, some of which are direct influences on Wheatley, others being similar kinds of films, and then just whatever else I had determined worthy.
The Truce Hurts (1948)
Ben Wheatley loves Tom and Jerry cartoons and has cited them as an influence on his latest movie. I »
- Christopher Campbell
More than a sub-genre; a way of life.
Filmmakers have worked within recognizable genres for nearly as long as they’ve told stories. Initially film appropriated genres from literature and theatre, but as the new medium found its footing in Hollywood’s Classical Era of the 40s and 50s, a distinctly cinematic set of generic conventions were codified. Since that time, genres have come in and out favor, but most new films have still defined themselves either in accordance with or opposition to the Classical Hollywood models. Even innovative filmmakers like Jean-Luc Godard and David Lynch have self-consciously manipulated the language of genre, treating it like another tool in the director’s toolkit. But films are living things, and there are as many ways to draw the lines of categorization as there are films. Reevaluating movies of the past according to new and different models is one of the best ways to keep the medium from ossifying »
- Jake Orthwein
For all the talk of foot-long fingernails, shower-avoidance, Kleenex boxes for shoes, the multiple viewings of Ice Station Zebra, his decades-long addiction to painkillers and a Citizen Kane-sized persona, Howard Hughes did manage early in his career to make a sizeable dent in movie history. As a producer he backed Howard Hawks’s landmark, censor-baiting, gangster classic Scarface, as well as that marvel of logistics and barminess, Hell’s Angels. Since Hughes stopped making movies himself, other people have started making movies about Hughes, especially since his mysterious death in 1976.
Continue reading »
- John Patterson
Come on and check Collin's second (and final) day at the TCM Film Festival!
My second day at the TCM Film Festival started off with a healthy dose of frustration. Apparently, Saturday morning in Hollywood wasn’t only home to the TCM Film Festival, but also to the Hollywood Half Marathon. I drove my normal route from the Valley and when I noticed Hollywood Boulevard was closed, I assumed it was for filming or some red carpet set-up so I drove east on Franklin hoping to make my way to Sunset and double-back to the parking garage within a block or two. Boy, what a bad move. I spend half an hour driving east, past Los Feliz waiting for the roads to open, and ended up driving all the way back to where I was before, going one block west—where, what do you know, folks? Hollywood was open for business. »
- firstname.lastname@example.org (Collin Llewellyn)
Get in touch to send in cinephile news and discoveriesNEWSRadley Metzger's The Lickerish QuartetRadley Metzger, whose groundbreaking erotic films helped set standards of style for both mainstream and arthouse cinema, has died at 88. His classics Camille 2000 (1969) and The Lickerish Quartet (1970) were featured on Mubi last year. Critic and programmer Steve Macfarlane interviewed the director at Slant Magazine for the Film Society of Lincoln Center's 2014 retrospective devoted to Metzger.Recommended VIEWINGThe Cinémathèque française has been on a roll uploading video discussions that have taken place at their Paris cinema. This 34 minute talk is between Wes Anderson and director/producer Barbet Schroeder.The Criterion Collection has recently released a new edition of Michelangelo Antonioni's masterpiece Blow-Up, and has uploaded this stellar clip of actor David Hemmings speaking on a talk show about making the film.Recommended READINGHoward Hawks' ScarfaceHow does Chicago intertwine itself with crime and the culture created in the mix of the two? »
The retrospective Frank Capra, The American Dreamer is showing April 10 - May 31, 2017 in the United Kingdom.Frank CapraFrank Capra has fallen badly out of fashion in recent decades. While still well-known for the extraordinary Depression-era purple patch that produced It Happened One Night (1934), Mr. Deeds Goes to Town (1936) and Mr. Smith Goes to Washington (1939), the critics have rarely been kind. His work is routinely derided as “Capra-corn” for its perceived sentimentality and “fairy tale” idealism while the man himself is written off in favour of contemporaries Howard Hawks, Preston Sturges and Ernst Lubitsch.Elliot Stein, writing in Sight & Sound in 1972, attacked Capra’s “fantasies of good will, which at no point conflict with middle-class American status quo values”, arguing that his “shrewdly commercial manipulative tracts” consist of little more than “philistine-populist notions and greeting-card sentiments”. Pauline Kael found him “softheaded,” Derek Malcolm a huckster hawking “cosily absurd fables.” To an extent, »
Liam Neeson has attached himself to the spec “Marlowe” to play the iconic Raymond Chandler character Philip Marlowe. “The Departed” scribe William Monahan penned the script with Nickel City Pictures and Gary Levinson producing.
Based on the book “The Black-Eyed Blonde” by Benjamin Black, the story follows the tough as nails private detective the early 1950s where Marlowe is as restless and lonely as ever, and business is a little slow. That is until a beautiful blonde client comes in and asks Marlowe to find her ex-lover. He soon comes to find out that the ex-lover’s disappearance is just a part of bigger mystery and soon has Marlowe wrapped up with one of the more powerful families in Bay Cities who are willing to go to any length’s to protect their fortune.
“The book by Benjamin Black was a pleasure to adapt, and with Marlowe there’s no »
- Justin Kroll
On the afternoon of the Focus on French Cinema screenings at the French Institute Alliance Française in New York of Un + Une (One Plus One) with Jean Dujardin, Elsa Zylberstein, Christophe Lambert and Alice Pol, and Un Homme Et Une Femme (A Man And A Woman), starring Anouk Aimée and Jean-Louis Trintignant, I met with the director/screenwriter Claude Lelouch at his hotel.
Disguises in La Bonne Année (Happy New Year) with Lino Ventura and Charles Gérard, kidnapping in Le Voyou (The Crook) with Trintignant and Christine Lelouch, traveling with Fanny Ardant, Dominique Pinon, and Audrey Dana in Roman De Gare (Crossed Tracks), influencing Terrence Malick, Abbas Kiarostami and cars, Howard Hawks's Bringing Up Baby, Tarantino's Pulp Fiction, dogs versus cats, »
- Anne-Katrin Titze
Here’s a real gem — a ‘classic’ Chekhov story turned into a compelling tale of lust and murder. George Sanders and Linda Darnell shine as a judge and the peasant girl who intrigues him; Edward Everett Horton is excellent cast against type in a dramatic role.
Sprocket Vault / Kit Parker
1944 / B&W / 1:37 Academy / 106 min. / Street Date October 20, 2009 (I’m a little late) / available through Sprocket Vault / 14.99
Art Direction: Rudi Feld
Collaborating Editor: Gregg G. Tallas
Original Music: Karl Hajos
Produced by Seymour Nebenzal
Directed by Douglas Sirk
- Glenn Erickson
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