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Fake Fruit Factory from Guergana Tzatchkov on Vimeo.
"Every year, Librarian of Congress James H Billington personally selects which films will be added to the National Film Registry, working from a list of suggestions from the library’s National Film Preservation Board and the general public," reports Ann Hornaday for the Washington Post. This year's list of 25 films slated for preservation:
Allures (Jordan Belson, 1961) Bambi (Walt Disney, 1942) The Big Heat (Fritz Lang, 1953) A Computer Animated Hand (Pixar, 1972) Crisis: Behind a Presidential Commitment (Robert Drew, 1963) The Cry of the Children (George Nichols, 1912) A Cure for Pokeritis (Laurence Trimble, 1912) El Mariachi (Robert Rodriguez, 1992) Faces (John Cassavetes, 1968) Fake Fruit Factory (Chick Strand, 1986) Forrest Gump (Robert Zemeckis, 1994) Growing Up Female (Jim Klein and Julia Reichert, 1971) Hester Street (Joan Micklin Silver, 1975) I, an Actress (George Kuchar, 1977) The Iron Horse (John Ford, 1924) The Kid (Charlie Chaplin, 1921) The Lost Weekend (Billy Wilder, 1945) The Negro Soldier (Stuart Heisler, »
“My momma always said, .Life was like a box of chocolates. You never know what you’re gonna get..” That line was immortalized by Tom Hanks in the award-winning movie “Forest Gump” in 1994. Librarian of Congress James H. Billington today selected that film and 24 others to be preserved as cultural, artistic and historical treasures in the National Film Registry of the Library of Congress.
Spanning the period 1912-1994, the films named to the registry include Hollywood classics, documentaries, animation, home movies, avant-garde shorts and experimental motion pictures. Representing the rich creative and cultural diversity of the American cinematic experience, the selections range from Walt Disney.s timeless classic “Bambi” and Billy Wilder.s “The Lost Weekend,” a landmark film about the devastating effects of alcoholism, to a real-life drama between a U.S. president and a governor over the desegregation of the University of Alabama. The selections also »
- Michelle McCue
I’m never one to put significant stock in the film-based choices made by any kind of committee — be it an awards group, critics circle, soup kitchen line, etc. — but the National Film Registry is a little different. Not that they’re any different than those aforementioned organization types, but because the government assemblage preserves works deemed “culturally, historically or aesthetically significant.” No small potatoes.
Their latest list — created for both public awareness and the opportunity to grumble, as I’ll do in a second — has been unveiled, and the selections are none too out-of-left-field. The biggest of these 25 would have to be Forrest Gump, a choice I fully understand but completely disagree with on an opinion and moral scale. The only other true objection I can raise is toward El Mariachi, film school-level junk from a director whose finest works are the direct result of working with those more talented. »
- firstname.lastname@example.org (thefilmstage.com)
Best Picture winners The Lost Weekend (1945), Forrest Gump, and The Silence of the Lambs (1991), along with the Walt Disney Studios' animated classic Bambi (1942), Charles Chaplin's silent comedy-drama The Kid (1921), and Howard Hawks' early screwball comedy Twentieth Century (1934) are among the 25 "culturally, historically or aesthetically" significant movies just added to the Library of Congress' National Film Registry. Directed by Billy Wilder, The Lost Weekend earned Ray Milland a Best Actor Oscar for his portrayal of an alcoholic. Jonathan Demme's The Silence of the Lambs earned Oscars for both leads, Anthony Hopkins and Jodie Foster. A monumental box-office hit in the mid-'90s and a paean to idiocy and conformism, Forrest Gump earned Tom Hanks his second back-to-back Oscar (he had won the previous year for Demme's Philadelphia). As per the National Film Registry's release, Bambi was Walt Disney's favorite among his studio's films. (That's all fine, »
- Andre Soares
Landmark films from John Cassavetes, Howard Hawks, Billy Wilder and George Pal join Bambi and Forrest Gump as the latest cinematic treasures to enter the National Film Registry, the Library of Congress announced Wednesday. Also on the list of 25 films chosen to be preserved for future generations are The Kid (1921), Charlie Chaplin’s first full-length feature; groundbreaking Latino film Stand and Deliver (1988); and student works from Pixar Animation co-founder Ed Catmull and director Robert Rodriguez. Under the terms of the National Film Preservation Act, the Librarian of Congress each December names 25 films to the National
- Mike Barnes
The great Howard Hawks once famously said that what makes a good film is "three great scenes, and no bad ones." While we'd argue that that's not an absolute hard-and-fast rule, he wasn't far off. With 2011 providing a number of above-average films, there've been plenty of memorable moments to go around, even if we couldn't attest to them all following Hawks Law. But sometimes, that's fine. If we go into a movie, and come out with one great scene rattling around our heads for the next few days -- a great action sequence, a moving piece of catharsis, a composition that puts goosebumps on the back of our necks, or a choice that says something about the artform or the human condition, or simply a good joke -- we consider that a victory. And there's plenty of all of the above to be found in the list below of our »
'When I first told people about my idea for this movie, they just laughed at me," says Michel Hazanavicius. "Friends, actors, producers – they all laughed. They'd say, 'Ok, Ok, but what do you really want to do?'" The problem was that Hazanavicius wanted to make a silent movie, 70 years after talkies rendered silents commercially obsolete and aesthetically outré. True, there have been some avant garde silent film-makers (Canadian Guy Maddin, for instance), but Hazanavicius isn't of their temper. "I wanted to make a charming mainstream movie. But nobody thought the market was ready for it. Producers said: 'Nobody wants to see a movie like that.'"
But they do. Hazanavicius's unremittingly charming and inventive movie The Artist, about a 1920s Hollywood star eclipsed »
- Stuart Jeffries
Andrew Embiricos, grandson of Rita Hayworth and Prince Aly Khan, was found dead of an apparent suicide at his West 17th Street apartment in Chelsea, New York City, on Sunday, Dec. 4. Embiricos was 25. Andrew Ali Aga Khan Embiricos was the son of economist and shipping heir Basil Embiricos and Princess Yasmin Aga Khan. He was also the nephew of Prince Karim, Aga Khan IV. As such, Embiricos was purportedly a direct descendant of the prophet Mohammed. His body, lying face up in bed with a bag over his head, was found Sunday evening by a friend, Aaron Edwards, who then called 911. An autopsy is to be performed. Because the handsome Embiricos had appeared in amateur gay sex video clips on X-Tube, New York and gay tabloids have gone on to claim that his death wasn't actually suicide, but an experimentation with autoerotic asphyxiation gone wrong. Those are the same sensational »
- Andre Soares
The debut of a Dutch director, this horror flick is based, like the 1951 Howard Hawks production The Thing from Another World, on the classic 1938 John W Campbell sci-fi tale Who Goes There? but shifted from the Arctic to the Antarctic. It is in fact more a prequel to John Carpenter's overrated The Thing of 1982 than a remake, and its token female scientist is an American palaeontologist called in by a Norwegian base when (in a spectacular opening sequence) a 100,000-year-old spacecraft with a deep-frozen alien is found beneath a glacier. When big trouble starts, the heroine spots that the creature can replicate any human being but can't transform inorganic matter. So if you've still got your fillings, you're still human. Not bad, but what Cole Porter might dismiss as just one of those things.
Science fiction and fantasyHorrorPhilip French
guardian.co.uk © 2011 Guardian News and Media Limited or its affiliated companies. »
- Philip French
David Ayer will write the script for Universal Pictures' updated version of their gangster classic "Scarface."According to Deadline.com, Marc Shmuger and Martin Bregman are producing.Bregman produced the 1983 version with Al Pacino.The new version will be neither a remake nor sequel but will borrow elements from the original 1932 Paul Muni version (directed by Howard Hawks and Richard Rosson) and the remade 1983 Al Pacino version (directed by Brian De Palma).The film's central story, that of an immigrant gangster striving for the American Dream while climbing the ladder of the organized crime world, will remain.The 1932 version was set in Chicago with prohibition alcohol as a lucrative source of income for gangsters. The 1983 version substituted Miami for Chicago and »
- Adnan Tezer
Blu-ray/DVD Release Date: Jan. 31, 2012
Price: Blu-ray/DVD Combo $34.98
Studio: Universal Pictures Home Entertainment
The movie is set at a remote Antarctic research station where paleontologist Kate Lloyd (Mary Elizabeth Winstead, Scott Pilgrim vs. the World) and pilot Carter (Joel Edgerton, Warrior) discover a mysterious organism buried in the ice. It’s not too long before a simple experiment frees the strange creature, seemingly an extraterrestrial lifeform, from its frozen prison. The shapeshifting alien quickly unleashes a flood of chaos and paranoia upon the camp, »
Fans of the 1983 classic Scarface likely weren't too pleased to hear in September that Universal Pictures was planning a "new version" of the movie, probably in the same way fans of the 1932 version of Scarface were upset in 1983. No script was in place for the new Scarface, though, reportedly, the latest version will again follow an immigrant who comes to the United States and falls from grace during his search for the American dream.
Universal has finally settled on a screenwriter. Deadline reports that David Ayer (Training Day) has been hired to write the script which won't exactly be about an Italian immigrant named Tony who becomes a crime boss in Chicago or a Cuban immigrant named Tony who becomes a drug kingpin in Miami, but likely will be about an immigrant from somewhere named Tony. For his part, Ayer is pleased with the job, which, he admits, he "sought »
- Ryan Gowland
Universal has hired ‘Training Day’ writer David Ayer to pen the upcoming ‘Scarface’ film, Collider is reporting. The studio is still saying the new version won’t be a remake, and will instead mix the elements Howard Hawks and Brian De Palma included in their respective 1932 and 1983 movies. Marc Shmuger and Martin Bregman are on board to produce the new ‘Scarface,’ which Ayer has said he’s excited about working on. “This is a fantasy for me. I can still remember when I saw the film at 13 and it blew my mind.” The screenwriter added that he sees the first two ‘Scarface’ films as the story of the American »
Such an obviously lame idea deserves that terribly puny title. Screenwriter David Ayer — the man behind such films as U-571 and Training Day – has been assigned the task of reworking the concept of Scarface for a contemporary audience by Universal Pictures. It will most likely follow a gutsy gangster on his climb to the top, only to see him fall victim to his own self-indulgence. He may also yell catchphrases. “I sought it out; I went after it hard. I see it as the story of the American dream, with a character whose moral compass points in a different direction. That puts it right in my wheelhouse,” Ayer tells Deadline. “I studied both the original Ben Hecht-Howard Hawks movie and the De Palma-Pacino version and found some universal themes. I’m still under the hood figuring out the wiring that will translate, but … there are enough opportunities in the real world today that provide an »
- Neil Miller
Rating: 2.5 out of 5 stars
“Reboot”, “reimagining” and “reinvisioning” are fashionable terms bandied around by studios to try and explain the presence of usually unnecessary quasi-remakes of classic films. Almost always shot through without due respect for the original work, keen only to exploit a new generation’s lack of awareness about cinema history and their appetite for the latest in quality visual effects, they are among the crassest calculations in Hollywood’s sizeable repertoire. A more disturbing trend may be emerging, then, with The Thing, a film so unimaginative that it not only mimics the title of its 1982 John Carpenter predecessor, but shamelessly remakes that film while disguising itself tenuously at best as a prequel.
The opening of Carpenter’s The Thing featured a Norwegian gunman trying to kill a fleeing dog, before the American crew of the Antarctic base discovered some disturbing and unusual remains, as well as the »
- Shaun Munro
When it was first announced back in September that a new take on Scarface was in development, I don't think anyone really batted an eye. Sure, sure... another potential remake of a classic, so what else is new? However, now that things are starting to move forward, I'm curious to see if people will become a little more vocal about the whole situation. According to Deadline, producers Martin Bregma and Marc Shmuger have hired David Ayer to pen the script, who is best known for writing Antoine Fuqua's Training Day and also for directing Harsh Times and Street Kings. Ayer had this to say about the project: "I see it as the story of the American dream, with a character whose moral compass points in a different direction. That puts it right in my wheelhouse. I studied both the original Ben Hecht-Howard Hawks movie and the DePalma-Pacino »
Back in September it was announced that Universal Pictures was developing another version of "Scarface," which was first released in 1932 and then turned into the iconic Al Pacino film in 1983. At the time, the studio was looking for writers. And now comes word that David Ayer (Training Day) has been hired to pen the new movie. "Scarface" will be a remake, but will have very little to do with the first two films, except the title and general premise, which revolves around an immigrant who forces his way into the criminal establishment in pursuit of a twisted version of the American dream. "This is a fantasy for me, I can still remember when I saw the film at thirteen and it blew my mind," said Ayer. "I sought it out; I went after it hard. I see it as the story of the American dream, with a character whose moral »
The Scarface remake will be drafted by David Ayer. The Training Day writer is working on the screenplay, which will update the original 1929 novel by Armitage Trail into a contemporary setting. "This is a fantasy for me, I can still remember when I saw the film at 13 and it blew my mind," Ayer told Deadline. "I sought it out; I went after it hard. I see it as the story of the American dream, with a character whose moral compass points in a different direction. That puts it right in my wheelhouse. "I studied both the original Ben Hecht-Howard Hawks movie and the DePalma-Pacino version and found some universal themes. I'm still under the hood figuring out the wiring that will translate, but both films had (more) »
- By Hugh Armitage
The idea of a remake to one of the most influential films of all-time usually has the fans up in arms and itching to be taken off the leash. The film in question is Brian De Palma’s Scarface, which itself was a remake of the 1932 classic starring Paul Muni albeit updated to reflect the changing times where one individuals power hungry excess eventually leads to his violent downfall. Al Pacino’s performance as Tony Montana is now as iconic as the man himself (I myself even have a pair of Nike trainers sporting his image) and today’s announcement that David Ayer will be writing the screenplay should give fans hope that all is not lost.
Ayer, who seems to specialise in complex characters with a deep destructive nature gave us the screenplays for Training Day, S.W.A.T., and the cruelly overlooked Dark Blue featuring a career best turn by Kurt Russell. »
- Craig Hunter
This new Scarface is said to combine elements of the 1932 Scarface, and the 1983 Scarface, while setting it in a modern crime world. Here's what David Ayer had to say about taking on this new project.
"This is a fantasy for me, I can still remember when I saw the film at 13 and it blew my mind. I sought it out. I went after it hard. I see it as the story of the American dream, with a character whose moral compass points in a different direction. That puts it right in my wheelhouse. I studied both the original Ben Hecht-Howard Hawks movie and the (Brian) De Palma-(Al) Pacino version and found some universal themes. I'm still »
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