1-20 of 68 items from 2015 « Prev | Next »
William C. Gerrity, the acclaimed assistant director who took to the gritty streets of New York City to work on the 1960s ABC series Naked City and the 1971 film The French Connection, has died. He was 86. Gerrity, the recipient of the DGA’s Frank Capra Achievement Award in 1983, died Nov. 15, his family announced. He left California in 2006 and was a resident of the Del Tura community in North Fort Myers, Fla. Gerrity’s first job in the business was as assistant director to Elia Kazan on A Face in the Crowd (1957), and he went on to
- Mike Barnes
The Hollywood sports drama has long been an indubitable cinematic staple, albeit a genre trapped in its own particular movements and formulaic flourishes. Tendencies for melodramatic exaggerations are often utilized to enhance and manipulate our emotional investment in these depictions of physical glory, where everyman underdogs are transformed into American heroes due to the very nature of their conquests. But while these dramas prime our tear ducts for a rinse, they inadvertently miss out on the realistic human characteristics which assisted in its subject’s ability to beat all the odds. During Hollywood’s golden era of studio financed auteur projects, a short-lived movement credited to a number of classic titles ranging from the late 60s to the late 70s, director Michael Ritchie inducted two iconic titles into the sports subgenre canon, beginning with his 1969 directorial debut, Downhill Racer (the other being The Bad News Bears in 1976). Written by acclaimed »
- Nicholas Bell
Kiki Alvarez’s “Sharing Stella” and Maria Govan’s “Play the Devil” are two out of four features in post-production highlighted by Ventana Caribe, a new industry event at Ventana Sur, Latin America’s largest movie market.
“Sharing Stella” turns on a director seeking an actress for the role of Stella in a “A Streetcar Named Desire.”
“In ‘Sharing Stella,’ youth which no longer believes in politics meets Cuba on the verge of a transcendental shift in its relationship with U.S..” Characters include “a YouTuber without Internet, a director who looks for desire and an actress who is a beast in the jungle of the Caribbean’s post-socialism,” Nicolas Ordonez at Bogota’s Lapopular told Variety.
The Ventana Caribe event features not only four pix-in-post but also one-to-one co-production meetings, a video library selection available for potential industry buyers and partners and a presentation offered by Jonathan Ali, at »
- Emilio Mayorga
Ruining the Freudian allure of living fast and dying young by only really caring about the second part, Life is more successful as a reminder to prep your will than it is as a character study. This slice of biopic life finds actor James Dean as he stands on the precipice of stardom, and therefore, his untimely death. Director Anton Corbijn’s sleepy deconstruction of a Golden Age icon proves all too effective at exposing the duller details of Hollywood’s affair with Dean, before he became an industry legend and early martyr of American youth culture.
Patient pacing, the masks separating private and public appearance, the worth of an individual man: all interests of Life that also made Corbijn’s previous film, A Most Wanted Man, a thoughtful exercise in screw-tightening espionage. But the gulf of engagement one feels between modern terror politics and Silent Generation celebrity is wide »
- Sam Woolf
Director Tom McCarthy’s true story drama about Boston Globe reporters investigating the local Catholic archdiocese and the surrounding child molestation scandal, Spotlight, is a serious Oscar contender, particularly for its star-studded cast.
The film, which won the best ensemble performance award at this month’s Gotham Awards and the Robert Altman award at the Independent Spirit Awards, boasts serious contenders in the best supporting actor category led by performances from last year’s best actor nominee Michael Keaton and former Oscar-nom Mark Ruffalo.
It seems likely that both Keaton and Ruffalo will receive nominations this year, which would be quite a feat in itself as no film has had two of its actors nominated in the best supporting actor category since Harvey Keitel and Ben Kingsley both earned noms for 1991’s Bugsy (though the supporting actress category has had a number of films with »
- Patrick Shanley
Jose here. As a non-American, Thanksgiving has always been my favorite Us holiday because it's the time of the year when it's socially acceptable for people to put marshmallows and cranberries on everything. A practice which I refuse to stop during the other 364 days of the year, but which for 24 hours helps me bond with the people I love, as I argue about why movies with subtitles are as nourishing as turkey and gravy.
Other than complex carbs, I'm also thankful for
...J.Law away from Dior's gold and diamond shackles. She has rarely looked better than in the black Ralph Lauren she wore to one of the Mockingjay: Part 2 premieres.
...Charlotte Rampling's skinny jeans in 45 Years.
...3D movies that challenge everything I thought about the medium (thank you Gaspar Noe and Wim Wenders)
...for world cinema, and for the opportunity I've had to talk to so many international filmmakers this year. »
The most fervent of the detractors of the Hollywood Foreign Press Assn. prefer to obsess over the group’s Golden Globes balloting lapses, while obstinately overlooking the org’s real awards voting history.
For every Pia Zadora, there are dozens of Globes winners that consistently demonstrate a seriousness of purpose that regularly matches or surpasses the Academy’s Oscar champions.
The HFPA’s track record of rewarding edgier, more demanding achievements in the dramatic film category is ironically the benefit of the group’s recognition of comedies and musicals.
Cynics will say having both film drama and comedy/musical Golden Globes categories means more stars on the HFPA’s red carpet and awards TV broadcast and more tables sold to the producers. Those are certainly byproducts, but the more significant impact of the acknowledgement of lighter efforts is the ability to double-down on rewarding the more demanding serious fare.
- Steven Gaydos
Based on F. Scott Fitzgerald's final unfinished novel, the 1930s set story follows Hollywood's first wunderkind studio executive Monroe Stahr as he climbs to the height of power against his mentor and current head of the studio Pat Brady.
Source: Deadline »
- Garth Franklin
This is a Great film noir. A straying husband's 'innocent' dalliance wrecks lives and puts his marriage in jeopardy. Been there, done that? Dick Powell and Lizabeth Scott are menaced by Raymond Burr, while wife Jane Wyatt is kept in the dark. Andre de Toth's direction puts everyone through the wringer, with a very adult look at the realities of the American marriage contract, circa 1948. Pitfall Blu-ray Kino Lorber Studio Classics 1948 / B&W / 1:37 flat Academy / 86 min. / Street Date November 17, 2015 / available through Kino Lorber / 29.95 Starring Dick Powell, Lizabeth Scott, Jane Wyatt, Raymond Burr, John Litel, Byron Barr, Jimmy Hunt. Cinematography Harry Wild Art Direction Arthur Lonergan Film Editor Walter Thompson Written by Karl Kamb from the novel by Jay Dratler Produced by Samuel Bischoff Directed by André De Toth
Reviewed by Glenn Erickson
Is 'domestic noir' even a category? I think so. Some of the creepiest late- '40s noir pictures take intrigue, »
- Glenn Erickson
Heaven’S Floor screen Saturday November 14th at 1:00pm at The Tivoli Theater as part of this year’s St. Louis International Film Festival. Director Lori Stoll and storyboard artist Jeanie Everett Mitchell will be in attendance. Ticket information can be found Here
In director Lori Stoll’s semi-autobiographical Heaven’S Floor, La-based photographer Julia (Clea Duvall) meets an expedition leader who convinces her to join a trip to the Canadian Arctic. Desperate for more meaning in her life, Julia chooses to go despite growing tension with her husband. But a journey that starts on a whim soon becomes a life-threatening disaster, as an ill-equipped Julia finds herself stranded on sea ice with temperatures plummeting to minus 30 and darkness falling. Rescue arrives when Julia spots a lone skidoo racing across the frozen tundra. Malaya, an 11-year-old orphaned Inuit girl, and her uncle take Julia to a small Inuit community by the Arctic Circle, »
- Tom Stockman
Starting in the late 1940’s, and continuing through to the end of the ‘50’s, Hollywood seemed to be obsessed with the concept of “passing” - light skinned black people passing for white. Though it wasn’t new, of course, somehow it caught Tinseltown’s attention and a slew of films were made, almost all them dealing with women in particular, who passed for white, and the tragedies and sorrow that they encountered. Elia Kazan’s "Pinky," "Lost Boundaries," "Imitation Of Life," "Band of Angels," "The Night of the Quarter Moon," "I Passed for White," and the would-be "Gone with the Wind" rip-off, "Raintree »
The Brave One: Roach Recapitulates Black List Era Hollywood
Examining the past from the safer perspective of our more enlightened period, Jay Roach’s Trumbo is a salutation to famed screenwriter Dalton Trumbo, a man who defied the blacklist following Joseph McCarthy’s witch hunt in Hollywood. Unfortunately the film doesn’t seem worthy of the talented man it’s lionizing. Some might conclude, now more than ever, a remembrance of Trumbo and those brave souls who continue to stand against a corrupt system despite personal losses, are important. But then, one would expect a much more unruly and rebellious film, something harpooning Hollywood’s greedy, superficial sugarcoating rather than just another period send-up. Despite a sympathetic and altogether enjoyable performance from Bryan Cranston, Roach dithers around with a host of stereotypes and clichés, presenting mimicry of cinematic golden days sporting a cavalcade of caricatures not unlike Sacha Gervasi »
- Nicholas Bell
Hollywood Film Award winner and Vancouver International Film Festival’s Audience Award recipient, Brooklyn, opens in theaters today. The film centers on a young Irish immigrant (Saoirse Ronan) coming to America in the 1950’s and her struggles with adapting to a new country and leaving behind her homeland.
The film’s setting and subject matter may hit close to home with many Academy voters who grew up in that time period and can relate to the immigrant story. Coupled with the fact that the film is distributed by Fox Searchlight, which was behind both of the last two best picture winners (12 Years a Slave, Birdman), it seems destined for Oscar success. It is not the only movie this year that may spark nostalgic sentimentality in Academy voters, however.
Here’s a look at a few films from Oscars history that dealt with the subject of »
- Patrick Shanley
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Museum of the Moving Image
Maurice Pialat‘s six-hour miniseries, Le maison de bois, will conclude the career-spanning retrospective.
“It Came from Within: A David Cronenberg Horror Weekend” brings the director’s classics to the big screen.
- Nick Newman
Maureen O'Hara: Queen of Technicolor. Maureen O'Hara movies: TCM tribute Veteran actress and Honorary Oscar recipient Maureen O'Hara, who died at age 95 on Oct. 24, '15, in Boise, Idaho, will be remembered by Turner Classic Movies with a 24-hour film tribute on Friday, Nov. 20. At one point known as “The Queen of Technicolor” – alongside “Eastern” star Maria Montez – the red-headed O'Hara (born Maureen FitzSimons on Aug. 17, 1920, in Ranelagh, County Dublin) was featured in more than 50 movies from 1938 to 1971 – in addition to one brief 1991 comeback (Chris Columbus' Only the Lonely). Maureen O'Hara and John Wayne Setting any hint of modesty aside, Maureen O'Hara wrote in her 2004 autobiography (with John Nicoletti), 'Tis Herself, that “I was the only leading lady big enough and tough enough for John Wayne.” Wayne, for his part, once said (as quoted in 'Tis Herself): There's only one woman who has been my friend over the »
- Andre Soares
This would hardly be the first time Martin Scorsese has moved toward a project he ultimately backs out of, but considering the contractual circumstances of its unveiling — and his recent dedication to projects: The Wolf of Wall Street and Silence took years (even decades) to create, and The Irishman is reportedly still coming — this one might have a good shot. Paramount have (no doubt proudly) announced themselves as the helmer’s home through 2019, and coupled with this is news that they’ll back, in addition to Silence, the newly developing Devil in the White City, and the aforementioned The Irishman, a biopic based on the life of composer Leonard Bernstein.
Yes, it’s among “a number of films” they’d like to have Scorsese shepherding, but the fact that it’s a) the only one yet announced and b) the only one with a screenwriter (Spotlight co-scribe Josh Singer) should I think, »
- Nick Newman
A new restoration of Lino Brocka’s Insiang (1976) begins its weeklong run at MoMA today. More goings on: A Mathieu Amalric retrospective and screenings of Jenni Olson's The Royal Road, Elia Kazan's A Face in the Crowd and Alfred Hitchcock's Dial M for Murder in New York, Adam Curtis Weekend in Berlin, an Alejandro Jodorowsky retrospective in Bordeaux and, in São Paulo, a Jean-Luc Godard retrospective aims to screen the entire filmography, 125 works in all, including features, shorts, commercials and trailers. Through November 30. » - David Hudson »
1961 Spanish poster for Funny Face (Stanley Donen, USA, 1957). Artists: “McP” (Ramon Marti, Joseph Clave, Hernan Pico).Of all the posters I’ve selected for Movie Poster of the Day over the past three months, I would not have expected this Spanish Funny Face to be the most reblogged and “liked” of all, but I am pleasantly surprised that it is. A gorgeous poster, credited to a triumvirate of artists, that repaints photographic images from the Us half-sheet in unexpected shades of purple and orange, it somehow caught Tumblr’s attention. Or maybe it was just those eyes.It tends to be true that the posters that catch fire the most are unusual and striking designs for well known films, like the Japanese Beetlejuice, the Polish Ran, the British Breathless, and the French On the Waterfront. Which makes it all the more heartening that the fourth most popular poster was a »
- Adrian Curry
Directed by Kent Jones
In 1962, Francois Truffaut, one of the glittering leading lights of the French nouvelle vague sat down for a fortnight of intricate and comprehensive interviews with master of suspense Alfred Hitchcock at his offices in sun-blessed Hollywood. Contrary to his current position as one of the greatest filmmakers of all time, in this period Hitch was critically considered as merely an adept showman, a fine purveyor of whimsical thrillers, and a household name due to his popular TV crime and mystery serials. Since then, his work has been autopsied and analysed at a level arguably unmatched by any other auteur, and he is now considered one of the great psychological and semiotic cartographers of cinematic space and culture, with his 1958 picture Vertigo recently promoted to the pedestal of greatest film of all time. Flattered by the »
This Sunday, actress Diane Baker will appear at Film Forum in New York to discuss her 50-plus year career in film and television with film historian Foster Hirsch. On Monday at 8:00pm she will again be at Film Forum to introduce a screening of Alfred Hitchcock’s 1964 film Marnie.
Still just in her mid-twenties, actress Diane Baker found herself one morning in the unfamiliar surroundings of Alma and Alfred Hitchcock’s Brentwood kitchen. They ate peaches around the kitchen table and discussed director Hitchcock’s next picture – Marnie. “I was offered the part without reading the script,” Baker told me on the phone from an apparently sunny San Francisco. “I just happily accepted. Whatever it was, I was going to do it.” But looking back who can blame her? This was, of course, the director whose five previous films had been The Birds, Psycho, North by Northwest, Vertigo and The Wrong Man, »
- James Knight
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