“Leaving Las Vegas” — Booze Run
Although not a traditional “drunk scene,” the opening scene of “Leaving Las Vegas” — which sees Nicolas Cage’s Ben Sanderson dancing through a liquor aisle piling his cart sky high with booze — is as good a prelude to this list as any.
“Arthur” — Introducing Princess Gloria
Dudley Moore’s Arthur spends the majority of the film tipping back drinks, but his introduction of “Princess Gloria” to his aunt and uncle at a restaurant — and his insistence that Rhode Island could
It happened this year with Wet Hot American Summer, which returned in the form of a Netflix series. Like that movie, Can't Hardly Wait has continued to grow a strong cult following over the years. It stands as a perfect time capsule for the 90s, especially in terms of clothing, slang and the social structure of the teenage movement at that time. 90s nostalgia is about to reach its crescendo soon, and this may be the perfect sequel to get us there.
Chester Gould’s famous yellow-coated detective, Dick Tracy, has appeared across various mediums since his first comic strip appearance in 1931, but it wasn’t until 1990 that the character made his way into blockbuster territory. It may have been considered less than successful on release and forgotten to a certain extent since then, but there is a lot to love about Warren Beatty’s film, imbued with an infectious sense of fun and comic strip visuals that continue to impress.
Dick Tracy went through several hands before it finally landed Beatty in the director’s chair, though the actor had had a concept for it as far back as 1975. It’s a long and rocky development history that saw names such as Steven Spielberg and John Landis offered the
Written by James V. Hart, Nick Castle, Malia Scotch Marmo, and J. M. Barrie
Directed by Steven Spielberg
Steven Spielberg is known the world over for creating genuine movie magic. From his blockbuster splash Jaws in 1975 up until his 2012 biopic Lincoln, Spielberg is certainly a gifted filmmaker. Very few auteurs are still work today but Spielberg keeps banging out films that dazzle the senses and leave an everlasting impression on the viewer. However, some of Spielberg’s films haven’t achieved the recognition and respect they deserve. There are certain films that this movie master made that didn’t quite achieve a high status. One such film is 1991’s Hook, a fantasy adventure which didn’t really score well with critics but filled children of the 90s with joy, innocence, and wonder.
The film follows middle-aged lawyer Peter Banning (Robin Williams), a bitter individual who has forgotten who he is.
We have a great opportunity to reconsider this film now that Disney is releasing it tomorrow on Blu-ray. One of the things about the production is that Beatty wanted to recreate Chester Gould’s strip as faithfully as possible, which meant he limited the color palette to a mere seven colors,
This week a subtle spy faces off against a mean girl and a cavalcade of celebs in theaters nationwide. Want more thrilling espionage tales, badass black comedies and schmaltzy star-studded stories? We’ve got you covered with some stellar selects that are Now Streaming.
Based on John le Carré’s espionage novel, Ttss centers on stoic MI6 agent George Smiley (Gary Oldman), who is in the midst of a mole hunt. Colin Firth, Benedict Cumberbatch and John Hurt co-star. Tomas Alfredson (Let the Right One In) directs.
Like your thrillers with British accents? Sure you do!
Sherlock (2010) Ttss co-star Benedict Cumberbatch stars in this extraordinary BBC sleuth series as a sociopathic Sherlock,
"When you're really doing good work is when you don't know you're working, and when something just occurs to you, and you go, 'Oh, of course.' I think it's dumb to talk about movies before you make them. I just don't do it. It gives you a reason to avoid making them.""
Warren Beatty declined to provide any plot details, casting possibilities, or a timeline when we might see a Dick Tracy sequel go into production. He also said a new remastered Blu-ray of Dick Tracy is in motion, although he wouldn't say when that would hit the shelves.
We reported last month that Warren Beatty prevailed in his lawsuit against Tribune Co.
Warren Beatty obtained the rights to Dick Tracy in 1985 from Tribune Co., which he used to star in, direct and produce the 1990 Dick Tracy movie. There is a clause in Warren Beatty's agreement with Tribune that the rights would revert back to Tribune if he wasn't using them for a movie or TV project.
At issue was the 2009 TV special which featured Warren Beatty dressed in character as Dick Tracy, answering questions from film critic Leonard Maltin. The judge ruled this special provided adequate cause for Warren Beatty to retain the rights, even though the special only aired once on the Turner Classic Movies channel in July 2009.
It isn't clear what Warren Beatty actually plans to do with the rights, since that one-time TV special was only
Filmmakers like Zack Snyder are declared “visionaries” in some quarters simply for reproducing someone else’s vision panel-by-panel. Yet there are several motion pictures that have transcended the boundaries of their source material and found inventive ways of translating the form, content and spirit of a comic into a wholly cinematic language. So, with the industry buzzing over Edgar Wright’s visually kinetic adaptation of Bryan Lee O’Malley’s graphic novel series, “Scott Pilgrim vs. The World,” let’s take a look back at ten of the best comic book
Gaga's involvement in Polaroid adds yet another chapter to the company's involvement in pop culture. From Outkast to "Clueless," Polaroids have shown in all corners of the pop culture landscape.
Director Christopher Nolan first grabbed the attention of the masses with this twisty noir flick, which centered around a guy named Leonard (played by Guy Pearce) who has a brain condition that doesn't allow him to make new memories. What does he do to supplement his brain? He takes a ton of snaps with his trusty Polaroid camera.
Decked out as a wild-and-crazy, end-of-school-year party-rama, "Can't Hardly Wait" has many of the same decorations and trappings as "American Graffitti" and "House Party", but it's one dreary carbon of a celluloid.
Luckily, its target teen audience may be too wet behind the ears to have ever viewed this Sony release's wilder, woolier and funnier antecedents. Factor in a so-so opening weekend at the boxoffice, but word-of-mouth will be failing. Still, based on the recognition value of its youthful cast, this comic cut-out may chalk up some decent grades as a video rental, perfect as background noise at slumber and pizza parties but not distracting enough to intrude on more adventuresome late-night activities.
In this hodgepodge of party hijinks, writer-directors Harry Elftont and Deborah Kaplan have crammed together a cluster of kids -- all stereotypes -- and jammed them into, basically, a single-set situation. Unfortunately, this class is not nearly as edgy and charismatic as those at Ridgemont High. They are, left to right in the yearbook: Mike, a callous, handsome jock (Peter Facinelli), Amanda, the class beauty and Mike's porcelain girlfriend (Jennifer Love Hewitt); William, a National Merit Scholar geek (Charlie Korsmo); Kenny, a kooky shortboy who thinks he's a homeboy (Seth Green); Preston (Ethan Embry), a moony nondescript who pines for Amanda, and Denise, a sullen outsider (Lauren Ambrose). It all swirls around the fact that Mike and Amanda have broken up. Oh, there's other people too: a pair of nerds on the roof and a gushy girl who wants everyone to sign her yearbook. Interesting? Not even.
Unfortunately, Elfton and Kaplan, while stringing out predictable plot dots for these character cliches, have not even connected the basic linear points with any verve or originality. The narrative is merely a scattergun smear of lame sight gags and disjointed, dimwitted vignettes, camouflaged shrewdly by some quick-cut edits and jumpy swerves.
Overall, "Can't Hardly Wait" is about as much fun as listening to a valedictorian drone on about the future, all puff and predictability. It's an underachiever on all comic fronts -- poorly structured gags, underdeveloped plotting, dropped comic opportunities, witless dialogue, a band that doesn't play, etc.
Yet, amid its overall sloppiness, there is some merriment, supplied largely by Green for his wonderfully goofy performance as a nerd who tries to overcompensate for his lack of cool by affecting black, homey behavior.
In addition, Ambrose brings a vital sense of alienation to her role as class cynic. They are the only two characters who muster any empathy or interest.
CAN'T HARDLY WAIT
Sony Pictures Releasing
A Tall Trees production
A Deborah Kaplan and Harry Elfont film
Producers: Jenno Topping, Betty Thomas
Screenwriters, directors: Harry Elfont,
Director of photography: Lloyd Ahern
Editor: Michael Jablow
Production designer: Marcia Hinds-Johnson
Music: David Kitay,
Executive music producer: Ralph Sall
Costume designer: Mark Bridges
Co-producer: Karen Koch
Casting: Mary Vernieu,
Amanda: Jennifer Love Hewitt
Preston: Ethan Embry
William: Charlie Korsmo
Denise: Lauren Ambrose
Mike: Peter Facinelli
Kenny: Seth Green
Girl Whose Party It Is: Michelle Brookhurst
Running time -- 96 minutes
MPAA rating: PG-13
Despite probable second opinions by the mental health profession and the terminally serioso, ''What About Bob?'' the Bill Murray-Richard Dreyfuss laugh-getter, should provide high therapy for audiences who have endured good-movie deprivation through this dismal spring.
And, as Norman Cousins wrote, laughter is the best panacea for health problems. The side effect of all this moviegoer chuckling will be a healthy dose of loot for Buena Vista.
Bill Murray solidifies his status as the all-American class clown with his woolly bully portrayal of dysfunctional recluse Bob Wiley, a man so smitten with phobias he can barely complete life's most minimual tasks without grievous stress.
Bob's such a headcase and an around-the-clock challenge that his shrink pawns him off on a hated colleague (Richard Dreyfuss), a publicity-mongering poop of megalomaniac proportions who is about to take off on a month's lakeside vacation. The good doctor, in addition to his enlarged ego, has some problems of his own, which make yet for ''another vacation that's not a vacation for his family'': a frazzled wife (Julie Hagerty), a pressured boy (Charlie Korsmo) and a neglected teenage girl (Kathryn Erbe).
Indeed, the doc has declared perfection must reign for the vacation, and all activities are subordinated to his impending appearance on ''Good Morning America, '' an ego-gratification headtrip to shamelessly hawk his self-help best-seller. One doesn't have to spend seven years in plot analysis to know, basically, the story prognosis: panicky Bob shows up (with his goldfish) at the doctor's retreat and ''ruins'' his vacation.
In Tom Schulman's perceptively droll screenplay, the psychological tables are, not surprisingly, turned, as balmy Bob proves the perfect panacea for the doctor's distressed family life.
In this spendidly cast film, Murray and Dreyfuss play off each other to their maximum advantage: Murray does what he does best, to shine-on and ultimately destroy authority figures, while Dreyfuss' portrayal of the runty doctor is splendidly Napoleonic. Throughout, Murray's loopy/droopy antics and Dreyfuss' preeny/weenie cackles are perfectly calibrated, as the not-so-nutty patient deflates the pompous psychiatrist's ego to hysterical hot air.
Although the farcical windup could benefit from a slight sedative, Frank Oz's direction is ever sensitive to the ticks of each character while keeping the slapstick dosage to a wacky, yet safe, level.
Technical contributions are marvelously subtle, thus powerful: editor Anne V. Coates' surgical cuts, in tandem with cinematographer Michael Ballhaus' witty compositions, are wonderfully punchy, amusing, while Bernie Pollack's costumes are apt psychological profiles for all. Similarly, Miles Goodman's splendid score, with its doodly reeds and lumps of goofy brass barrages, is a perfect toner for this smart-and-nutty amusement.
WHAT ABOUT BOB?
Touchstone Pictures Presents
In association with Touchwood Pacific Partners I
A Laura Ziskin Production
A Frank Oz Film
Producer Laura Ziskin
Director Frank Oz
Screenwriter Tom Schulman
Story Alvin Sargent, Laura Ziskin
Co-producer Bernard Williams
Director of photography Michael Ballhaus
Production designer Les Dilley
Editor Anne V. Coates
Costume designer Bernie Pollack
Music Miles Goodman
Casting Glenn Daniels
Bob Wiley Bill Murray
Dr. Leo Marvin Richard Dreyfuss
Fay Marvin Julie Hagerty
Siggy Marvin Charlie Korsmo
Anna Marvin Kathryn Erbe
Mr. Guttman Tom Aldredge
Mrs. Guttman Susan Willis
Running time -- 99 minutes
MPAA Rating: PG
(c) The Hollywood Reporter
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