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To mark the release of The Burning on 10th August, we’ve been given 3 copies to give away on Blu-ray. Honing the spirit of Sergio Leone and echoing shades of Rambo First Blood, Argentinean director Pablo Fendrik’s slow-building thriller is essential viewing for all fans of world cinema. Gael Garcia Bernal (Babel, The Motorcycle Diaries)
The post Win The Burning on Blu-ray appeared first on HeyUGuys. »
Filmed during the height of the Euro Western craze of the late 60’s, Robert Hossein’s Cemetery Without Crosses is an obscure gem rejuvenated by Arrow Video. A French production, the title was actor/director Hossein’s first Western, obviously influenced by Sergio Leone, whom the film is dedicated to (Leone was in the midst of production on Once Upon a Time in the West when Hossein was underway with his feature). A simplistic and familiar narrative is enhanced by its inspired set designs and notable production value, featuring a winning score. Existing on the bleak end of the Spaghetti Western spectrum (or perhaps more aptly the ‘Baguette Western,” an Alex Cox coined term Ginette Vincendeau discusses in an included insert essay), it’s an entertaining bit of style over substance, and is an uncommon French entry in otherwise familiar climate. However, as much as Hossein pays homage to Leone, »
- Nicholas Bell
Cinema Retro proudly presents its latest "Movie Classics" special edition issue: "The American Westerns of Clint Eastwood", the perfect companion to our acclaimed special issue dedicated to the three Clint Eastwood Westerns directed by Sergio Leone.
"The American Westerns of Clint Eastwood" is a 116 page limited edition publication. Each of Eastwood's American Westerns is covered in detail in individual chapters:
"Hang "Em High" "Paint Your Wagon" "Two Mules for Sister Sara" "The Beguiled" "Joe Kidd" "High Plains Drifter" The Outlaw Josey Wales" "Pale Rider" "Unforgiven" Special section covering early film roles and TV Western appearances
Featuring hundreds of photographs, rare behind-the-scenes stills an movie poster art, including location photos (then and now) and even props that exist to this day in private collections!!
We are also very honored to present unseen movie poster designs by the legendary Bill Gold, who has overseen the advertising campaigns for most of Eastwood's films »
- firstname.lastname@example.org (Cinema Retro)
"You kill me, you won't see a cent of that gold." There's always time for a Star Wars short film. Below you can watch the short film The Good, The Bad and The Ugly parody mash-up directed by Calvin Evans. It's basically Star Wars, featuring Han Solo, Greedo and Boba Fett, as if it were literally a Sergio Leone western. The actual dialogue isn't that great, but the effects are excellent, the opening titles are perfect, and they just get so much of the atmosphere right that I can't help but admire the work on this short. There's even a nice poster to go along with it. It's a quick 5-min mash-up that's worth watching, so fire it up. Enjoy! Artwork above by Mark McHaley for the film. The original description from YouTube explains: "A Italian western parody, of Sergio Leone's The Good, The Bad and the Ugly... but with Star Wars characters. »
- Alex Billington
A Spaghetti Western with a French director and star may seem an odd combination, but this is exactly what we get with Cemetery Without Crosses aka The Rope and the Colt. Inspired by the success of the Dollars trilogy and dedicated to Sergio Leone, this is yet another addition to the Arrow Video classic releases.
After a family of Bandits lynches her husband, Maria Caine (Michèle Mercier) turns to old an old friend Manuel (Robert Hossein) to exact her revenge. At first reluctant to help, he finally gives in, donning his black glove and infiltrating the family to force a showdown between them and Caine which may just lead to all of their dooms.
Directed by and starring Robert Hossein, the first thing that makes the Western stand out is the catchy theme song sung by Scott Walker. The lynching this leads into sets up the revenge and leads us to the introduction of Manuel, »
- Paul Metcalf
Ardor may be an Argentinian thriller about wretched land-grabbers, but it’s hard to ignore the heavy “gunslinging West” influences scattered throughout filmmaker Pablo Fendrik’s eco-political PSA. Its structure is built on one single event, as Fendrik stretches out a family’s homeland defense story into an entire feature film (running at a questionable hour and forty minutes). Men are slain, shootouts are had, and blood is spilled in the name of property, but the film’s anti-stealing message is lost somewhere in a rogue warrior’s attempt to ward off menacing jungle criminals (in a less-efficient-Rambo kind of way). I’m sure that land-poaching is a huge problem in lawless thickets of foliage, but this is more about a slow-burn spectacle than it is environmental causes.
- Matt Donato
Cemetery Without Crosses (Une corde, une Colt), 1969.
Directed by Robert Hossein.
After her husband is lynched by bandits, a grieving widow seeks revenge and turns to an old friend for help. He is initially reluctant but soon infiltrates her enemies to force a showdown.
This bleak homage to Sergio Leone and the cult of the spaghetti-western is a stylish and atmospheric take on the genre. Bringing a philosophical depth to proceedings, the French/Italian/Spanish production provides enough intriguing ambiguities for a worthy slice of realism. Essentially amoral, it sets out to present the universal truth that people of all kinds are capable of both good and bad.
The stirring central theme (with vocals by Scott Walker) is probably the most typically Western thing about the movie. »
- Robert W Monk
I interviewed James Coburn in late 1998 for the cover story of the February 1999 issue of Venice Magazine. I had grown up watching Coburn on the late show, but also seeing him on the big screen, first-run. Meeting him was a thrill as he entered the living room of his manager, the late Hilly Elkins', home in Beverly Hills. Coburn was elegant, charming and had the grace of a cat. The only thing that revealed the health problems that had nearly done him in were his gnarled hands, the result of severe arthritis. We spoke about his role in Paul Schrader's newest film, "Affliction," which would earn him a Best Supporting Actor Academy Award. Later, as I walked Coburn to his Acura Nsx sport coupe, he bid me a warm farewell.
Several months later, I encountered him again at The Independent Spirit Awards, in Santa Monica. I went up »
- The Hollywood Interview.com
Legendary composer Ennio Morricone is set to do the score for Quentin Tarantino's "The Hateful Eight," marking his return to the genre after four decades away from a sound he made iconic in Sergio Leone's "The Good, The Bad and The Ugly," "Once Upon a Time in the West" and "A Fistful of Dollars"
Morricone has worked on such famous films as "The Untouchables," "The Thing," "The Mission," "In the Line of Fire," "Cinema Paradiso," "Days of Heaven," "Bugsy" "Disclosure" and "Casualties of War". He previously worked with Tarantino on "Inglorious Basterds" and "Django Unchained".
The revelation was just one of a number of reveals during the Hall H panel at Comic Con for the new Tarantino film. Kurt Russell, Tim Roth, Bruce Dern and Jennifer Jason Leigh were all on hand to show off seven minutes of footage from the film and talk about the new film's presentation. »
- Garth Franklin
Quentin Tarantino and the cast of The Hateful Eight are currently showcasing the upcoming Western in Hall H at the San Diego Comic-Con, and as part of the panel it has been announced that legendary composer Ennio Morricone is set to provide an original score for the film.
See Also: New Comic-Con poster for The Hateful Eight
It will mark Morricone’s first original Western score in almost 35 years, having notably scored classic Spaghetti Westerns such as Sergio Leone’s A Fistful of Dollars, For a Few Dollars More, The Good, the Bad and the Ugly and Once Upon a Time in the West., as well as many others.
See Also: New images from The Hateful Eight
In The Hateful Eight, set six or eight or twelve years after the Civil War, a stagecoach hurtles through the wintry Wyoming landscape. The passengers, bounty hunter John Ruth (Russell) and his fugitive »
- Gary Collinson
The Quentin Tarantino-corralled panel for his upcoming Western The Hateful Eight – read all about that here – came with the golden news nugget that composing great Ennio Morricone will be providing him with his first original score. It’ll be Morricone’s first Western score in four decades.Morricone, of course, is a master of creating musical landscapes for the Old West, with his Sergio Leone scores for films like The Good, The Bad And The Ugly and Once Upon A Time In The West offering a library of ageless cues and themes. He heads to Prague to record in the next couple of weeks, revealed Tarantino. Time will tell if, like those Leone Westerns, he’ll be penning musical motifs for the movie’s eight rogues and n’er-do-wells.It’ll be the fourth collaboration between the two. Any animus over Morricone’s criticism of the director’s use »
7 Minutes, 2014.
Written and Directed by Jay Martin.
Three high school friends are forced to commit a brazen robbery which quickly goes horribly wrong.
Ok, get in the bank, take the money and be out of there in 7 minutes. No one gets hurt and only the bank loses the money. Simple?
Well, it wouldn’t be much of a movie if it were that easy. And in this new heist drama it certainly isn’t.
Following three high school friends as they attempt to cover the losses of a mistakenly flushed drug supply, the film takes an intriguingly circuitous route around the narrative, dropping back through the last 3 years examining just how the band became so desperate.
Sam (Luke Mitchell) appears to have it all made at the start of the story, »
- Robert W Monk
Those expecting anything approaching the magic conjured by the original Matthew McConaughey-Woody Harrelson pairing should immediately temper their enthusiasm for “True Detective’s” second season. Impeccably cast around its marquee stars, the new plot possesses the requisite noir-ish qualities, but feels like a by-the-numbers potboiler, punctuated by swooping aerial shots of L.A. courtesy of new director Justin Lin, whose intense close-ups bring to mind a Sergio Leone western. Although generally watchable, the inspiration that turned the first into an obsession for many seems to have drained out of writer Nic Pizzolatto’s prose, at least three hours into this eight-episode run.
Somehow, the first installment managed to take TV’s most venerable genre and put a fresh coat of paint on it, thanks to the intoxicating mix of McConaughey’s unorthodox, philosophizing cop, its grisly crime and the time-bending narrative. Here, Pizzolatto more straightforwardly plows ahead, featuring »
- Brian Lowry
Those cool Blu-ray distributors Arrow Films and Video have announced their line-up of releases for September 2015, and once again there are some real gems in the collection, including Milos Forman’s The Fireman’s Ball, the regular edition of Society (which has just had a steelbook collectors edition released this week) and Sean Connery’s space-opus Zardoz. All the details and artwork for the releases are below….
Closely Observed Trains – released September 27th
Shy teenage virgin Miloš gets his first job as a railway dispatcher and is suddenly forced to confront the realities of the adult world, not least the temptations of the opposite sex. But they in turn are more attracted to his more experienced colleague Hubi?ka and his distinctive way with an inkpad and rubber stamp…
This could easily have fuelled a light comedy, but Ji?í Menzel’s bittersweet feature debut is set during World War II in Nazi-occupied Czechoslovakia, »
- Scott J. Davis
A very happy birthday to Clint Eastwood, born on May 31, 1930 in San Francisco. "His persona as a laconic anti-establishment icon was cemented early in his career, through his starring roles in A Fistful of Dollars (Sergio Leone, 1964), For a Few Dollars More (1965) and The Good the Bad and the Ugly (1966)," wrote Deborah Allison for Senses of Cinema in 2003. "His position as one of America’s most respected directors was cemented by his receipt of an Oscar for directing Unforgiven (1992)." Our overview of the career features clips and clashing points of view. » - David Hudson »
Old Man Logan #1
Written by Brian Michael Bendis
Art by Andrea Sorrentino
Colors by Marcelo Maiolo
Published by Marvel Comics
The latest Secret Wars tie-in is set in the bloodiest, duskiest, and generally least inviting part of Battleworld: the Old Man Logan universe. Inspired by the seminal Clint Eastwood film Unforgiven, Old Man Logan was a Wolverine story written by Mark Millar (Secret Service) and drawn by Steve McNiven (Civil War) where the supervillains banded together and took control of the Marvel Universe. Mysterio manipulated Wolverine into killing all the X-Men so he took a vow never to pop his claws again and lived a quiet until the Hulk clan killed his wife and child. This led to him taking revenge on the Hulks and choosing to become a hero once again while taking care of the Hulk’s young son.
Old Man Logan #1 is set a few years after »
- Logan Dalton
1971 was an incredibly violent year for movies. That year saw, among others, Tom Laughlin’s Billy Jack, with its half-Indian hero karate-chopping rednecks; William Friedkin’s The French Connection, its dogged cops stymied by well-heeled drug runners; Stanley Kubrick’s A Clockwork Orange, banned for the copycat crimes it reportedly inspired; and Sam Peckinpah’s Straw Dogs, featuring the most controversial rape in cinema history. Every bloody shooting, sexual assault and death by penis statue reflected a world gone mad.
It seemed a reaction to America’s skyrocketing crime. Between 1963 and 1975, violent crimes tripled; riots, robberies and assassinations racked major cities. The antiwar and Civil Rights movements generated violent offshoots like the Weathermen and Black Panthers. Citizens blamed politicians like New York Mayor John Lindsay (the original “limousine liberal”), who proclaimed “Peace cannot be imposed on our cities by force of arms,” and Earl Warren’s Supreme Court, »
- Christopher Saunders
It's fitting that Clint Eastwood and John Wayne both have the same birthday week. (Wayne, who died in 1979, was born May 26, 1907, while Eastwood turns 85 on May 31). After all, these two all-American actors' careers span the history of that most American of movie genres, the western.
Both iconic actors were top box office draws for decades, both seldom stretched from their familiar personas, and both played macho, conservative cowboy heroes who let their firearms do most of the talking. Each represented one of two very different strains of western, the traditional and the revisionist.
As a birthday present to Hollywood's biggest heroes of the Wild West, here are the top 57 westerns you need to see.
57. 'Meek's Cutoff' (2010)
Indie filmmaker Kelly Reichardt and her frequent leading lady, Michelle Williams, are the talents behind this sparse, docudrama about an 1845 wagon train whose Oregon Trail journey goes horribly awry. It's an intense »
- Gary Susman
Ana Lily Amirpour’s feature debut is a bloody triumph…
Iranian-American writer-director Ana Lily Amirpour describes her weirdly exhilarating feature debut, which premiered at Sundance last year, as the Iranian love-child of Sergio Leone and David Lynch, with Nosferatu as a babysitter. It is set in the fictional Iranian ghost town of Bad City (the name nods toward Frank Miller’s Sin City) and plays out like the missing link between Kathryn Bigelow’s first two features; the ultra-cool biker pastiche The Loveless and the latterday vampire flick Near Dark. It is steeped in the pop iconography of the past, yet its crystalline anamorphic black-and-white photography has an unmistakably contemporary edge. Cinematically, it exists in a twilight zone between nations (American locations, Iranian culture), between centuries (late 19th and early 21st), between languages (Persian dialogue, silent cinema gestures) and, most importantly, between genres.
- Mark Kermode, Observer film critic
Spoiler Warning, obviously...
So there's this theory floating around about Mad Max: Fury Road that I find compelling enough to share here. I guess what I'm saying is I buy it and I kind of like it - even if George Miller himself didn't intend it.
First, let's consider this: In a recent interview, Miller stated that the Mad Max films aren't necessarily "sequels" in the traditional sense, but “they’re kind of like standalones exploring the whole world – like Westerns.”
I think that's very true. The Mad Max films are a series in the same way that Clint Eastwood's Sergio Leone films are a series where the only throughline is "The Man with No Name". The films themselves don't have any major connections other than him.
So the theory g [Continued ...] »
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