1-20 of 25 items from 2017 « Prev | Next »
“You don’t have to have a true story to make a true story movie.”
Noah Hawley’s acclaimed midwestern crime anthology Fargo returns to FX this week, along with my enthusiasm for saying oh yah and you betcha to anyone with the gall to speak to me when I would rather be watching Fargo. In my defence there are not one, but two, gloriously bad Ewan McGregor wigs. Truly, Hawley is doing the Lord’s work. Season three is set in the not too distant past of 2010, and follows the tried-and-true template of a ridiculously stacked ensemble of endearing (and woefully misguided) ne’er do wells gradually bungling their way into a shit show of their own design. As with each of the previous installments, least of all the Coen Brothers’ original 1996 film, the opening of this week’s episode features the following superimposed text:
This is a true story. The »
- Meg Shields
Rome – Italy’s Leone Film Group has acquired rights to a series of books by Italian investigative journalist Gianluigi Nuzzi to develop an English-language TV series based on the so-called Vatileaks scandals that recently exposed rampant corruption and mismanagement at the Vatican.
The books by Nuzzi include “His Holiness: The Secret Papers of Benedict XVI,” based on documents leaked by Pope Benedict’s butler that some say helped precipitate Benedict’s historic resignation, and “Merchants in the Temple,” also based on confidential documents, which describes more recent episodes of cronyism, greed, and moral malaise and the internal attempts to sabotage Pope Francis’ crackdown.
Nuzzi’s reporting has led to the arrests of several of his sources by Vatican authorities. He was put on trial by a Vatican court in the highly publicized “Vatileaks 2” trial, but was acquitted.
“The TV series will take its cue from the events that led to the Vatileaks scandals,” said »
- Nick Vivarelli
Robert Keeling Apr 25, 2017
Saluting the movie characters who make an impression, the minute they appear on the screen...
One thing that unites all of cinema’s most iconic characters is that they were able to make a memorable first impression. Whether it’s bursting onto the scene in a flurry of noise or slowly skulking their way into shot, there’s a fine art to ensuring a character makes an instant impact on screen. An iconic entrance is not just about a momentary impact however, it can also emphasise a character’s importance and help to cement their influence over the rest of the movie.
There are any number of contributory factors that can be blended together in order to make an entrance truly memorable. These include the accompanying music, the choice of camera shot, the »
Paris-based outfit Kelija, the Lagardere Studios-owned company behind the acclaimed dystopian drama series “Trepalium,” is re-teaming with writer Sebastien Mounier on “Metro,” its most ambitious series to date.
“Metro” is a thriller set against the backdrop of the construction of Paris’ first subway line, in 1899. The plot centers on the mysterious deaths of several laborers involved in the epic building project and on the investigation that follows.
“The story will be told through the eyes of three characters: an engineer, a suffragette and a drugged-up cop, who are each on a quest to achieve power and status through different means,” said Katia Raiss, Kelija’s founder who is producing the show.
Kelija made a splash with “Trepalium,” which takes place in a future where 80% of people are unemployed and rise up against the 20% who live luxurious, insulated lives. The series first aired on Franco-German network Arte and has been picked up by TV5 Monde and Netflix in »
- Elsa Keslassy
Can radical theater make a good movie? Elio Petri continues his string of biting social comment movies with a black comedy about rich people, thieves, and the notion of ownership — it’s a caustic position paper but also a funny satire, with quirky yet believable characters. Ugo Tognazzi is terrific as scheming capitalist, as much a prisoner of his wealth as a poor clerk is of his poverty.
Property is No Longer a Theft
Blu-ray + DVD
Arrow Video USA
Cinematography: Luigi Kuveiller
Film Editor: Ruggero Mastroianni
Original Music: Ennio Morricone
Production design / Costume design: Gianni Polidori
Produced by Claudio Mancini
Directed by Elio Petri
Essere o Avere? »
- Glenn Erickson
Before he became the flag bearer for cinema violence, Sam Peckinpah made his reputation with this unique western, a marvelous rumination on ethics, morality and personal responsibility. MGM all but threw it away in the summer of 1962 but it immediately became a critical favorite.
1962 / Color / 2:35 widescreen / 92 min. / Street Date April 4, 2017 / available through the WBshop / 21.99
Cinematography Lucien Ballard
Film Editor Frank Santillo
Original Music George Bassman
Written by N.B. Stone Jr.
Produced by Richard E. Lyons
Directed by Sam Peckinpah
- Glenn Erickson
The Cannes Film Festival set a celebratory tone for its 70th anniversary today, unveiling a bold new poster featuring a giddy Claudia Cardinale, twirling in a voluminous red skirt.
The poster celebrates the Italian actress for her over half a century of artistic achievements, as well as a long record of social activism. A small sampling of her work includes Federico Fellini’s “8 1/2,” Sergio Leone’s “Once Upon a Time in the West,” and Werner Herzog’s “Fitzcarraldo.”
Read More: Cannes 2017: Pedro Almodóvar Is Jury President
“I am honored and proud to be flying the flag for the 70th Festival de Cannes,’ said Cardinale in a statement, “and delighted with this choice of photo. It’s the image I myself have of the festival, of an event that illuminates everything around. That dance on the rooftops of Rome was back in 1959. No one remembers the photographer’s name … I’ve also forgotten it. »
- Jude Dry
This year’s festival poster depicts a dancing Claudia Cardinale.
The Cannes Film Festival has revealed the poster for its upcoming 70th edition.
This year’s vibrant red design depicts a dancing Claudia Cardinale, the Italian actress known for her roles in Federico Fellini’s 8 1/2, Luchino Visconti’s The Leopard, and Sergio Leone’s Once Upon a Time in the West
According to Cardinale, the picture is from an unknown photographer and shows her dancing on a rooftop in Rome in 1959:
“I am honoured and proud to be flying the flag for the 70th Festival de Cannes,” she commented, “and delighted with this choice of photo. It’s the image I myself have of the Festival, of an event that illuminates everything around. That dance on the rooftops of Rome was back in 1959. No one remembers the photographer’s name… I’ve also forgotten it.
“But this photo reminds me of my origins, and of a time »
- email@example.com (Tom Grater)
There’s a moment in French film-maker Julia Ducournau’s prize-winning feature debut Raw in which a young vegetarian (ethereally played by Garance Marillier) finds herself unexpectedly ravenous at the sight of a severed finger. It’s a deliciously horrifying vignette, squirm-inducingly squishy, yet somehow bizarrely sensual. Like Claire Denis’s controversial 2001 shocker Trouble Every Day, Raw takes an intimate approach to the taboo subject of cannibalism, sinking its teeth into the sins of the flesh. As all great horror films should, it touches a nerve – simultaneously repelling and seducing its audience, sucking us in and spitting us out.
For horror fans, Raw is the latest in an encouraging wave of genre-bending movies which have twisted familiar tropes to new and unsettling ends. At the »
- Mark Kermode, Observer film critic Imogen CarterGuy LodgeKathryn Bromwich
What if you could access and download the extraordinary abilities of others as if they were part of a database? That's the intriguing question explored in the new sci-fi thriller MindGamers, co-starring Tom Payne (who plays Jesus on The Walking Dead) and Sam Neill (In the Mouth of Madness, Jurassic Park). With the film coming out in theaters on March 28th, we caught up with co-writer / director Andrew Goth to discuss working with Payne and Neill, the real-life relevance of his latest film, and much more.
Andrew Goth: Joanne was already into the field of quantum theory and consciousness. I love science, but I’m not that bright. We had to find an entertaining premise that did not »
- Derek Anderson
The Love of a Preacher Man: Koolhoven’s Pseudo-Feminist Western an Ambitiously Grotesque Affront
Unveiling the most expensive Dutch film production since Paul Verhoeven’s Black Book (2006), Martin Koolhoven’s epically structured Brimstone is a dizzying revision of the spaghetti Western, prizing the perspective of a female protagonist (although no less rape filled than the frames of Sergio Leone) and featuring a concoction of varied international flavors in this cruel portrait of the American frontier.
Continue reading »
- Nicholas Bell
Spoilers for Logan. With Logan, the modern comic book movie finally enters its revisionist phase. The film is the conclusion of a cycle: not just of a phase of Hugh Jackman's career and of the X-Men movies in general, but arguably, of the comic book movie itself. It places a tender grace note upon the myth of the comic book superhero, even as it begins to both uphold those myths as myth, and break them apart for the same reason, at the same time. This is good. This is healthy. This is, perhaps, what many comic book movie haters (or at least, "tired"-ers) have been waiting for: the post-Sergio Leone moment, when a Western wasn't just mythmaking writ large on the big screen in Cinemascope...
[Read the whole post on screenanarchy.com...] »
Above: Czech poster for Once Upon a Time in the West (Sergio Leone, Italy, 1968).As I’m sure I’ve said before, the world of Czech movie posters is never less than an embarrassment of riches. I keep discovering new artists that I was never aware of previously, all with an impressive body of work behind them. The other day, as I was looking through the new acquisitions of my favorite poster shop, Posteritati, I came across this striking poster for Once Upon a Time in the West: a fascinating combination of bold color, eccentric collage, pop art elements and unusual typography. I wasn’t aware of the name of Stanislav Vajce before that but a quick search on the store's website and elsewhere revealed a wild array of some of the most exciting and inventive Czech posters I have seen in a while. As with so many of »
There’s a tradition, if not a huge one, of movies that feature heroes who are too cool to speak. In the Sergio Leone spaghetti Westerns, Clint Eastwood wasn’t just the Man with No Name, he was the Man of (Almost) No Words, and that served him fine. The title character of “Mr. Long,” played by the fiercely charismatic Chang Chen, is very much in the same mold. He’s a Taiwanese hitman so fearless and lethal that he uses blades instead of guns — he’ll enter a roomful of gangsters and take them all down with a six-inch knife, as though he were the Bruce Lee of cutthroat stabbing. In Tokyo, though, one of his assignments goes awry, and he escapes, injured, and finds refuge in a dilapidated section of town, where Jun (Runyin Bai), a young boy, brings him clothing and water. He winds up hiding out »
- Owen Gleiberman
I left John Wick: Chapter 2 with a bloody nose and a limp that refuses to be shaken off. It’s a ballet of bullets, a grand opera of all things “fu.” Alongside a few others, I had the pleasure of talking with director and veteran stunt man Chad Stahelski about Keanu, Chan and forcing friends to fall downstairs.
See Also: Read our review of John Wick: Chapter 2
Was That The Most Difficult Scene (an opening sequence involving a “gang bang of cars” as Wick attempts to steal back his own) To Coordinate?
Actually no, it was pretty easy. When you come from that background-one of my best friends Darren Prescott, our stunt coordinator for that-we started doing stunt work way back in 1992 and he did a lot of the Bourne films. »
- Amie Cranswick
Back in 2007, writer David Gallaher and artist Steve Ellis released High Moon online, introducing comic readers to a tiny Texas town in the Old West where things with sharp teeth went "bump" in the night. Now, nearly one decade later, Papercutz's Super Genius is celebrating the latest full moon by resurrecting the werewolf Western comic series.
Super Genius announced that they will release two remastered graphic novels of the pre-existing High Moon comic series, as well as a third volume of new stories that will finish the series the way Gallaher and Ellis intended. The first volume, High Moon: Bullet Holes and Bite Marks, will be unleashed this October, while the second volume is slated for a May 2018 release, followed by the new third volume. Here's what High Moon writer David Gallaher shared with us about the series:
"Dramatic gunfights and ancient evils — there is something really primal about »
- Derek Anderson
This year’s nominees for animated short run the gamut of emotions, from tragedy to joy. In many cases, they also stretch the bounds of what’s traditionally expected in animation.
Nominee Theodore Ushev, director of “Blind Vaysha,” notes that indie animation typically has thought-provoking, darker, themes, but may have flown under the Acad’s radar in the past. “I see enormous progress in the Academy’s choices,” Ushev says. “It’s evolved in a good direction recently, really recognizing the differences and diversity in the art of animation. Animation is not only for kids, not only for entertainment. I made my film for kids from 9 to 99.”
Fellow nominee, “Borrowed Time” co-director Lou Hamou-Lhadj, echoes Ushev’s view: “We were a bit frustrated with the lack of breadth in stories told through animation in America, and wanted to contribute to the medium by helping illustrate that it isn’t merely a children’s film genre, »
- Terry Flores
Since the dawn of the 21st century, action cinema has undergone a bigger change than perhaps any other genre. As the tools with which filmmakers craft their works have continually advanced, a sort of renaissance has begun wherein action films stepped firmly into their own. Often put in the same category as horror — not taken seriously as a form of artistic expression outside of its core fanbase — action has had to boldly announce itself as a viable medium through which big set pieces, but also big ideas, can be presented and explored.
With the highly anticipated John Wick: Chapter 2 arriving in theaters this Friday, we’ve set out to reflect on the millennium’s action films that have most excelled. To pick our top 50, we’ve reached out to all corners of the globe, choosing an array of films ranging from grand to gritty, brutal to beautiful. The result »
- The Film Stage
Whether it’s the golden era of spaghetti westerns or the more blood soaked appeal of the Tarantino films, there’s no denying that Hollywood loves the appeal of the old west. From books, to video games, and even casino slots, the world loves a good western. We take a look at some of the greatest films in history!
Butch Cassidy & The Sundance Kid
Without a doubt, one of the most popular westerns in cinematic history, Butch Cassidy and the Sundance Kid was released in 1969. Directed by George Roy Hill and written by William Goldman the film is loosely based on a true story. It tells the story of the outlaws Robert LeRoy Parker, known as Butch Cassidy and his partner Harry Longabaugh, the Sundance Kid, who are on the run after a string of train robberies. The pair, along with Longabaugh ‘s lover Etta Place flee to Bolivia in »
- The Hollywood News
For those of us cinephiles who easily get caught up in the world of a good movie, no runtime is too extreme. We can stay up and watch all four hours of Sergio Leone’s Once Upon a Time in America or all three hours of Oliver Stone’s JFK, Cimino’s The Deer Hunter, or Kubrick’s Spartacus because they’re all great movies.
But as you’ve probably learned by now, not everyone is like us. The eye-widening, masterful technique used by a filmmaker or the suspense a writer incorporates in his or her story is not always enough to keep everyone in their seats for two or three or even four hours. It’s one of the main arguments, or excuses, people use to explain why they prefer TV shows over movies.
We’ve heard it a thousand times: movies are too long (though I never really understood this contention, »
- Luke Parker
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