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Robert Altman, Warren Beatty and Julie Christie join together for one of the great westerns, a poetic account of the founding of a town and the way big business preys on foolish little guys. Raw and cluttered, the show gives the genre a new look, with a dreamy mix of snowflakes, opium and the music of Leonard Cohen. McCabe & Mrs. Miller Blu-ray The Criterion Collection 827 1971 / Color / 2:40 widescreen / 121 min. / available through The Criterion Collection / Street Date October 11, 2016 / 39.95 Starring Warren Beatty, Julie Christie, Rene Auberjonois, William Devane, John Schuck, Bert Remsen, Shelley Duvall, Keith Carradine, Michael Murphy, Antony Holland, . Cinematography Vilmos Zsigmond Production Designer Leon Ericksen Film Editing and Second Unit Director Louis Lombardo Original Music Leonard Cohen Written by Robert Altman, Brian McKay from the novel McCabe by Edmund Naughton Produced by Mitchell Brower, David Foster Directed by Robert Altman
Reviewed by Glenn Erickson
Robert Altman films run hot and cold for this reviewer. »
- Glenn Erickson
Audiences in Lyon will be treated to a restored version of the 1951 technicolor British adaptation of French opera “Tales of Hoffmann” directed by Powell and starring American tenor Robert Rounseville and British ballet dancer Moira Shearer, as well as Claude Sautet’s “César et Rosalie” (pictured) in honor of the great French screenwriter writer Jean-Loup Dabadie.
Les Acacias assistant director Jean-Fabrice Janaudy described “Tales of Hoffmann” as “a visual masterpiece, a unique cinematic feast.”
The distribution company, founded in 1981, serves as an intermediary between the films and viewers both through distribution and programming for two cinemas in the Paris area: the historic Max Linder Panorama theater and Le Vincennes cinema in Vincennes on the outskirts of the French capital.
Films they have distributed »
- Will Thorne
The same could be said about Hill himself. At a Lyon Lumière Festival masterclass, he fielded questions for an hour-and-a-half on Monday, talking frankly in his deep voice – much more frankly than most giving masterclasses – about how he got started, his influences, and his big hit “48 Hrs.” On occasion, especially when he recalled people rather than films, a sense of big-heartedness, and some pain, shone through.
Here are 10 things Hill said at Lyon.
By 1972, when Hill wrote “The Getaway,” Peckinpah was “an alcoholic, and I don’t think that is a secret I’m sharing.” For Hill, “The Getaway” was probably “the last film Peckinpah made where he was absolutely in full control of his faculties as a filmmaker… »
- John Hopewell and Jamie Lang
An Encore Edition. Peckinpah's macabre South of the border shoot 'em up is back for a second limited edition, with a new commentary. It's still a picture sure to separate the Peckinpah lovers from the auteur tourists - it's grisly, grim and resolutely exploitative, but also has about it a streak of grimy honesty. Bring Me the Head of Alfredo Garcia Blu-ray Twilight Time Encore Edition 1974 / Color / 1:85 widescreen / 112 min. / Street Date September, 2016 / available through Screen Archives Entertainment / 29.95 Starring Warren Oates, Isela Vega, Robert Webber, Gig Young, Helmut Dantine, Emilio Fernández, Kris Kristofferson, Chano Urueta, Jorge Russek, Enrique Lucero, Janine Maldonado, Richard Bright, Sharon Peckinpah, Garner Simmons. Cinematography Álex Phillips Jr. Art Direction Agustín Ituarte Film Editors Garth Craven, Dennis E. Dolan, Sergio Ortega, Robbe Roberts Original Music Jerry Fielding Written by Sam Peckinpah, Gordon T. Dawson, Frank Kowalski Produced by Martin Baum, Helmut Dantine, Gordon T. Dawson Directed by »
- Glenn Erickson
Another release of the Kramer-Foreman-Zinnemann classic gives Savant another chance to make his argument that this supposedly 'liberal' movie is too confused to be anything but political quicksand -- if anything, its statement is bitterly hawkish. High Noon Blu-ray Olive Signature 1952 / B&W / 1:37 flat Academy / 85 min. / Street Date September 20, 2016 / available through the Olive Films website / 39.95 Starring Gary Cooper, Thomas Mitchell, Grace Kelly, Katy Jurado, Lloyd Bridges, Lon Chaney Jr, Harry Morgan, Otto Kruger, Lee Van Cleef. Cinematography Floyd Crosby Production Designer Rudolph Sternad Film Editor Elmo Williams Original Music Dimitri Tiomkin Written by Carl Foreman Produced by Stanley Kramer Directed by Fred Zinnemann
Reviewed by Glenn Erickson
This is my fourth time out with a review of High Noon, starting fourteen years ago with a pretty miserable Artisan DVD, then a Lionsgate 'ultimate edition,' followed by Olive Film's first, quite good Blu-ray. Olive now revisits the 1952 classic as »
- Glenn Erickson
We change things up by focusing on a boutique label, Twilight Time, that has found success through a unique business model. Mark and Aaron happen to be big fans, and feel that we have directly contributed towards some of their profits. We talk about the company, their business model, why they have succeeded, and we address some common critiques. We also review a few discs each, and finally count down our favorite Twilight Time titles.
About Nick Redman:
London-born Nick Redman, one of Hollywood’s leading producers of movie music, is also an award-winning documentary filmmaker. An Academy Award nominee as producer of the 1996 Warner Brothers documentary, The Wild Bunch: An Album in Montage, he went on to write, produce, and direct A Turning of the Earth: John Ford, John Wayne and The Searchers (1998), which became a prize-winner at multiple film festivals.
As a consultant to the Fox Music »
- Aaron West
Once the guns start blazing in Ben Wheatley’s “Free Fire,” they don’t really stop. Prolific British director Ben Wheatley’s massively entertaining recovery from the messy J.G. Ballard adaptation “High-Rise” is a more controlled form of chaos, a chamber piece in which no chamber stays empty for long. Almost exclusively set in the confines of a small warehouse, Wheatley and screenwriter Amy Jump deliver the craziest movie shootout of all time by making an entire movie out of it. The cheeky dialogue and relentless violence leans heavily on the influences of Sam Peckinpah and “Reservoir Dogs,” although in this case the comic mayhem of the protracted battle amounts to little more than a lengthy gimmick. But a what fun gimmick: Less bullet ballet than bullet drum solo, Wheatley’s zany 90-minute set piece borrows the right ingredients to put on a good show.
Ever since his debut “Down Terrace, »
- Eric Kohn
Twelve angry men and one tough “bird” walk into a dilapidated Boston warehouse and proceed to blast the building and one another to smithereens in “Free Fire,” a dizzyingly choreographed — and unexpectedly comedic — shoot-’em-up in which the body count hits double digits, while the bullet count proves downright impossible to fathom. A virtuoso feat of indiscriminate gunplay from director Ben Wheatley — who is, without a doubt, the most exciting thing to hit British genre cinema since Guy Ritchie, minus the latter’s eagerness to sell out — this almost cartoonishly over-the-top action movie crosses the irreverent cheekiness of Quentin Tarantino’s “Reservoir Dogs” with the ruthless spirit of 1970s B-movies, in which audiences hoped for a few minutes of what “Free Fire” sustains for the better part of 90 minutes.
- Peter Debruge
Now that the Summer of Rehashes is over, a lot of people suddenly seem to agree that remaking movies, especially when they’re beloved and indelible classics, is a lousy idea for Hollywood to be pursuing. It’s evidence of creative bankruptcy — an addiction to non-originality. That said, just because a movie is a copy doesn’t mean it’s bad. (There are good remakes, like “Ocean’s Eleven” or “Cape Fear,” and good sequels, like the “Bourne” films.) The cheeky but square, dutifully manufactured, ultimately uninspired remake of “The Magnificent Seven,” which kicks off the 41st Toronto Intl. Film Festival, points to a deeper reason why remakes often don’t pan out: The appeal of the original tends to be rooted in the way it expresses something of its era, so trying to recapture what made it winning is a fool’s game. You can reassemble the same plot »
- Owen Gleiberman
Do you like my choice of leading image? 'We're the Glory Guys! Eee-Yow!' What is surely the most generic cavalry western of all time is actually from a screenplay by Sam Peckinpah. Twilight Time's extras have a lot to say about that, and so does Savant. The Glory Guys Blu-ray Twilight Time 1965 / Color / 2:35 widescreen / 113 min. / Street Date September 6, 2016 / Available from the Twilight Time Movies Store / 29.95 Starring Tom Tryon, Harve Presnell, Senta Berger, James Caan, Andrew Duggan, Slim Pickens, Peter Breck, Jeanne Cooper, Michael Anderson Jr., Adam Williams, Wayne Rogers, Michael Forest, Paul Birch, Stephen Chase, Claudio Brook. Cinematography James Wong Howe Cinematography Ernst R. (Tom) Rolf, Melvin Shapiro Original Music Riz Ortolani Written by Sam Peckinpah from the novel by Hoffman Birney Produced by Arthur Gardner, Arnold Laven, Jules V. Levy Directed by Arnold Laven
Reviewed by Glenn Erickson
The Glory Guys is as generic and standard-issue »
- Glenn Erickson
Given the challenge that most directors have making a single film, writer-director Tom Ford‘s sophomore effort is all the more impressive for being, essentially, two movies in one. One of those films is a “sad people in nice houses” tale you might expect from the couturier-turned-filmmaker behind “A Single Man,” but the other one is the kind of down-and-dirty West Texas revenge thriller that calls to mind Sam Peckinpah. “Nocturnal Animals” jumps between the “reality” of its own story and a novel that one of the characters is reading, and that’s a tricky leap to accomplish; look no further than. »
- Alonso Duralde
Ryan Lambie Published Date Saturday, August 27, 2016 - 11:34
Creativity's an oft-overlooked commodity in action movies. The likes of John Woo and Sam Peckinpah knew how to stage an exciting shoot-out, but they also knew that their violent set-pieces also had to have an original idea in there somewhere to keep them interesting.
British action icon and Den Of Geek favourite Jason Statham has appeared in more than his fair share of clever, inventive action scenes, from the expertly-choreographed, oiled-up brawls of The Transporter to the completely bonkers shoot-outs of Crank. On the face of it, Mechanic: Resurrection gives Statham another chance to do what he does best: bust heads, discharge firearms and look cool and sinewy while he does so.
And yes, there are some splashes of creativity that an action film needs to keep things interesting: a high-wire sequence involving a swimming pool - which we aren't spoiling, since »
Ben Wheatley’s previous film, the enigmatic “High Rise,” was quite the head trip with its high-minded look at societal collapse, finding its fair share of both supporters and detractors. With his stylish display of class war anarchy at work, Wheatley nonetheless solidified his status as a visionary. Now, one year later, a new Ben Wheatley […]
- Jason Osiason
“Would you believe that heroism has become old fashioned?” So says a character in Sam Peckinpah‘s underseen 1975 gem “The Killer Elite.” Peckinpah, a man who spent his entire career dealing with the theme of what it means to be a hero, was also known as “Bloody Sam,” which gives you all the details you need […]
The post The Nihilistic Cinema Of Sam Peckinpah Is Celebrated In This Career-Spanning Video Montage appeared first on The Playlist. »
- Jordan Ruimy
Listen, I’ve got an inspired idea for a summer movie: an actress-led remake of “Ghostbusters.” Okay, I know, they tried that earlier this summer, and really, it was a great idea. But let’s be honest: It didn’t entirely work out. The negative fanboy buzz hurt it, and whatever you thought of the finished product, it wasn’t as funny as the original. It could have been better. So what I’m saying is, let’s do it better. By the summer of 2018, the “Ghostbusters” remake will be an ancient memory. That will make it the perfect timing for the relaunched version, which can be rowdier and raunchier and wilder, maybe skewering a little younger and hipper, with a touch of that “Suicide Squad” edge. I see Amy Schumer in the Bill Murray role, and we could team her up with Nicole Byer and — why not? — Margot Robbie. »
- Owen Gleiberman
It has been announced today the Ben Wheatley’s high-octane action thriller Free Fire will be the Closing Night gala film of the 60th BFI London Film Festival, with the cast and filmmakers set to attend its European premiere on Sunday, October 16th.
“I’m very proud to be showing Free Fire at the BFI London Film Festival,” said Wheatley as part of the announcement. “To be the closing film is a great honour. Lff have been fantastic in supporting the films I’ve made (me and an army of 100s) and I can’t wait to show Free Fire to the Festival audience!”
“Ben Wheatley’s ascent as one of the UK’s most dazzling cinematic talents continues with this ballsy actioner,” added Clare Stewart, director of the BFI London Film Festival. Dripping with blood, sweat and irony, Free Fire’s bravura filmmaking pays knowing tribute to the films »
- Gary Collinson
The action thriller, executive produced by Martin Scorsese, will receive its European premiere on Oct 16 at Odeon Leicester Square, attended by cast and filmmakers.
Set in 1978 Boston, the film takes place in a deserted warehouse where a botched gun deal between two gangs turns into a bloody fight for survival.
Brie Larson, who won the best actress Oscar for Room earlier this year, stars as the broker while the gang members are played by Cillian Murphy, Michael Smiley, Sharlto Copley and Armie Hammer. The ensemble cast also includes Jack Reynor, Babou Ceesay, Enzo Cilenti, Sam Riley and Noah Taylor.
Free Fire is Wheatley’s first film set in the Us and third to screen at the Lff, following his Jg »
- email@example.com (Michael Rosser)
Free Fire, this year’s London Film Festival closing night film will mark its European premiere on October 16th.
The film will receive its European premiere on Sunday 16 October at the Odeon Leicester Square, attended by cast and filmmakers. More on the London Film Festival closing night film below.
Massachusetts late ‘70s. Justine (Brie Larson) has brokered a meeting in a deserted warehouse between two Irishmen (Cillian Murphy, Michael Smiley) and a gang led by Vernon (Sharlto Copley) and Ord (Armie Hammer) who are selling them a stash of guns. But when shots are fired in the handover, a heart stopping game of survival ensues.
Ben Wheatley says “I »
- Paul Heath
Ben Wheatley’s action-thriller “Free Fire,” executive produced by Martin Scorsese, will be the closing-night film of the 60th BFI London Film Festival. The film’s director and cast, led by Brie Larson, Cillian Murphy and Armie Hammer, will be on the red carpet for the European premiere on Oct. 16 at London’s Odeon Leicester Square.
The pic’s stars are red hot: Larson won an Oscar this year for “Room” and is set to topline in “Captain Marvel”; Murphy leads the cast in cult TV show “Peaky Blinders” and appears next year in Christopher Nolan’s wartime epic “Dunkirk”; and Hammer features in Nate Parker’s soon-to-be-released “The Birth of a Nation.” Other cast members include Michael Smiley, Sharlto Copley, Jack Reynor and Babou Ceesay.
- Leo Barraclough
The Octagon (1980)
There’s a scene in The Killer Elite, a not-great Sam Peckinpah movie from 1975, where Burt Young, the man who would go on to play Paulie in Rocky a year later, fights a ninja on the deck of a battleship. The ninja does not prove to be much of a problem for him. Young casually picks up the ninja and dumps him overboard. If the ninja even resists, we don’t see it. Instead, we see him go screaming into the water. And we see Young—squat, balding, portly, not exactly a physical wonder—leaning on the guardrail and watching him plunge. Then he makes this noise: “Hmp.” Like, “That was ...
- Tom Breihan
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