4 items from 2013
Ah, Hollywood, where the best present one can get under the tree are the remake/reboot rights to a studio property. Really, they shouldn't have.... First up, Ed Helms will attempt playing Detective Frank Drebin in a reboot of "The Naked Gun." We don't envy "Night At The Museum" screenwriting pals Thomas Lennon and R. Ben Garant who will have to try and match the gonzo perfection of the 1988 movie, which is one of Leslie Nielsen's finest hours. The perfect cocktail of hilarious/clever/deeply stupid one liners, B and C-level casting (Priscilla Presley, Ricardo Montalban, George Kennedy, O.J. Simpson) is the sort of lightning in a bottle you can't re-create by committee. But they'll try anyway.. Meanwhile, Ridley Scott is among the producers who have decided that Sidney Lumet's star-studded (Albert Finney, Lauren Bacall, Jacqueline Bisset, Jean-Pierre Cassel, Sean Connery, John Gielgud, Vanessa Redgrave and Ingrid Bergman) 1974 mystery "Murder On The Orient. »
- Kevin Jagernauth
‘La Cage aux Folles’ director Edouard Molinaro, who collaborated with Catherine Deneuve, Jeanne Moreau, Orson Welles, dead at 85 Edouard Molinaro, best known internationally for the late ’70s box office comedy hit La Cage aux Folles, which earned him a Best Director Academy Award nomination, died of lung failure on December 7, 2013, at a Paris hospital. Molinaro was 85. Born on May 31, 1928, in Bordeaux, in southwestern France, to a middle-class family, Molinaro began his six-decade-long film and television career in the mid-’40s, directing narrative and industrial shorts such as Evasion (1946), the Death parable Un monsieur très chic ("A Very Elegant Gentleman," 1948), and Le verbe en chair / The Word in the Flesh (1950), in which a poet realizes that greed is everywhere — including his own heart. At the time, Molinaro also worked as an assistant director, collaborating with, among others, Robert Vernay (the 1954 version of The Count of Monte Cristo, starring Jean Marais) and »
- Andre Soares
Jean-Claude Carrière has enjoyed a long and fruitful career as perhaps France's most important screenwriter, with extended collaborations with Buñuel and Pierre Étaix, as well as smaller stints with Milos Forman, Claude Berri, Jacques Deray and Jean-Luc Godard. He has also worked as co-director alongside Étaix, and his one solo job, the short film The Nail Clippers, is a little classic.
But Carrière has also carried on a modest career as an actor, playing small roles in many of the films based on his scenarios. 1971's L'alliance, directed by Christian de Chalonge, seems to be his one real attempt at becoming a movie star.
In a rather Buñuelian scenario, Carrière's Hugues presents himself at a dating agency and announces that he's looking to find a wife with a spacious apartment. It turns out that he's a vet and needs somewhere to both live and practice. He's »
- David Cairns
Of all the cinéma de papa stylists so despised by the nouvelle vague, René Clair stands alone as the sole member of the old guard to stand down in the face of critical opposition. Or so it seems: Les fêtes galantes (1965) was his last film.
While Carné and the rest struggled on, defiantly filming when they could, Clair apparently had no stomach for the fight: if people thought he was old-fashioned, maybe he should stop.
One doesn't have to hate Clair with the ferocity that Truffaut could muster in order to see some sad wisdom in this retirement: for some time, Clair's films had been a little stiff. His early days among the surrealists, when he could make a kinetic exercise in visual absurdity like Entr'acte (1924), were long gone, and the vein of absurdist fantasy that enlivened his earliest narrative movies had its last expression in 1952's Les belles de nuit, »
- David Cairns
4 items from 2013
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