1-20 of 22 items from 2015 « Prev | Next »
Today's roundup opens with Jonathan Rosenbaum on Edward Yang and Béla Tarr. Then it's Terrence Rafferty on Satyajit Ray, Jordan Cronk on Natto Wada, wife and collaborator of Kon Ichikawa, an interview with Frederick Wiseman and an assessment of the career of Todd Haynes. Plus: Richard Linklater's Everybody Wants Some will see its world premiere in March when it opens SXSW 2016. Meantime, Ben Wheatley's in talks to co-write and direct a remake of Henri-Georges Clouzot's The Wages of Fear, and we link to the online premiere of We'll Find Something, directed by Upstream Color producer Casey Gooden and starring Amy Seimetz and Shane Carruth. » - David Hudson »
Director Ben Wheatley is in negotiations to write and direct a remake of the thriller “The Wages of Fear” with TF1 and eOne. The original 1953 film directed by Henri-Georges Clouzot told the story about “a group of desperate men hired to transport a shipment of highly explosive nitroglycerin across the jungle.”
Wheatley’s latest film, “Free Fire” was purchased by Alchemy for an astounding $3million at last week’s American Film Market. The cast includes actors Brie Larson (“Room”), Armie Hammer (“The Social Network”), Cillian Murphy (“In the Heart of the Sea”), Jack Reynor (“Macbeth”), Sam Riley (“Maleficent”), Noah Taylor (“Powers”) and Sharlto Copley (“Chappie”).
Director Martin Scorsese is executive producing “Free Fire”, which follows “a woman (Larson) who has brokered a meeting in a deserted warehouse between two Irishmen (Murphy and Smiley) and a gang (led by Hammer and Copley) who are selling them a stash of guns. But »
- J.B. Casas
British director Ben Wheatley ("Kill List," "A Field in England") is in talks to write and direct the latest remake of Henri-Georges Clouzot's stone cold 1953 action thriller classic "The Wages Of Fear" at Rumble Films and TF1.
The original film, an adaptation of George Arnaud's novel, kicks off when an Mexican oil well owned by an American company catches fire. The company hires four European men, down on their luck and desperate, to drive two trucks 300 miles cross country over treacherous dirt roads - trucks loaded with volatile nitroglycerine which is needed to extinguish the flames.
Filmmaker William Friedkin and actor Roy Scheider, hot off their successes with "The Exorcist" and "Jaws" respectively, teamed for a remake of the film entitled "Sorcerer" which shifted the action to the jungles of Amazon. Though a commercial disappointment, the film's reputation has grown over the years.
Wheatley's wife and frequent collaborator Amy Jump will co-write the project. »
- Garth Franklin
By this point, the prolific rate at which Ben Wheatley knocks out movies is well known. But in case you need a reminder, this year he premiered "High-Rise," wrapped the Martin Scorsese-produced action flick "Free Fire," and now is gearing up a remake to one of the most acclaimed thrillers of all time. Whatever Wheatley is having for breakfast, I'd like some. Read More: Tiff Review: Ben Wheatley's 'High-Rise' Starring Tom Hiddleston, Sienna Miller, Luke Evans & Elisabeth Moss Deadline reports that the director is gearing up a redo of Henri-Georges Clouzot's fantastic "The Wages Of Fear." If you haven't seen the original (you should remedy that asap), it follows a motley crew of dudes who take on a dangerous mission of transporting highly explosive cargo over a treacherous mountain pass in what becomes an increasingly nerve-fraying, life-threatening mission. William Friedkin has already done his version »
- Kevin Jagernauth
With a rising career like few other directors, Ben Wheatley has given us one of the best horror thrillers of the decade thus far (Kill List), a love story like no other (Sightseers), a trippy black-and-white Civil War drama (A Field in England), a flat-out masterpiece (High-Rise), and his latest film, the star-studded, Martin Scorsese-produced Free Fire was recently picked up by Alchemy for a 2016 release. For a new project, he’s now set to remake a classic — one which has already been remade (twice, technically).
According to Deadline, he’s set to direct and co-write (with frequent collaborator Amy Jump) another remake of The Wages of Fear. First coming to screens by Henri-Georges Clouzot in 1953, the adaptation of Georges Arnaud’s novel follows a group of men who dangerously transport a shipment of nitroglycerine through the jungle for one of the most intense experience one can witness in cinema. »
- Leonard Pearce
Directed by Ridley Scott
Written by Dan O’Bannon
UK / USA, 1979
Genre: Sci-Fi Horror
Boasting one of the greatest taglines of all time – “In space, no one can hear you scream” – Alien blends science fiction, horror, and bleak poetry into what could have easily turned into a simple B-monster movie. In fact, the movie was originally pitched to producers as “Jaws in space,” but thankfully Ridley Scott, who was stepping behind the camera for only the second time, took the film far more seriously. Like Steven Spielberg’s great thriller, most of the running time relies on the viewer’s imagination since Scott carefully restricts how little we see of the creature. Alien can certainly test a viewer’s patience. This is an extremely slow burn (something unusual for the genre) and despite the budget, stellar effects, and ambitious set design, Alien in a sense is a minimalist film »
- Ricky Fernandes
Special Mention: Werckmeister Harmonies
Directed by Bela Tarr and Ágnes Hranitzky
Written by László Krasznahorkai and Bela Tarr
2000, Hungary / Italy / Germany
Genre: Emotional Horror
Bela Tarr is a filmmaker whose work is a highly acquired taste, but as a metaphysical horror story, Werckmeister Harmonies is an utter masterpiece that should appeal to most cinephiles. The film title refers to the 17th-century German organist-composer Andreas Werckmeister, esteemed for his influential structure and harmony of music. Harmonies is strung together like a magnificent symphony working on the viewer’s emotions over long stretches of time even when the viewer is unaware of what’s going on. Attempting to make sense of Tarr’s movies in strict narrative terms is not the best way to go about watching his films; but regardless if you come away understanding Harmonies or not, you won’t soon forget the film. Harmonies is a technical triumph, shot »
- Ricky Fernandes
It’s the moment you wait for the entire horror film. It’s not just a plot twist or a payoff but a trigger to your deepest emotions. You want to be shocked and sickened and saddened when the killer is revealed, the hero suddenly dies, or the mystery is solved. Most of all, you want your jaw to be on the floor. **Spoilers obviously ahead**
The Brood (1979)- Mommy knows best
David Cronenberg’s third horror film is his first truly great movie and also his first superbly acted film. The Brood’s ensemble is solid but Oliver Reed and Samantha Eggar stand out as maverick doctor Hal Raglan and his disturbed patient Nola Carveth. Nola’s estranged husband Frank (played by Art Hindle) teams up with Dr. Raglan in the film’s suspenseful climax. He confronts Nola while Raglan attempts to rescue Frank’s young daughter from a group of murderous deformed children. »
Amid Canal Plus shake-up, parent company Vivendi ups stake in video games companies Ubisoft and Gameloft.
New Canal Plus CEO Maxime Saada has put out a call to the French cinema world to produce more action and adventure pictures and crime thrillers to fill the gap left by the Us Studios’ focus on superheroes and teenage audiences.
Speaking at a debate on the future of French cinema at the 25th edition of the Rencontres Cinématographiques de Dijon, running Oct 22-24, Saada said he was worried by the lack of mainstream films for older audiences in the pipeline.
“Through the agreements we have with most the Us studios, we get to see their line-ups into 2018 and 2019. It’s all heavily-skewed towards superheroes and adolescent audiences and this isn’t going to change anytime soon,” said Saada.
He said there was real demand for French genre pictures aimed an older audience.
“Our subscribers aren’t teenagers, well some of »
The Murderer Lives at 21 The line-up for the 23rd French Film Festival UK has been announced. It will open at the Ciné Lumière on 5 November with Jerôme Bonnell’s sixth feature All About Them, a twist on a youthful menage à trois, in the presence of the director, and actors Anais Demoustier and Félix Moati. The festival runs until December 13.
Highlights include a three-film retrospective celebrating the 120th anniversary of Gaumont - the world's oldest film company - including Henri-Georges Clouzot's debut The Murderer Lives At 21. Other headline titles include Vincent Lindon inciting passion in Léa Seydoux’s servant girl in Benoît Jacquot’s Diary of a Chambermaid (already brought to the screen by Luis Bunuel and Jean Renoir). Post-Nouvelle Vague director Philippe Garrel puts infidelity into sharp focus in In the Shadow of Women (opening film in Cannes Directors’ Fortnight) while Maiwenn looks at the tempestuous marriage between two Parisians. »
- Amber Wilkinson
It had been so long since I last saw Vittorio De Sica’s Bicycle Thieves—the last time being long before I started to become involved with movie posters—that I had forgotten that Antonio Ricci’s job at the start of the film, the job he so desperately needs a bicycle for, is pasting up movie posters.Researching De Sica posters to coincide with the current month-long restrospective at New York’s Film Forum I discovered that De Sica’s most famous film centers—as does the Shawshank Redemption, coincidentally—on a poster of Rita Hayworth. I had hoped that it would be a poster by Anselmo Ballester, who painted Hayworth gloriously many times, but the signature on the top right of the poster is clearly that of one T. Corbella. Tito Corbella (1885-1966) was an artist known for his sensuous portraits of Italian divas since the 1910s. Dave Kehr »
- Adrian Curry
Joan Crawford Movie Star Joan Crawford movies on TCM: Underrated actress, top star in several of her greatest roles If there was ever a professional who was utterly, completely, wholeheartedly dedicated to her work, Joan Crawford was it. Ambitious, driven, talented, smart, obsessive, calculating, she had whatever it took – and more – to reach the top and stay there. Nearly four decades after her death, Crawford, the star to end all stars, remains one of the iconic performers of the 20th century. Deservedly so, once you choose to bypass the Mommie Dearest inanity and focus on her film work. From the get-go, she was a capable actress; look for the hard-to-find silents The Understanding Heart (1927) and The Taxi Dancer (1927), and check her out in the more easily accessible The Unknown (1927) and Our Dancing Daughters (1928). By the early '30s, Joan Crawford had become a first-rate film actress, far more naturalistic than »
- Andre Soares
Olivia de Havilland on Turner Classic Movies: Your chance to watch 'The Adventures of Robin Hood' for the 384th time Olivia de Havilland is Turner Classic Movies' “Summer Under the Stars” star today, Aug. 2, '15. The two-time Best Actress Oscar winner (To Each His Own, 1946; The Heiress, 1949) whose steely determination helped to change the way studios handled their contract players turned 99 last July 1. Unfortunately, TCM isn't showing any de Havilland movie rarities, e.g., Universal's cool thriller The Dark Mirror (1946), the Paramount comedy The Well-Groomed Bride (1947), or Terence Young's British-made That Lady (1955), with de Havilland as eye-patch-wearing Spanish princess Ana de Mendoza. On the other hand, you'll be able to catch for the 384th time a demure Olivia de Havilland being romanced by a dashing Errol Flynn in The Adventures of Robin Hood, as TCM shows this 1938 period adventure classic just about every month. But who's complaining? One the »
- Andre Soares
Everything in Max Renn’s life is beginning to pulsate. First the Betamax videotape sent to him by one Bianca O’Blivion, which seems to breathe in his hand as he removes it from its beige packaging. Then Max’s television, squatting in the corner of his apartment, appears take on a life of its own: veins twitching, the screen bulging to the sound of a woman’s voice: “Come to me, Max. Come to me...”
David Cronenberg’s Videodrome, released in 1982, is loaded with violent and startling imagery like this. Like Apocalypse Now, its very narrative seems to disintegrate as its morally suspect protagonist Max Renn (James Woods) embarks on a journey into his own heart of darkness: a fascination with the origins of a video signal soon leads him to a world of corruption, »
Alleluia, Fabrice Du Welz's sensual, brutal version of the "lonely hearts killers"—made into a 1969 film by Leonard Kastle, The Honeymoon Killers, and Arturo Ripstein's 1996 Deep Crimson—was a highlight of the Directors' Fortnight at Cannes last year, and is now getting a Us theatrical release through Music Box Films' Doppelgänger Releasing arm. Shot close in intimate 16mm, the film juggles tones deftly to capture the loneliness, desire, horror, humor, and absurdity in an amour fou between two single sociopaths who find in each other an intense, primal attraction. But both persons are so distorted, and the love between them thereby turning so distorted, that it leads not to the greatest, strangest love affair—though you could call it that, I suppose—but the most perverse: the man sets up a scheme to seduce and rob women, and his lover, quickly beset by manic jealousy, ends up killing them. »
- Daniel Kasman
Earlier this week, we gave you details on first wave of special experiences and events taking place at the 2015 Stanley Film Festival. We now have details on their impressive slate of features, short films, and additional special events, including screenings of The Final Girls, Deathgasm, Stung, The Invitation, and We Are Still Here.
We're teaming up with the festival for live coverage and special opportunities for Daily Dead readers, so be sure to check back all month for contests, features, and more.
"April 2, 2014 (Denver, Co) - The Stanley Film Festival (Sff) produced by the Denver Film Society (Dfs) and presented by Chiller, announced today its Closing Night film, Festival lineup and the 2015 Master of Horror. The Festival will close out with The Final Girls. The film, directed by Todd Strauss-Schulson, is the story of a young woman grieving the loss of her mother, a famous scream queen from the 1980s, »
- Jonathan James
Fandor, the premiere streaming service for independent, classic and critically-acclaimed films, shorts and documentaries, in a partnership with the Criterion Collection and Hulu Plus, is currently home to a rotation of uniquely curated bundles of Criterion films available to watch instantly via desktop, set top and mobile devices.
Every Tuesday, Fandor rolls out a new collection of films that share a common theme, genre, time period, film style, etc. These films are available on the site for 12 days before being replaced by a fresh new batch of featured Criterion masterpieces.
Fandor’S Criterion Picks For March
March 17-28: The Sixteenth Century
Carnival in Flanders(1935, Director Jacques Feyder): A small village in Flanders puts on a carnival to avoid the brutal consequences of the Spanish occupation. Ivan the Terrible(1944, DirectorSergei Eisenstein): As Ivan ascends to lead Russia, the Boyars are determined to disrupt his rule. Ivan’s relationship »
- Robert Greenberger
If you want to take a break from arguing with your loved ones and strangers on the internet over whether The Dress is white/gold or blue/black, take a look at this video where artist Nacho Guzman uses moving colored lights to make his actress’ face appear to be constantly in flux. It’s much cooler than The Dress, anyway. You can watch the full music video (“Sparkles and Wine” by Opale) here. Guzman is lovingly cribbing here from Henri-Georges Clouzot, who used a similar effect in Inferno, except his involves more glitter and, of course, a woman who gets seduced by a Slinky. The overall point is that light affects the way we see color. Although what’s happening with The Dress is obviously witchcraft. It’s not that an image is changing under lights; it’s that different people are seeing completely different colors at the same time. Is »
- Scott Beggs
Simone Simon: Remembering the 'Cat People' and 'La Bête Humaine' star (photo: Simone Simon 'Cat People' publicity) Pert, pretty, pouty, and fiery-tempered Simone Simon – who died at age 94 ten years ago, on Feb. 22, 2005 – is best known for her starring role in Jacques Tourneur's cult horror movie classic Cat People (1942). Those aware of the existence of film industries outside Hollywood will also remember Simon for her button-nosed femme fatale in Jean Renoir's French film noir La Bête Humaine (1938). In fact, long before Brigitte Bardot, Annette Stroyberg, Mamie Van Doren, Tuesday Weld, Ann-Margret, and Barbarella's Jane Fonda became known as cinema's Sex Kittens, Simone Simon exuded feline charm – with a tad of puppy dog wistfulness – in a film career that spanned two continents and a quarter of a century. From the early '30s to the mid-'50s, she seduced men young and old on both »
- Andre Soares
The late films of René Clément are even more neglected than the early and middle films of René Clément, which is to say, very neglected indeed. Falling somewhat between the generation of Jean Renoir and that of the nouvelle vague, he may have been seen as a dangerous professional rival, but he certainly was no friend to the emerging Cahiers du cinema cinephiles, declaring at the time of Fahrenheit 451's production that each Truffaut film was worse than the one before.
Almost effaced from film history apart from a couple of unavoidably impressive titles, Clément remains a stylish professional whose devotion to the thriller genre would have been considered admirable if he were American, but sits awkwardly with our expectations of French cinema: we have room for Henri-Georges Clouzot and Jean-Pierre Melville only.
Clément's last four films are all twisty thrillers, the kind of films that spend ages setting »
- David Cairns
1-20 of 22 items from 2015 « Prev | Next »
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners