6 items from 2015
Whether you’re all for 3D, or have reserved a special place in hell for those awkward glasses, it would seem that it is here to stay. Long before it turned into the latest service fee added onto the bill of your movie going experience, 3D was a fun (and new) twist for film lovers. And with House of Wax (1953), Warner Bros. created not only the first color major studio 3D film, but one of the finest horror films of the 50’s, period.
Released in April of ’53, House of Wax was a pricey venture (1 million Us to produce), but one that Warner Bros. was willing to bank on after the smash 3D success of Bwana Devil (1952), an independent production. By this point, the major studios were desperate to get people back to the movies, as that new and nasty little box called television halved theatre attendance. What they achieved with »
- Scott Drebit
Quentin Tarantino is going to light up San Diego Comic-Con in a couple of weeks when he struts into town with his western "The Hateful Eight," and one wonders how many of the fanboys will have seen the Robert Altman, Sergio Corbucci, or André de Toth films he references in chatting with EW. Not that it matters. Half of the fun of any Tarantino flick is tracking down the genre gems he mentions as influences. Read More: Quentin Tarantino Saddles Up To Bring 'The Hateful Eight' To Comic-Con His star-studded western about a bunch of rogues facing off in a snow blasted waystation sounds grim, but Tarantino promises it'll have a spark of life to it as well. “I can definitely say that as bleak as our movie is, we are definitely the funniest snow Western ever made. This is funnier than 'The Great Silence,' it »
- Kevin Jagernauth
Continuing the tradition of brisk pre-Code films, Joel McCrea’s occasional appearances in Gregory La Cava’s 1933 Bed of Roses serve as strange moral medium between the wanton hedonism of the lead Constance Bennett and the upcoming censorship of the era. Screenwriter Wanda Tuchock’s story of jail-hopping prostitutes-on-the-side seems like a victory lap for vice-ridden cinematic world of the early 30s, including flippant talk of suicide, heavily implied sex, liberal boozing, and poking fun at previous attempts of government sponsored moral judgment (“The Eighteenth Amendment is a law, and as a law should be enforced until it stops being a law”). The film begins in a prison as Bennett’s Lorry Evans and partner-in-crime Minnie (Pert Kelton) walk out of their cells, trash-talking life outside in radio-ready cadence and street-ready slang. They have short hair, hats tipped on the side of their head (I assume gravity worked differently in »
- Zach Lewis
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.Above: Rainer Werner Fassbinder would have turned 70 this week. Can you imagine how many films unfilmed he would have made between 1982, when he died, and now? At his Movie Poster of the Day Tumblr, Adrian Curry has found a fantastic poster for Fassbinder's 1981 film, Lola.fxguide has a terrific exploration of the computer effects used in George Miller's Mad Max: Fury Road.Above: Anna Karina and Jean-Luc Godard. From our Tumblr.New York's essential BAMcinamFest, running June 17 - 28, has announced its 2015 lineup, which features such Notebook favorites as Queen of Earth, Stinking Heaven, and Counting, as well as several premieres including a new short film by our friend and contributor C. Mason Wells.Film Comment's Nicholas Rapold has interviewed with Apichatpong Weerasethakul about Cemetery of Splendour, the best film in Cannes this year. »
One way of telling the history of photographic arts is to describe a linear progression of more and more realistic picture-making, as if painter's brushes and pencils aimed mainly to approximate the human eye until, finally, photography emerged. (This is the premise André Bazin famously explored in “The Ontology of the Photographic Image.”) Given photography's automatic reproduction, painting could move on to express more boldly, more experimentally, more abstractly. Realism was no longer necessary. Incidentally, a lot of the most visible and most discussed uses of CGI and SFX in contemporary cinema have embodied images, actions, and temporalities that are far from realistic. These digital platforms enable visions of worlds that alter our own sufficiently so as to provide something—escape? Improvement? Color? It doesn't ultimately matter. The point is that the pixel has often been directed towards ends that seem to go against photography (and cinematography's) automatic capture of the world. »
- Zach Campbell
This year, Star Wars will be everywhere. It will be in your face, certainly from May through to December. It will be in our lunchboxes, it will be in our TV sets, it will most definitely be in our cinemas. And once Madame Tussauds open their much-hyped new section, we’ll be able to get it right up in our faces.
Here’s a new video from the wax museum, revealing the process by which a little wax Yoda was made. Seeing as the wee Jedi master was already a sculpted model to start with – not to spoil it for anybody – this is a relatively easy starting point for Tussauds. When they have to replicated Harrison Ford, however… that should be a bit tougher.
If you didn’t watch that video, or couldn’t turn up the sound, you’ll have missed what might be the most exciting bits of information. »
- Brendon Connelly
6 items from 2015
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